1
00:00:02,400 --> 00:00:16,759
Speaker 1: Radio Radio Radio COM's a Myth and Bullshit, a radiophonic

2
00:00:16,800 --> 00:00:23,400
Speaker 1: novella radio hosted by Mala. Hello, Hello, Hello, Welcome to

3
00:00:23,440 --> 00:00:30,000
Speaker 1: season four of Local Radios Wanted for Crimes against the Patriarchy. Look,

4
00:00:30,000 --> 00:00:32,600
Speaker 1: I thought a Radio was a radiophonic novella archiving the

5
00:00:32,640 --> 00:00:35,680
Speaker 1: brilliance and legacies of women and fems of color. I'm

6
00:00:35,720 --> 00:00:38,720
Speaker 1: Fiosa and I'm Mala, and we are less mommies of

7
00:00:38,760 --> 00:00:43,720
Speaker 1: myth and Bullshit last radio radio phonic novela, which is

8
00:00:43,760 --> 00:00:49,680
Speaker 1: just a really extra way of saying a podcast. Welcome back, everybody, Well,

9
00:00:49,680 --> 00:00:56,680
Speaker 1: welcome back. It is now seven but the second episode

10
00:00:56,720 --> 00:01:00,640
Speaker 1: of season four. Super excited to be talking deal today,

11
00:01:00,680 --> 00:01:03,080
Speaker 1: to be recording today. We have an amazing guest for

12
00:01:03,080 --> 00:01:05,440
Speaker 1: the second half of the episode. So before we get

13
00:01:05,440 --> 00:01:09,319
Speaker 1: into today's content, we wanted to remind y'all that we

14
00:01:09,360 --> 00:01:13,399
Speaker 1: are on Patreon and we have some new incentives um

15
00:01:13,440 --> 00:01:16,880
Speaker 1: on the Patreon and next month or this month February,

16
00:01:16,959 --> 00:01:19,440
Speaker 1: we're having our first meet up with our look on

17
00:01:19,520 --> 00:01:21,640
Speaker 1: what is Anonymous, which is our twenty five dollar tier.

18
00:01:22,000 --> 00:01:24,160
Speaker 1: So we're going to be scheduling, We're gonna be planning

19
00:01:24,160 --> 00:01:28,039
Speaker 1: a meetup with our patrons, and we're super excited that

20
00:01:28,040 --> 00:01:29,880
Speaker 1: we get to meet you all in person. It's gonna

21
00:01:29,880 --> 00:01:33,280
Speaker 1: be cute, it's gonna be fun. So just as a

22
00:01:33,319 --> 00:01:36,680
Speaker 1: reminder of what different incentives we offer on our patreons,

23
00:01:36,720 --> 00:01:42,360
Speaker 1: So it's everything from access to our newsletter, access to

24
00:01:42,640 --> 00:01:46,600
Speaker 1: maybe our close friends list on our Instagram live story.

25
00:01:47,000 --> 00:01:50,120
Speaker 1: If you want to be invited to a bunch of

26
00:01:50,120 --> 00:01:54,040
Speaker 1: different cute little meetups and events with us, that's its

27
00:01:54,040 --> 00:01:56,800
Speaker 1: own tier. We also eventually are going to have ad

28
00:01:56,840 --> 00:01:59,720
Speaker 1: free listening and advanced listening as Tears on the Patreon,

29
00:02:00,200 --> 00:02:03,000
Speaker 1: So check it out, head to patreon dot com, look

30
00:02:03,040 --> 00:02:06,400
Speaker 1: at the look a thought our radio page and support. Yeah,

31
00:02:06,440 --> 00:02:10,120
Speaker 1: and if you're already a patron on Patreon, then you

32
00:02:10,160 --> 00:02:12,640
Speaker 1: know that you got access to our first episode of

33
00:02:12,639 --> 00:02:16,280
Speaker 1: the season three four days before everyone else did, so

34
00:02:16,480 --> 00:02:19,400
Speaker 1: you get first DIBs at our capita laws and you

35
00:02:19,440 --> 00:02:23,440
Speaker 1: get first access to everything that we're talking about. Absolutely,

36
00:02:23,520 --> 00:02:26,840
Speaker 1: and again reminder support you know Indie Latino x podcast.

37
00:02:27,160 --> 00:02:29,600
Speaker 1: Supporting the Patreon is a really good way to do so,

38
00:02:29,720 --> 00:02:33,959
Speaker 1: and it's a growing trend among podcasters um to even

39
00:02:34,000 --> 00:02:37,200
Speaker 1: have entire podcasts behind a paywall on Patreon. Right, So

40
00:02:37,360 --> 00:02:39,280
Speaker 1: it's kind of the space that we need to be in.

41
00:02:39,360 --> 00:02:42,799
Speaker 1: We're excited. We want to thank Patreon also for helping

42
00:02:42,840 --> 00:02:46,120
Speaker 1: us out and relaunching our Patreon. They've been really supportive

43
00:02:46,280 --> 00:02:50,239
Speaker 1: and we thank you all who have already signed up. Yes,

44
00:02:50,440 --> 00:02:54,160
Speaker 1: And also a reminder, if you haven't subscribed to our newsletter,

45
00:02:54,200 --> 00:02:56,840
Speaker 1: I'm going to put that link in our description so

46
00:02:56,880 --> 00:03:00,360
Speaker 1: you can subscribe. You get automatic alerts as to when

47
00:03:00,600 --> 00:03:03,560
Speaker 1: the podcast the new episode airs. You also get some

48
00:03:03,639 --> 00:03:06,959
Speaker 1: behind the scenes footage and photos and all of that.

49
00:03:07,080 --> 00:03:09,919
Speaker 1: And you're also going to hear like what we're into

50
00:03:10,000 --> 00:03:13,359
Speaker 1: that week, music that we're liking, maybe books that were reading,

51
00:03:13,440 --> 00:03:16,200
Speaker 1: so some additional concept that you're not going to get

52
00:03:16,240 --> 00:03:18,320
Speaker 1: anywhere else, but you will get it on the newsletter.

53
00:03:18,919 --> 00:03:22,400
Speaker 1: And um the newsletter is called Best Sitos. It's super

54
00:03:22,440 --> 00:03:26,680
Speaker 1: cute on brand, cute updates, photos, all kinds of cute stuff.

55
00:03:26,760 --> 00:03:31,800
Speaker 1: So check that out and in other news. In other news,

56
00:03:32,800 --> 00:03:36,600
Speaker 1: if you follow us on Instagram, we shared this really

57
00:03:36,640 --> 00:03:41,160
Speaker 1: funny post and it's an ad for birth control. It's

58
00:03:41,160 --> 00:03:44,160
Speaker 1: a vintage ad and she's like fighting off a store

59
00:03:44,280 --> 00:03:47,040
Speaker 1: who's trying to deliver a baby to her with her parasol.

60
00:03:47,200 --> 00:03:49,760
Speaker 1: She's like trying to fight off a store with her parasol, right,

61
00:03:49,840 --> 00:03:52,000
Speaker 1: So it's really funny and what does the caption say

62
00:03:52,040 --> 00:03:55,760
Speaker 1: on it? And the villain still pursues her and it's

63
00:03:55,760 --> 00:03:59,040
Speaker 1: a birth control ad of Vintage one. So we posted that.

64
00:03:59,240 --> 00:04:03,160
Speaker 1: So we posted it and we got amazing feedback. So

65
00:04:03,680 --> 00:04:06,240
Speaker 1: we asked for those of you on birth control, do

66
00:04:06,240 --> 00:04:08,200
Speaker 1: you love it? Do you hate it? If you've got

67
00:04:08,240 --> 00:04:10,520
Speaker 1: experience using it, what did you like about it? What

68
00:04:10,560 --> 00:04:12,760
Speaker 1: didn't what didn't you like about it? And of course

69
00:04:12,840 --> 00:04:15,680
Speaker 1: we got a variety and a array of answers, so

70
00:04:15,720 --> 00:04:17,479
Speaker 1: we just wanted to go through and share with you,

71
00:04:18,120 --> 00:04:21,599
Speaker 1: with y'all some of what we heard and read. A

72
00:04:21,640 --> 00:04:25,400
Speaker 1: lot of you have um some hilarious experiences with birth control,

73
00:04:25,400 --> 00:04:28,120
Speaker 1: oddly enough, and then a really mixed bag. You know,

74
00:04:28,200 --> 00:04:31,760
Speaker 1: some people absolutely love their birth control. Some people feel

75
00:04:31,760 --> 00:04:34,120
Speaker 1: like it's made their life way better. Other folks have

76
00:04:34,240 --> 00:04:36,960
Speaker 1: really struggled with finding birth control that works, which I

77
00:04:37,000 --> 00:04:39,720
Speaker 1: think is like speaks a lot to not only this

78
00:04:39,800 --> 00:04:41,800
Speaker 1: experience of trying to control the birth, like it can

79
00:04:41,839 --> 00:04:44,680
Speaker 1: be real hard, but also like the available options out

80
00:04:44,720 --> 00:04:49,360
Speaker 1: there are not always that great. They can be very invasive,

81
00:04:49,800 --> 00:04:53,800
Speaker 1: they're also hormonal. UM. And then just birth control itself

82
00:04:53,839 --> 00:04:58,720
Speaker 1: has a very dark history. It was used or created

83
00:04:59,200 --> 00:05:02,760
Speaker 1: UM and it was tested on women in Puerto Rico

84
00:05:03,000 --> 00:05:06,159
Speaker 1: without their knowledge, so they had horrible side effects. Many

85
00:05:06,160 --> 00:05:09,960
Speaker 1: of them were sterilized. It has a very dark history. UM.

86
00:05:10,040 --> 00:05:15,000
Speaker 1: And it's not uncommon or it's not knew that medical

87
00:05:15,040 --> 00:05:17,800
Speaker 1: tests and medical innovations have been used on women of color,

88
00:05:17,920 --> 00:05:22,239
Speaker 1: especially black women. So it's also important to contextualize birth

89
00:05:22,240 --> 00:05:24,640
Speaker 1: control's history. And I know that there are a lot

90
00:05:24,640 --> 00:05:27,560
Speaker 1: of folks that don't want to use it for those reasons,

91
00:05:27,720 --> 00:05:30,360
Speaker 1: or they don't like that it it's hormonal, and it's

92
00:05:30,800 --> 00:05:33,919
Speaker 1: quote I saw this a lot quote unnatural to your body.

93
00:05:33,960 --> 00:05:36,800
Speaker 1: You're harmful to your body. So it really is just

94
00:05:37,040 --> 00:05:42,840
Speaker 1: very personal and like what works for you. So I,

95
00:05:42,960 --> 00:05:45,279
Speaker 1: like I had told Mala when I was starting a

96
00:05:45,320 --> 00:05:47,039
Speaker 1: new pack of my birth control, and I was like,

97
00:05:47,120 --> 00:05:52,159
Speaker 1: a pillow date keeps the baby away, fact putting that

98
00:05:52,240 --> 00:05:55,080
Speaker 1: on a shirt. UM, So yeah, a pillo date keeps

99
00:05:55,080 --> 00:05:58,400
Speaker 1: the baby away is my current mindset. And I don't

100
00:05:58,480 --> 00:06:02,359
Speaker 1: love birth control. UM. I have been struggling with the

101
00:06:02,400 --> 00:06:04,880
Speaker 1: current the current one that I'm using when I first

102
00:06:05,320 --> 00:06:06,760
Speaker 1: was on it. When when I was first on the

103
00:06:06,760 --> 00:06:11,520
Speaker 1: pill um I had, I was incredibly nauseous and I

104
00:06:11,560 --> 00:06:14,680
Speaker 1: like was even with mala, and I just started getting sick.

105
00:06:14,920 --> 00:06:17,640
Speaker 1: I remember that, Remember that it was awful. So I

106
00:06:17,720 --> 00:06:19,919
Speaker 1: was like really sick for like the first month that

107
00:06:20,000 --> 00:06:24,520
Speaker 1: I transitioned to the birth control pill um. And so, yeah,

108
00:06:24,560 --> 00:06:26,560
Speaker 1: it's been hit or miss. I haven't found exactly the

109
00:06:26,560 --> 00:06:28,720
Speaker 1: one that I like, but I know that, like I

110
00:06:28,720 --> 00:06:31,120
Speaker 1: don't want to do an I U D. I've done

111
00:06:31,120 --> 00:06:33,360
Speaker 1: the implant and it was awful. I had a period

112
00:06:33,400 --> 00:06:36,280
Speaker 1: for like months and I think it would just not end,

113
00:06:36,640 --> 00:06:39,880
Speaker 1: it would never end. So that was horrible. Um, but yeah,

114
00:06:39,960 --> 00:06:42,200
Speaker 1: I mean then there are folks that said, like they

115
00:06:42,240 --> 00:06:45,000
Speaker 1: loved the implant, that it's been so beneficial for them,

116
00:06:45,400 --> 00:06:48,000
Speaker 1: and some folks love the I U D. So yeah,

117
00:06:48,080 --> 00:06:51,480
Speaker 1: it just really is in. It really is. I mean,

118
00:06:51,560 --> 00:06:54,000
Speaker 1: I love my implant. I have an explant on implant

119
00:06:54,040 --> 00:06:56,640
Speaker 1: here in my arm, and I mean I gotta put in.

120
00:06:56,839 --> 00:07:00,560
Speaker 1: I didn't have any bruising, I had no bad physical

121
00:07:00,600 --> 00:07:03,159
Speaker 1: side effects. I mean, I know that the hormones have

122
00:07:03,200 --> 00:07:06,800
Speaker 1: an impact on me, but as far as like UM

123
00:07:06,839 --> 00:07:10,640
Speaker 1: effectiveness and ease and just working with my body. I

124
00:07:10,680 --> 00:07:13,320
Speaker 1: have loved my implant. I used to use the birth

125
00:07:13,320 --> 00:07:16,880
Speaker 1: control pills, but I just can't be consistent with it.

126
00:07:16,960 --> 00:07:19,280
Speaker 1: And it's like dangerous for me because I'm not going

127
00:07:19,320 --> 00:07:21,280
Speaker 1: to be consistent with it and it's not gonna work,

128
00:07:21,280 --> 00:07:23,480
Speaker 1: Like it's not going to be effective. So but then

129
00:07:23,480 --> 00:07:25,960
Speaker 1: I have you know, homegirls who have like tried the

130
00:07:26,000 --> 00:07:29,280
Speaker 1: implant and like the body has just kind of rejected it.

131
00:07:29,280 --> 00:07:31,480
Speaker 1: It's really not for everyone. Yeah, Like a home girl

132
00:07:31,520 --> 00:07:34,000
Speaker 1: of mine, she was like going through it. She like,

133
00:07:34,360 --> 00:07:36,320
Speaker 1: I didn't get the implant, but she had. She was

134
00:07:36,360 --> 00:07:38,080
Speaker 1: thinking about. No, she did get the implant, so she

135
00:07:38,120 --> 00:07:40,600
Speaker 1: got the implant. She did the Nuva ring, she did

136
00:07:40,640 --> 00:07:43,400
Speaker 1: different variations of the pill. She like did everything, but

137
00:07:43,520 --> 00:07:47,280
Speaker 1: like maybe the shot, you know, like the depot shot. Yeah. Yeah,

138
00:07:47,360 --> 00:07:49,679
Speaker 1: and like it's just horror. The side effects are horrible.

139
00:07:49,920 --> 00:07:53,280
Speaker 1: It speaks larger to the medical industrial complex and women's

140
00:07:53,320 --> 00:07:58,320
Speaker 1: pain and bodies not taken seriously and just afterthought and

141
00:07:58,360 --> 00:08:00,960
Speaker 1: all of those things. Because there was like an article

142
00:08:01,040 --> 00:08:05,440
Speaker 1: about male birth control, like they had to halt the

143
00:08:05,560 --> 00:08:15,080
Speaker 1: research and the study because the side effects were what depression, blow, anxiety. Yeah, okay,

144
00:08:15,480 --> 00:08:20,880
Speaker 1: got it. But not for the men exactly, because the

145
00:08:20,920 --> 00:08:23,760
Speaker 1: men are in pain. And here's the thing that's wild, right,

146
00:08:23,960 --> 00:08:25,840
Speaker 1: is that a lot of birth And this is true.

147
00:08:25,920 --> 00:08:28,920
Speaker 1: I think of medicines that are made available on the

148
00:08:28,920 --> 00:08:32,400
Speaker 1: market across the board, but on the topic of birth control,

149
00:08:32,840 --> 00:08:37,920
Speaker 1: these different methods are tried in trials on a certain

150
00:08:38,000 --> 00:08:42,559
Speaker 1: number of people, but it doesn't necessarily mean they're done

151
00:08:42,880 --> 00:08:45,760
Speaker 1: fully testing them when they make them available for use.

152
00:08:46,280 --> 00:08:49,480
Speaker 1: Like even the next plant on implant, I've had it

153
00:08:49,520 --> 00:08:53,480
Speaker 1: in for like three four years now, and each time

154
00:08:53,559 --> 00:08:56,880
Speaker 1: I go in to ask about it, they tell me, oh, well,

155
00:08:56,920 --> 00:08:59,280
Speaker 1: you know, it's still in trials and it's still in testing,

156
00:08:59,280 --> 00:09:01,040
Speaker 1: and actually you can even in for another year. Like

157
00:09:01,160 --> 00:09:03,360
Speaker 1: that's what we're finding. So things get put into our

158
00:09:03,400 --> 00:09:06,040
Speaker 1: bodies and they're not actually even done testing them, and

159
00:09:06,080 --> 00:09:09,480
Speaker 1: they're constantly finding out new things about them. So that's

160
00:09:09,520 --> 00:09:12,800
Speaker 1: like sucking wild to me to consider too. Yeah, well,

161
00:09:12,800 --> 00:09:15,679
Speaker 1: because even the implant, there were like cases that it

162
00:09:15,720 --> 00:09:19,200
Speaker 1: would move. People were like finding it other parts of

163
00:09:19,240 --> 00:09:22,679
Speaker 1: their bodies, Like it didn't stay put. You can feel it,

164
00:09:23,080 --> 00:09:25,760
Speaker 1: I'm sure you can. I haven't. I haven't checked for it.

165
00:09:26,240 --> 00:09:31,400
Speaker 1: I haven't checked. It was so funny because when I

166
00:09:31,400 --> 00:09:34,040
Speaker 1: had mine taken out, Oh my god, when I had

167
00:09:34,080 --> 00:09:37,280
Speaker 1: mine taken out, it took like a good forty minutes,

168
00:09:37,640 --> 00:09:40,640
Speaker 1: and they were just digging in my arm. Sorry, that's

169
00:09:40,720 --> 00:09:44,199
Speaker 1: like t M I or gave you a weird sensation,

170
00:09:44,640 --> 00:09:46,679
Speaker 1: but they were and I just laid there and I

171
00:09:46,720 --> 00:09:48,440
Speaker 1: was like, oh my god, and they were like, while

172
00:09:48,440 --> 00:09:50,520
Speaker 1: you're a trooper, Like I can't believe you just did that.

173
00:09:50,679 --> 00:09:52,080
Speaker 1: But I was about to be like, you know what,

174
00:09:52,320 --> 00:09:56,480
Speaker 1: just leaving it forever. It's not coming out, you know what.

175
00:09:57,880 --> 00:10:02,880
Speaker 1: I'm keeping it, yes much. Although my favorite answer of

176
00:10:03,080 --> 00:10:05,960
Speaker 1: all the answers and all the responses has been the

177
00:10:06,000 --> 00:10:10,840
Speaker 1: women saying their husband's got aasectomy. That has been my

178
00:10:10,920 --> 00:10:15,600
Speaker 1: favorite response because like, the pain is real, the trial

179
00:10:15,640 --> 00:10:18,360
Speaker 1: and error is real. When you're on birth control, it

180
00:10:18,440 --> 00:10:22,079
Speaker 1: can really funk with your sex drive. It can like

181
00:10:22,720 --> 00:10:25,840
Speaker 1: so many different things can happen when you're on the

182
00:10:25,840 --> 00:10:28,839
Speaker 1: pill or any form of birth control. So shout out

183
00:10:28,880 --> 00:10:30,840
Speaker 1: to the husbands out there and the partners that are

184
00:10:30,840 --> 00:10:33,520
Speaker 1: getting dropectomies so that their partners don't have to worry

185
00:10:33,559 --> 00:10:38,400
Speaker 1: about it. A VA sectomy is like minimally invasive. It

186
00:10:38,679 --> 00:10:42,440
Speaker 1: is and like if a person with a uterus like

187
00:10:42,480 --> 00:10:46,600
Speaker 1: gets their tubes did, like, it's like a recovery. You know,

188
00:10:46,720 --> 00:10:49,280
Speaker 1: it's not just a simple little snip like it is

189
00:10:49,320 --> 00:10:53,199
Speaker 1: for you know, the men or the folks. Yea. The

190
00:10:53,280 --> 00:10:57,800
Speaker 1: sectomies for all, to be honest, that's my that's my

191
00:10:57,920 --> 00:11:03,559
Speaker 1: motto for everyone. President. That would be our campaign. Sectomies

192
00:11:04,200 --> 00:11:11,240
Speaker 1: for all, free vasectomies. Yes, I'm sucking dead. I would

193
00:11:11,320 --> 00:11:13,240
Speaker 1: like if I were to be a doctor, I would

194
00:11:13,240 --> 00:11:15,640
Speaker 1: like to specialize in vasectomies. You know what I mean.

195
00:11:15,840 --> 00:11:20,360
Speaker 1: That's all I would do. Like, That's what I do, right,

196
00:11:21,080 --> 00:11:24,679
Speaker 1: for the greater good, for the greater good. That oh

197
00:11:24,720 --> 00:11:27,720
Speaker 1: my god. Okay, So yesterday I went to go see

198
00:11:27,720 --> 00:11:30,920
Speaker 1: Little Women and it was very cute. Um shout out

199
00:11:30,960 --> 00:11:34,360
Speaker 1: Greta grew wig um, you know, and all that good stuff.

200
00:11:34,559 --> 00:11:36,920
Speaker 1: It was cute. It was cute like white feminism. Yeah,

201
00:11:36,920 --> 00:11:38,160
Speaker 1: I was going to say, I've heard a lot of

202
00:11:38,160 --> 00:11:39,920
Speaker 1: critiques about it. It was cute though. It was like

203
00:11:39,920 --> 00:11:41,960
Speaker 1: a cute little book. I mean book. It was a book.

204
00:11:41,960 --> 00:11:43,840
Speaker 1: It is a book book that has been adapted a

205
00:11:43,880 --> 00:11:45,960
Speaker 1: couple of times now into a film. This is not

206
00:11:46,040 --> 00:11:48,719
Speaker 1: the first go at Little Women, but here's what I

207
00:11:48,720 --> 00:11:50,720
Speaker 1: hadn't been cool if they had made it like super

208
00:11:50,880 --> 00:11:56,120
Speaker 1: like POC. I don't know. People have been writing about that, right,

209
00:11:56,160 --> 00:11:58,839
Speaker 1: like it's okay for Little Women to be about white women.

210
00:11:58,840 --> 00:12:01,280
Speaker 1: The problem is not inserting people of color and too

211
00:12:01,280 --> 00:12:03,679
Speaker 1: little women. It's like, can we have our own stories

212
00:12:04,080 --> 00:12:07,040
Speaker 1: given platforms? No? Absolutely, because like we've talked about how

213
00:12:07,080 --> 00:12:09,240
Speaker 1: the remakes are tired, but it's like, okay, if we can.

214
00:12:09,360 --> 00:12:11,600
Speaker 1: If we are doing the remakes, can we re envision

215
00:12:11,679 --> 00:12:14,839
Speaker 1: them so that there's people of color because it's it's

216
00:12:14,880 --> 00:12:17,440
Speaker 1: like the colonial films. It's like, oh, there were no

217
00:12:17,559 --> 00:12:19,559
Speaker 1: people of color. It's like there were white people and

218
00:12:19,600 --> 00:12:22,800
Speaker 1: they would think that okay, there were no POC there,

219
00:12:22,800 --> 00:12:27,320
Speaker 1: but there were any. So going back to what you

220
00:12:27,360 --> 00:12:30,480
Speaker 1: were saying, yeah, no, So here's my thing, Um, I wasn't.

221
00:12:30,520 --> 00:12:32,559
Speaker 1: I didn't really walk out of Little Women with a

222
00:12:32,679 --> 00:12:36,000
Speaker 1: critique of the film, and like white feminism per se.

223
00:12:36,120 --> 00:12:38,880
Speaker 1: What I did walk out of that film um with

224
00:12:39,160 --> 00:12:43,560
Speaker 1: was shocked that that was Timothy Challa May Like I

225
00:12:43,600 --> 00:12:46,160
Speaker 1: didn't actually know who this Timothy guy was. And then

226
00:12:46,200 --> 00:12:48,840
Speaker 1: at the end of the film, I see the credits

227
00:12:49,000 --> 00:12:50,800
Speaker 1: and and then I asked my friends like, oh he

228
00:12:50,840 --> 00:12:52,240
Speaker 1: was in this. They were like, yeah, he was the

229
00:12:52,280 --> 00:12:54,800
Speaker 1: main guy, like the main love interest. And I was like,

230
00:12:54,880 --> 00:13:00,520
Speaker 1: this is your king, this, this is female it like

231
00:13:01,200 --> 00:13:03,880
Speaker 1: I hear all these things. He's like the heart throb.

232
00:13:04,240 --> 00:13:08,920
Speaker 1: He's like the heart throb, and I'm like this, that's all.

233
00:13:09,040 --> 00:13:12,559
Speaker 1: That was really my only CRITI When we were young,

234
00:13:12,640 --> 00:13:16,880
Speaker 1: our heart throbs were like Chad Michael Murray and Hayden

235
00:13:16,960 --> 00:13:20,000
Speaker 1: Christiansen and like and like even Will Smith, like hotties,

236
00:13:20,040 --> 00:13:22,600
Speaker 1: like batties like Zaddi's and then here's a little female.

237
00:13:22,600 --> 00:13:25,960
Speaker 1: They all all skinny and stuff. It was disturbing to me,

238
00:13:26,400 --> 00:13:28,760
Speaker 1: you know. I was I was like sad for this

239
00:13:28,840 --> 00:13:32,600
Speaker 1: generation of young women that this is like, this is

240
00:13:32,600 --> 00:13:35,800
Speaker 1: their king. I don't know, girl, That's all I had

241
00:13:35,840 --> 00:13:37,240
Speaker 1: to say. I don't even know who that is. I'm

242
00:13:37,280 --> 00:13:42,600
Speaker 1: just nodding along with you. It's for the best. It's

243
00:13:42,679 --> 00:13:45,360
Speaker 1: really for the best. And I'm sure, yeah, okay, sure, sure, sure,

244
00:13:45,400 --> 00:13:49,439
Speaker 1: sure sure. I feel like other things have happened in

245
00:13:49,480 --> 00:13:53,800
Speaker 1: the world. Oh American dirt um the controversy. We've been

246
00:13:53,840 --> 00:13:59,280
Speaker 1: following um silently from our corners, following silently watching everything unfold.

247
00:14:00,880 --> 00:14:03,600
Speaker 1: Shout out to all the Latin X writers that have

248
00:14:03,720 --> 00:14:08,560
Speaker 1: been in the thick of it, We're with you. Oh yeah,

249
00:14:08,640 --> 00:14:12,120
Speaker 1: we love you, we support you. Like Miriam Gurba, who

250
00:14:12,160 --> 00:14:14,880
Speaker 1: has been super active a k a at less brains

251
00:14:15,080 --> 00:14:20,920
Speaker 1: on Twitter. UM Miriam famously now wrote the first actual

252
00:14:21,080 --> 00:14:25,640
Speaker 1: true critique of the book, calling it out for the stereotypes,

253
00:14:25,960 --> 00:14:29,040
Speaker 1: for the shoddy writing, for the inaccuracies, just for being

254
00:14:29,080 --> 00:14:32,800
Speaker 1: a poorly written work and claiming to do all this

255
00:14:32,920 --> 00:14:37,080
Speaker 1: social justice heavy lifting when in reality we have uncovered

256
00:14:37,280 --> 00:14:40,320
Speaker 1: now that it's much more than that. It is sort

257
00:14:40,360 --> 00:14:44,400
Speaker 1: of like a farce. It is inaccurate. There's plagiarism, like

258
00:14:44,480 --> 00:14:48,720
Speaker 1: having lifted exact stories from um, you know, immigrant writers

259
00:14:48,720 --> 00:14:52,840
Speaker 1: from Latin X writers like Louis Alberto Urea. Right. Uh,

260
00:14:53,000 --> 00:14:55,480
Speaker 1: And that was so I was gonna touch upon that.

261
00:14:55,680 --> 00:14:59,440
Speaker 1: UM when Louise was talking with Mariano Josa Latino USA,

262
00:14:59,480 --> 00:15:02,320
Speaker 1: because she did an amazing job covering it, she he

263
00:15:02,440 --> 00:15:07,760
Speaker 1: talked about how UM Jennen Cummins in her book like

264
00:15:07,920 --> 00:15:11,640
Speaker 1: lifted a story from his novel, and when he was

265
00:15:11,840 --> 00:15:14,400
Speaker 1: talking about how frustrating it was that his it took

266
00:15:14,400 --> 00:15:17,080
Speaker 1: ten years for his novel to be published and that

267
00:15:17,240 --> 00:15:21,800
Speaker 1: publishers would send it back with horrible racist comments about

268
00:15:21,800 --> 00:15:25,000
Speaker 1: how he should change his name. Nobody cares about brown people,

269
00:15:25,560 --> 00:15:27,720
Speaker 1: like this is never going to get published. So to

270
00:15:27,840 --> 00:15:32,680
Speaker 1: see like the actual Latin X writer, Central American writers,

271
00:15:32,720 --> 00:15:36,680
Speaker 1: South American writers, Caribbean writers not being published for years

272
00:15:36,720 --> 00:15:38,760
Speaker 1: on end or even ever, and then to see this

273
00:15:38,880 --> 00:15:44,280
Speaker 1: seven figure deal written by a non Mexican someone that

274
00:15:44,320 --> 00:15:49,240
Speaker 1: identified as white up until I don't know, literally said

275
00:15:49,240 --> 00:15:52,840
Speaker 1: by all measures, my family is white. So people came

276
00:15:52,880 --> 00:15:57,840
Speaker 1: for her. Mariano Jossa interviewed her, basically called her, called

277
00:15:57,840 --> 00:16:01,280
Speaker 1: her and called her in about the the things that

278
00:16:01,320 --> 00:16:04,280
Speaker 1: have been taught, you know, the discussions, right, the plagiarism,

279
00:16:04,280 --> 00:16:09,120
Speaker 1: the appropriation, all these things. I found Janine's responses to

280
00:16:09,120 --> 00:16:11,600
Speaker 1: be super weak. I think she did a lot of

281
00:16:11,600 --> 00:16:14,600
Speaker 1: predictable white woman tear type ship. Her voice was shaky

282
00:16:14,640 --> 00:16:16,560
Speaker 1: and all that, and she was like, she was like,

283
00:16:16,760 --> 00:16:19,240
Speaker 1: I never want to write again. It's like okay, and

284
00:16:19,320 --> 00:16:21,720
Speaker 1: she goes, she goes, yeah, you know, my next book

285
00:16:21,720 --> 00:16:24,720
Speaker 1: was already sold, but I don't even want to write. Bitch,

286
00:16:26,120 --> 00:16:31,640
Speaker 1: what published? Right, And the rumor is just like from

287
00:16:31,640 --> 00:16:33,720
Speaker 1: what folks have been piecing together, is that her next

288
00:16:33,760 --> 00:16:36,520
Speaker 1: novel is going to be about Puerto Rico because she

289
00:16:36,560 --> 00:16:39,200
Speaker 1: claims she has a Puerto Rican what she does, but

290
00:16:39,240 --> 00:16:41,160
Speaker 1: that's her claim to Latiny, that is that she has

291
00:16:41,200 --> 00:16:45,120
Speaker 1: a Puerto Rican grandmother. On one side, UM, and then

292
00:16:45,360 --> 00:16:49,600
Speaker 1: folks dug deep and did research on who the Puerto

293
00:16:49,680 --> 00:16:55,680
Speaker 1: Rican grandmother was. She was a upper middle class white

294
00:16:55,680 --> 00:17:00,360
Speaker 1: Puerto Rican in Puerto Rico. And there's more to it.

295
00:17:00,400 --> 00:17:04,639
Speaker 1: But like girl, the detective work that has been happening,

296
00:17:04,800 --> 00:17:08,120
Speaker 1: people are people are in it, people are on it.

297
00:17:08,240 --> 00:17:11,119
Speaker 1: But you know, I mean it's like, look, first of all,

298
00:17:11,560 --> 00:17:15,679
Speaker 1: we talk about how UM survival of the fittest and

299
00:17:15,840 --> 00:17:18,240
Speaker 1: capitalism may the best one win this, that and the other.

300
00:17:18,760 --> 00:17:23,159
Speaker 1: But when folks get upset at the injustice, the economic

301
00:17:23,240 --> 00:17:26,119
Speaker 1: injustice and all of this, it's painted as sort of

302
00:17:26,160 --> 00:17:28,760
Speaker 1: like a petty reason to be upset, Like it's not

303
00:17:28,800 --> 00:17:32,200
Speaker 1: a valid reason to be upset about the seven figure

304
00:17:32,720 --> 00:17:35,880
Speaker 1: payout that she got from Flatiron Books, which is the

305
00:17:35,960 --> 00:17:39,679
Speaker 1: publisher UM in this situation. But it's like no, Like

306
00:17:39,720 --> 00:17:43,960
Speaker 1: we're in a capitalist society. Books equal currency, Like these

307
00:17:43,960 --> 00:17:46,680
Speaker 1: are things that are being monetized. We should talk about

308
00:17:46,680 --> 00:17:48,560
Speaker 1: the money. The money is important. There is still a

309
00:17:48,600 --> 00:17:51,240
Speaker 1: wage gap, and there is a wage gap between white

310
00:17:51,240 --> 00:17:54,080
Speaker 1: women and women of color. Right, there's going to be

311
00:17:54,119 --> 00:17:56,960
Speaker 1: a wage gap in publishing when the number that we've

312
00:17:57,000 --> 00:17:59,719
Speaker 1: been hearing is that only six percent of latinos are

313
00:17:59,760 --> 00:18:03,080
Speaker 1: like to been publishing, right or six percent of publishing

314
00:18:03,200 --> 00:18:07,960
Speaker 1: is Latin X. Yes. Well, and then okay, so there's

315
00:18:08,000 --> 00:18:10,320
Speaker 1: all this critique, right, and then the folks that are

316
00:18:10,359 --> 00:18:14,600
Speaker 1: coming to her defense are like, oh, um, you know,

317
00:18:14,840 --> 00:18:17,760
Speaker 1: we shouldn't be censoring. They're making it about censorship, They're

318
00:18:17,760 --> 00:18:21,160
Speaker 1: making it about oh other writers shouldn't be critiquing writers

319
00:18:21,160 --> 00:18:23,959
Speaker 1: like this whole thing, which is weird because why wouldn't

320
00:18:24,000 --> 00:18:26,960
Speaker 1: you hold your colleague accountable? Number one? But I say

321
00:18:27,000 --> 00:18:29,960
Speaker 1: all of this because all of this is happening online.

322
00:18:30,040 --> 00:18:32,880
Speaker 1: Her book tour is canceled because their quote in fear

323
00:18:32,920 --> 00:18:35,600
Speaker 1: of her safety. Her book is still number one on

324
00:18:35,640 --> 00:18:38,160
Speaker 1: the New York Times best seller list. Okay, so keep

325
00:18:38,200 --> 00:18:43,760
Speaker 1: that in mind. Oprah did not when she still kept

326
00:18:43,760 --> 00:18:46,159
Speaker 1: it on her list. And she says she's going to

327
00:18:46,240 --> 00:18:50,480
Speaker 1: have a dialogue in April on Apple TV. So I'm like,

328
00:18:51,280 --> 00:18:53,760
Speaker 1: who has Apple TV? Do you have Apple TV? I

329
00:18:53,760 --> 00:18:56,000
Speaker 1: don't have Apple TV? Am I going to get it

330
00:18:56,040 --> 00:18:58,280
Speaker 1: to watch this. Maybe maybe not, But the point I

331
00:18:58,359 --> 00:19:01,439
Speaker 1: wants to lend us there. The point is like I

332
00:19:01,440 --> 00:19:03,639
Speaker 1: don't know, you could do that on ig Live to

333
00:19:04,160 --> 00:19:06,840
Speaker 1: where the dialogue is happening, exactly on Twitter, where the

334
00:19:06,840 --> 00:19:12,600
Speaker 1: conversation is happening. So here's my other deal. Look, so, um,

335
00:19:12,760 --> 00:19:17,719
Speaker 1: migrants are being abused and persecuted and detained unlawfully and

336
00:19:17,880 --> 00:19:21,760
Speaker 1: indefinitely and for profit detention centers, like our folks are

337
00:19:21,760 --> 00:19:25,760
Speaker 1: truly suffering in real horrific ways, and Latino writers have

338
00:19:25,840 --> 00:19:29,080
Speaker 1: been documenting these abuses for a very long time, Like

339
00:19:29,119 --> 00:19:32,040
Speaker 1: this is an active reality. Like on the ground, the

340
00:19:32,160 --> 00:19:34,600
Speaker 1: La Frontera has always been and continues to be a

341
00:19:34,600 --> 00:19:36,879
Speaker 1: war zone, and that can be the US Mexico border,

342
00:19:37,119 --> 00:19:41,119
Speaker 1: the Mexico Guatemala border, like borders in these America's are

343
00:19:41,200 --> 00:19:45,480
Speaker 1: violent spaces, and she has proven herself to be foreign

344
00:19:45,600 --> 00:19:48,680
Speaker 1: to these spaces, foreign to the narrative, to the experience.

345
00:19:49,640 --> 00:19:51,200
Speaker 1: And it's just fucked up, you know what I mean,

346
00:19:51,280 --> 00:19:54,160
Speaker 1: Like it's not cool and look, okay, so you want

347
00:19:54,200 --> 00:19:56,720
Speaker 1: to enter the conversation, you want to be in the dialogue.

348
00:19:56,880 --> 00:19:59,680
Speaker 1: The dialogue is already heated. The dialogue is already tense

349
00:19:59,720 --> 00:20:02,359
Speaker 1: to munity is already up in arms. You walked into

350
00:20:02,359 --> 00:20:05,639
Speaker 1: the fire, The fire was already here. Don't be surprised, Like,

351
00:20:05,680 --> 00:20:07,399
Speaker 1: this is the app This is the venue that you

352
00:20:07,440 --> 00:20:09,679
Speaker 1: want to be in. This is the community, and this

353
00:20:09,760 --> 00:20:11,480
Speaker 1: is the feedback that the community is going to get.

354
00:20:11,640 --> 00:20:13,480
Speaker 1: So if you can't fucking handle it and you're not

355
00:20:13,560 --> 00:20:16,600
Speaker 1: prepared and equip you shouldn't enter spaces that you weren't

356
00:20:16,600 --> 00:20:18,560
Speaker 1: invited to and that you don't know how to like

357
00:20:19,040 --> 00:20:21,680
Speaker 1: act in you know what I mean? Oh yeah, because

358
00:20:21,680 --> 00:20:27,520
Speaker 1: our community will hold you accountable, like clearly as we've seen. Listen,

359
00:20:27,800 --> 00:20:30,159
Speaker 1: we we we are very careful to stay in our

360
00:20:30,240 --> 00:20:32,960
Speaker 1: lane with a lot of ship, you know what I mean.

361
00:20:33,240 --> 00:20:36,159
Speaker 1: Freedom of speech and expression and and and pushing the

362
00:20:36,200 --> 00:20:38,960
Speaker 1: boundaries and pushing the envelope. All of those things can happen.

363
00:20:39,480 --> 00:20:42,920
Speaker 1: But you also don't have to be like willfully ignorant

364
00:20:43,640 --> 00:20:46,600
Speaker 1: entering into the convos. And if there's backlash because you

365
00:20:46,680 --> 00:20:50,200
Speaker 1: have step to a community in a really disrespectful way,

366
00:20:50,640 --> 00:20:53,920
Speaker 1: that that's part of it. That's part of it. So

367
00:20:54,000 --> 00:20:55,639
Speaker 1: either you want to be a part of this or

368
00:20:55,720 --> 00:20:58,080
Speaker 1: you don't. This is what it is, you know, I

369
00:20:58,080 --> 00:21:01,240
Speaker 1: don't know. Part of me is like, that's what, bitch,

370
00:21:02,160 --> 00:21:04,760
Speaker 1: you want to be Latina, you want to be Latino. Come.

371
00:21:08,119 --> 00:21:10,360
Speaker 1: I don't know, I don't know, I don't know. But

372
00:21:10,800 --> 00:21:13,760
Speaker 1: shout out to Maria for really like putting a really

373
00:21:13,800 --> 00:21:17,240
Speaker 1: good set of interviews together on the topic. Before we

374
00:21:17,520 --> 00:21:20,320
Speaker 1: leave this topic, I just want to say, because a

375
00:21:20,320 --> 00:21:23,200
Speaker 1: lot of us no already and like knew this deep

376
00:21:23,240 --> 00:21:31,240
Speaker 1: down and are lamenting and are heartbroken. Dude, bitch girl,

377
00:21:31,880 --> 00:21:35,159
Speaker 1: I mean like in every way, where do you even begin?

378
00:21:35,480 --> 00:21:40,400
Speaker 1: Like where to start? Sandra? Why though? I mean we

379
00:21:40,440 --> 00:21:43,800
Speaker 1: know why kind of, but also why though? I mean,

380
00:21:44,640 --> 00:21:47,159
Speaker 1: you know, In her interview with Maria you know Hoosa

381
00:21:47,400 --> 00:21:51,400
Speaker 1: on Latino USA, Sandra was talking about how she herself

382
00:21:51,480 --> 00:21:53,680
Speaker 1: knew that her work wasn't going to get into certain

383
00:21:53,720 --> 00:21:56,360
Speaker 1: hands and reach certain audiences because of her Spanish surname

384
00:21:56,560 --> 00:21:59,959
Speaker 1: and her identity as she kind of Latin on Mexican America,

385
00:22:00,000 --> 00:22:02,720
Speaker 1: and however it is she has identified over the years, right,

386
00:22:03,240 --> 00:22:06,040
Speaker 1: you know, so she knows that there are barriers in publishing,

387
00:22:06,080 --> 00:22:10,159
Speaker 1: she knows, she knows, she's dealt with them herself. Why

388
00:22:10,359 --> 00:22:13,560
Speaker 1: push into it? Well, what was pointed out is that

389
00:22:13,680 --> 00:22:18,080
Speaker 1: Sans and Stephen King, who have actively spoken out in

390
00:22:18,200 --> 00:22:22,520
Speaker 1: favor of Janine that they're both you know, published under Macmillan,

391
00:22:22,560 --> 00:22:25,000
Speaker 1: which is like a subsidiary or an umbrella of Flat

392
00:22:25,040 --> 00:22:28,200
Speaker 1: Iron Press, So there's like a professional connection there that

393
00:22:28,520 --> 00:22:30,080
Speaker 1: I don't want to make excuses for her, but I

394
00:22:30,080 --> 00:22:33,800
Speaker 1: can totally see how her input here is based on

395
00:22:33,960 --> 00:22:39,760
Speaker 1: that's her publisher. That's real, that's real. UM still points

396
00:22:39,800 --> 00:22:42,520
Speaker 1: to the issue of whiteness and publishing that you feel

397
00:22:42,560 --> 00:22:45,480
Speaker 1: like you can't. I don't know how Sound truly feels.

398
00:22:45,480 --> 00:22:47,600
Speaker 1: Maybe that is how she truly feels, but if there's

399
00:22:47,640 --> 00:22:51,480
Speaker 1: any kind of professional pressure, it's because of the overwhelming

400
00:22:51,560 --> 00:22:56,520
Speaker 1: whiteness of publishing the industry. Yeah, and I think Maria Najosa,

401
00:22:56,600 --> 00:23:00,760
Speaker 1: I mean, she is just so tactful and fierce simultaneous.

402
00:23:00,840 --> 00:23:04,719
Speaker 1: It's amazing to listen to and engage with Um. But

403
00:23:04,960 --> 00:23:07,600
Speaker 1: I just loved the way she asked questions so that

404
00:23:07,640 --> 00:23:11,000
Speaker 1: the folks could really just telling themselves, because she's like, Sandra,

405
00:23:11,160 --> 00:23:13,960
Speaker 1: don't you think you know? And she'll ask the question

406
00:23:14,000 --> 00:23:15,800
Speaker 1: that way, and then Sound I was like, yeah, it

407
00:23:15,840 --> 00:23:18,280
Speaker 1: could be, it could be, you know, it could be

408
00:23:18,400 --> 00:23:20,520
Speaker 1: that other people are making as much money and that's

409
00:23:20,520 --> 00:23:24,119
Speaker 1: why people are upset. Maybe I'm screaming nothing, yes or no.

410
00:23:24,280 --> 00:23:29,920
Speaker 1: I'm saying it could could be potentially allegedly, allegedly allegedly,

411
00:23:30,200 --> 00:23:33,159
Speaker 1: But I was screaming. I was dying. When I was

412
00:23:33,200 --> 00:23:35,880
Speaker 1: listening to the interview in Suntra was like, girl, write

413
00:23:35,880 --> 00:23:41,120
Speaker 1: a poem. I was like, my mouth dropped, My mouth dropped.

414
00:23:42,760 --> 00:23:52,159
Speaker 1: That ship was wild. Oh no, I have not written

415
00:23:52,200 --> 00:23:55,159
Speaker 1: a poem. I haven't been angry enough to try a poem.

416
00:23:55,200 --> 00:23:57,639
Speaker 1: I guess I'm just over it. I'm just like, Okay,

417
00:23:58,080 --> 00:24:01,520
Speaker 1: it is what it is. It's chill. So that's been

418
00:24:01,560 --> 00:24:04,840
Speaker 1: the drama recently. That's been the literary scandal of let

419
00:24:04,880 --> 00:24:08,000
Speaker 1: me just say that is already a mean old bitch

420
00:24:08,040 --> 00:24:10,479
Speaker 1: of a year, like a girl. It's barely February, Like

421
00:24:10,520 --> 00:24:12,960
Speaker 1: what wasn't didn't I say on the last episode the

422
00:24:13,040 --> 00:24:16,680
Speaker 1: January has been the longest month already. It's true. It's

423
00:24:16,760 --> 00:24:18,480
Speaker 1: I don't know what the funk. I don't know what

424
00:24:18,560 --> 00:24:24,199
Speaker 1: the funk. I mean between American dirt that's been on fire, um,

425
00:24:24,359 --> 00:24:28,240
Speaker 1: earthquakes in Puerto Rico, fucking the passing of Kobe and

426
00:24:28,280 --> 00:24:32,160
Speaker 1: Gianna Bryant, you know, and the complexities of that experience,

427
00:24:32,200 --> 00:24:34,720
Speaker 1: and for me to be honest, it's almost like this

428
00:24:35,000 --> 00:24:39,080
Speaker 1: is the great tragedy in some ways of toxic masculinity

429
00:24:39,080 --> 00:24:41,520
Speaker 1: and rape culture, that it's so pervasive that all of

430
00:24:41,520 --> 00:24:44,160
Speaker 1: our greats, all of our favorites, all of our leaders

431
00:24:44,200 --> 00:24:49,040
Speaker 1: are relatives, are just so capable of being amazing and

432
00:24:49,080 --> 00:24:53,320
Speaker 1: outstanding and brilliant and simultaneously monstrous and violent. And we're

433
00:24:53,359 --> 00:24:57,040
Speaker 1: constantly in this tug of war emotionally of recognizing and

434
00:24:57,080 --> 00:25:01,080
Speaker 1: holding men accountable for their violence and and in this Kobe,

435
00:25:01,240 --> 00:25:04,880
Speaker 1: in this case, with Kobe history of sexual assault, reckoning

436
00:25:04,920 --> 00:25:08,199
Speaker 1: with that while also embracing them as human beings that

437
00:25:08,240 --> 00:25:11,000
Speaker 1: we love. Because it's not just the celebrities, it's the

438
00:25:11,040 --> 00:25:13,000
Speaker 1: men in our lives and our families and the men

439
00:25:13,040 --> 00:25:16,000
Speaker 1: we date. And good God, the conversation we just had

440
00:25:16,400 --> 00:25:19,360
Speaker 1: before we started recording about a monster's man in someone's life,

441
00:25:19,400 --> 00:25:22,320
Speaker 1: You know what I mean? Like, right, I mean, there's

442
00:25:22,320 --> 00:25:26,360
Speaker 1: still a morning that happens, regardless of who of what

443
00:25:26,400 --> 00:25:29,560
Speaker 1: that person has done. There's still a grief process, you know.

444
00:25:29,640 --> 00:25:31,800
Speaker 1: And yeah, I mean it is if if you're in

445
00:25:31,920 --> 00:25:35,000
Speaker 1: l A, you know, it's affecting lots of people there's

446
00:25:35,040 --> 00:25:37,439
Speaker 1: been like a very weird funk and energy that this

447
00:25:37,520 --> 00:25:40,720
Speaker 1: post and just being in l A. When the news

448
00:25:40,760 --> 00:25:44,800
Speaker 1: about Kobe broke, I cried all day. I found out

449
00:25:44,800 --> 00:25:48,520
Speaker 1: because Malad texted me. I saw it on Twitter. It

450
00:25:48,680 --> 00:25:52,680
Speaker 1: was like the news broke or the plane went down,

451
00:25:52,720 --> 00:25:55,280
Speaker 1: like at ten eleven am. I saw something at twelve noon,

452
00:25:55,720 --> 00:25:57,879
Speaker 1: you know, teams and the other stuff, like it was

453
00:25:57,920 --> 00:26:01,440
Speaker 1: like fresh happening. The way it happened was so horrific,

454
00:26:01,480 --> 00:26:03,440
Speaker 1: and the way that they had to go and clean

455
00:26:03,520 --> 00:26:06,680
Speaker 1: up the crash side and collect everything and everybody's remains

456
00:26:06,760 --> 00:26:09,840
Speaker 1: and like fucked up. And I was thinking about the

457
00:26:09,840 --> 00:26:11,920
Speaker 1: fact I was born in ninety two. Kobe started playing

458
00:26:11,920 --> 00:26:14,080
Speaker 1: in ninety six. He played for twenty years. I have

459
00:26:14,200 --> 00:26:18,040
Speaker 1: never known a Los Angeles about Kobe Bryant, never, never

460
00:26:18,359 --> 00:26:21,440
Speaker 1: like he's a figure. And for this tragedy to come

461
00:26:21,560 --> 00:26:24,520
Speaker 1: so soon after Nipsey Hustle, I mean, the city has

462
00:26:25,200 --> 00:26:29,520
Speaker 1: not recovered from that. And the morning, especially like the

463
00:26:29,560 --> 00:26:32,200
Speaker 1: same day that he died was also the Grammys, which

464
00:26:32,240 --> 00:26:34,679
Speaker 1: is when they were doing a tribute to Nipsey, and

465
00:26:34,720 --> 00:26:37,159
Speaker 1: then it also have you know now including a tribute

466
00:26:37,160 --> 00:26:41,520
Speaker 1: to Kobe, and just everything being so fresh fresh people

467
00:26:41,520 --> 00:26:43,320
Speaker 1: are in pain, you know what I mean. I mean

468
00:26:43,400 --> 00:26:47,000
Speaker 1: the fact of Vanessa, Vanessa Briant and three of their

469
00:26:47,080 --> 00:26:50,159
Speaker 1: three of their daughters surviving them. I think they had

470
00:26:50,200 --> 00:26:54,199
Speaker 1: four daughters in total, a newborn Capri So it's just

471
00:26:54,400 --> 00:26:56,639
Speaker 1: super sad. They're going to be memorials outside of the

472
00:26:56,640 --> 00:26:59,119
Speaker 1: Staples Center for a long time, Like people are going

473
00:26:59,160 --> 00:27:02,919
Speaker 1: to gather, new murals are going up. It's just you know,

474
00:27:03,160 --> 00:27:06,200
Speaker 1: in the city, like we very fiercely like love our idols,

475
00:27:07,080 --> 00:27:10,120
Speaker 1: our proximity to Hollywood, to industry, to everything here. There's

476
00:27:10,240 --> 00:27:12,280
Speaker 1: it's I don't know, celebrities are just such a big

477
00:27:12,320 --> 00:27:15,000
Speaker 1: part of our day to day lives. We know them

478
00:27:15,040 --> 00:27:18,720
Speaker 1: and they're like there's a closeness there even though we

479
00:27:18,720 --> 00:27:22,040
Speaker 1: don't actually know them as people. You know. It's wild.

480
00:27:23,720 --> 00:27:25,639
Speaker 1: Love to l A, I love to l A, Love

481
00:27:25,680 --> 00:27:29,879
Speaker 1: to Vanessa and the girls and the other families that

482
00:27:29,960 --> 00:27:34,720
Speaker 1: lost their lives. Yeah, so transitioning, there's no way to

483
00:27:34,720 --> 00:27:38,560
Speaker 1: make a smooth transition after that. So transitioning now, we're

484
00:27:38,560 --> 00:27:40,439
Speaker 1: going to bring on our guests. We're gonna play some

485
00:27:40,520 --> 00:27:44,199
Speaker 1: new music by her. We're really excited to introduce him

486
00:27:44,440 --> 00:27:50,120
Speaker 1: and chat with La Today was formed in by Bay

487
00:27:50,200 --> 00:27:54,760
Speaker 1: Area musical transplants. Stephanie La, who has been performing as

488
00:27:54,760 --> 00:27:57,600
Speaker 1: a front woman vocalists since two thousand eight. Her music

489
00:27:57,680 --> 00:28:00,520
Speaker 1: is a blend of Colombian style Cumbia and q been sown,

490
00:28:00,720 --> 00:28:04,560
Speaker 1: featuring only live instrumentation and a small lineup of which

491
00:28:05,160 --> 00:28:08,440
Speaker 1: lent to a unique sense of throwback to older traditions

492
00:28:08,520 --> 00:28:11,440
Speaker 1: of Latin music. A few of her most notable past

493
00:28:11,480 --> 00:28:16,679
Speaker 1: releases include a sassy, danceable anthem for the spectrum of

494
00:28:16,720 --> 00:28:21,600
Speaker 1: sexuality and women's sexual empowerment. She is dropping a new album.

495
00:28:21,640 --> 00:28:23,640
Speaker 1: We're gonna be chatting with her today about this new

496
00:28:23,680 --> 00:28:25,760
Speaker 1: album and an upcoming event that she's going to be

497
00:28:25,800 --> 00:28:28,520
Speaker 1: hosting here in l A. So up next, we have

498
00:28:29,359 --> 00:29:06,880
Speaker 1: Laria be welcome, Della go get ye. Then La yeah yeah,

499
00:29:06,920 --> 00:29:18,120
Speaker 1: go be welcome de La boy. Let's be us. Why

500
00:29:18,960 --> 00:29:27,920
Speaker 1: maybe they got it dress that's been I can't even

501
00:29:28,040 --> 00:29:37,760
Speaker 1: love either. I had dress. Lara ya ya go be welcome,

502
00:29:37,920 --> 00:29:52,400
Speaker 1: Della getta, Lara ya ya Gola. I am no man,

503
00:29:52,480 --> 00:29:57,400
Speaker 1: I am all right. Everybody, welcome back and without further ado,

504
00:29:57,520 --> 00:30:01,720
Speaker 1: I'm so excited to introduce to bring on the amazing

505
00:30:01,920 --> 00:30:08,080
Speaker 1: the wonderful. Hey girls, welcome, Thank you. I'm so excited.

506
00:30:09,520 --> 00:30:11,640
Speaker 1: Thank you for joining us today and for coming out

507
00:30:11,680 --> 00:30:15,560
Speaker 1: to Rario Spasio for an interview on LOKA. We have

508
00:30:15,680 --> 00:30:18,000
Speaker 1: worked with you in a number of different ways out

509
00:30:18,000 --> 00:30:21,200
Speaker 1: and about in the city, UM here in l A

510
00:30:21,200 --> 00:30:28,040
Speaker 1: at different events like La Juntaz um Gumbia Thon. We

511
00:30:28,120 --> 00:30:31,400
Speaker 1: introduced you and your band at their last Women of

512
00:30:31,480 --> 00:30:36,240
Speaker 1: Gumbia party at the Ecoplex. At both we have history,

513
00:30:36,400 --> 00:30:38,840
Speaker 1: we go way back. So thank you for being here

514
00:30:38,840 --> 00:30:41,080
Speaker 1: with us today. UM. Can you introduce yourself for all

515
00:30:41,080 --> 00:30:44,440
Speaker 1: of our listeners. Yes, of course, my name is Laelia.

516
00:30:44,520 --> 00:30:46,320
Speaker 1: I have a group here in Los Angeles. UM. We

517
00:30:46,400 --> 00:30:48,640
Speaker 1: do kind of a tropical fusion of Gumbia and so

518
00:30:48,720 --> 00:30:52,480
Speaker 1: on Cubano. UM. We've been around for going on three

519
00:30:52,560 --> 00:30:55,840
Speaker 1: years now. We're about to drop an album UM called Serena.

520
00:30:55,960 --> 00:30:58,440
Speaker 1: So I'm super excited to chat with you guys about

521
00:30:59,240 --> 00:31:01,520
Speaker 1: stuff and at the album and all that good stuff.

522
00:31:01,560 --> 00:31:05,120
Speaker 1: So yeah, that's me. Yeah. So you're you have a

523
00:31:05,160 --> 00:31:09,920
Speaker 1: single called which I love and I saw you perform

524
00:31:09,960 --> 00:31:13,400
Speaker 1: it at the last Cumbiaton, which was last year, the

525
00:31:13,400 --> 00:31:16,560
Speaker 1: Women of and it was it's so it's so great

526
00:31:16,720 --> 00:31:21,240
Speaker 1: because you can just feel the energy of like fun

527
00:31:21,360 --> 00:31:25,200
Speaker 1: the male gaze, and I love that about that song

528
00:31:25,400 --> 00:31:31,920
Speaker 1: because you say something like, but you're not going to

529
00:31:32,000 --> 00:31:35,040
Speaker 1: get it, and I love that and and that's really

530
00:31:35,080 --> 00:31:38,480
Speaker 1: the energy behind your music, right, Like I'm gonna look

531
00:31:38,520 --> 00:31:42,239
Speaker 1: fine as hell for myself, right, I'm also gonna you know,

532
00:31:43,040 --> 00:31:46,240
Speaker 1: be queer while doing it. And it's for me and

533
00:31:46,280 --> 00:31:48,120
Speaker 1: you know, and it's for like the other women that

534
00:31:48,160 --> 00:31:50,960
Speaker 1: I'm around. So can you talk about that and how

535
00:31:51,520 --> 00:31:53,800
Speaker 1: you introduce that or how you play with that in

536
00:31:53,840 --> 00:31:57,280
Speaker 1: your music? Sure? So it's actually the most important part

537
00:31:57,320 --> 00:32:00,840
Speaker 1: of this project. Um. As a Latino who has been

538
00:32:00,840 --> 00:32:04,320
Speaker 1: doing you know, Colombia and Latin music for over ten

539
00:32:04,400 --> 00:32:07,640
Speaker 1: years now, UM, you learn a lot about the dynamics

540
00:32:07,760 --> 00:32:11,400
Speaker 1: of U much a small obviously within our community, I

541
00:32:11,400 --> 00:32:12,920
Speaker 1: mean we grew up with that, but then as well

542
00:32:12,960 --> 00:32:16,560
Speaker 1: within the Latin music industry specifically, and so like, I

543
00:32:16,600 --> 00:32:19,480
Speaker 1: started to develop this sense that maybe this music wasn't

544
00:32:19,520 --> 00:32:21,720
Speaker 1: as inclusive as we think it is. And and it's

545
00:32:21,920 --> 00:32:25,200
Speaker 1: Colombia especially is so universal and so much a part

546
00:32:25,240 --> 00:32:28,400
Speaker 1: of our stories and our communities. Um, But at the

547
00:32:28,480 --> 00:32:34,160
Speaker 1: same time, there's not a lot of room for um,

548
00:32:34,200 --> 00:32:38,240
Speaker 1: for like feminist conversation and dialogue within that style of music.

549
00:32:38,360 --> 00:32:42,120
Speaker 1: It's very male dominated as an industry anyway, but even

550
00:32:42,200 --> 00:32:45,200
Speaker 1: the topics that come up in different songs are either

551
00:32:45,360 --> 00:32:50,680
Speaker 1: like a lot of objectification or like shaming that happens, um.

552
00:32:50,760 --> 00:32:53,680
Speaker 1: And then even the women within the industry. Um. Not

553
00:32:53,720 --> 00:32:55,800
Speaker 1: to say that there's not a lot of innovators, you know,

554
00:32:55,840 --> 00:32:59,200
Speaker 1: women making Latin music, but I feel like there's a

555
00:32:59,320 --> 00:33:02,280
Speaker 1: sense of like restriction to the kinds of topics that you,

556
00:33:02,400 --> 00:33:05,200
Speaker 1: as a as a Latina musician, are allowed to discuss

557
00:33:05,240 --> 00:33:11,240
Speaker 1: in your music. UM. So, for example, like I love Selena,

558
00:33:11,360 --> 00:33:13,360
Speaker 1: She's like one of my heroes, but you look at

559
00:33:13,400 --> 00:33:15,000
Speaker 1: the topics of her song, and if you put it

560
00:33:15,040 --> 00:33:18,160
Speaker 1: through the tests, like there's maybe one or two in

561
00:33:18,160 --> 00:33:22,400
Speaker 1: which she's kind of lashing back at at patriarchy and muchasmall,

562
00:33:22,440 --> 00:33:24,680
Speaker 1: and the majority of her catalog is like really like

563
00:33:25,080 --> 00:33:28,360
Speaker 1: love songs, traditional Like you know, it's just this box

564
00:33:28,400 --> 00:33:30,160
Speaker 1: that a lot of women are confined too. So when

565
00:33:30,200 --> 00:33:32,360
Speaker 1: I started this project, it was really important for me

566
00:33:32,400 --> 00:33:35,640
Speaker 1: to kind of use this music that is really important

567
00:33:35,640 --> 00:33:37,560
Speaker 1: to our communities, but kind of use it in a

568
00:33:37,560 --> 00:33:41,600
Speaker 1: way almost like fighting from within um, so turning it

569
00:33:41,640 --> 00:33:44,040
Speaker 1: on its head in terms of content, what we what

570
00:33:44,120 --> 00:33:48,600
Speaker 1: I speak about in my songs um, So yeah, things

571
00:33:48,640 --> 00:33:52,360
Speaker 1: like s reina um definitely about the male gaze and

572
00:33:52,480 --> 00:33:56,200
Speaker 1: also this whole idea of male entitlement like it kind

573
00:33:56,200 --> 00:33:58,600
Speaker 1: of that song actually started a lot angrier than it

574
00:33:58,720 --> 00:34:02,200
Speaker 1: ended up being because like the issue of cat calling, um,

575
00:34:02,240 --> 00:34:05,440
Speaker 1: both on the streets and in the clubs or even online,

576
00:34:05,480 --> 00:34:07,680
Speaker 1: Like it's such a huge issue and I've actually done

577
00:34:07,680 --> 00:34:11,680
Speaker 1: a couple of posts about that, UM. But so I decided, like,

578
00:34:11,760 --> 00:34:15,400
Speaker 1: you know, the best way to tackle difficult topics, especially

579
00:34:15,440 --> 00:34:19,319
Speaker 1: things that are so entrenched in our culture, um, is

580
00:34:19,400 --> 00:34:22,200
Speaker 1: not through standing on a soapbox and like speaking down

581
00:34:22,200 --> 00:34:24,279
Speaker 1: to people, because nobody likes to be told they're wrong.

582
00:34:24,360 --> 00:34:27,680
Speaker 1: Like the best way to for me that in my experience,

583
00:34:27,719 --> 00:34:30,640
Speaker 1: to really open up dialogue about things is to do

584
00:34:30,680 --> 00:34:32,359
Speaker 1: it in like a funny way and a fun way

585
00:34:32,400 --> 00:34:35,040
Speaker 1: and something that's gonna make you dance and like at

586
00:34:35,080 --> 00:34:37,360
Speaker 1: the same time that you're like doing of what like

587
00:34:37,400 --> 00:34:40,080
Speaker 1: oh dang, she just said that, Like that's kind of interesting.

588
00:34:40,120 --> 00:34:42,359
Speaker 1: I never thought of that. And so yeah, like see

589
00:34:42,480 --> 00:34:45,240
Speaker 1: rain now as a song and then as an album

590
00:34:45,400 --> 00:34:47,680
Speaker 1: kind of started from a really like a place of

591
00:34:47,719 --> 00:34:50,799
Speaker 1: a lot of you know, just anger and bitterness about

592
00:34:50,840 --> 00:34:53,080
Speaker 1: the experiences that that we have to go through as

593
00:34:53,080 --> 00:34:57,239
Speaker 1: women every single day. UM, but turned into more of

594
00:34:57,280 --> 00:35:00,000
Speaker 1: an anthem for like female empowerment and like it's okay

595
00:35:00,120 --> 00:35:02,600
Speaker 1: to say no, it's okay to not consent and to

596
00:35:03,520 --> 00:35:07,080
Speaker 1: be a boss, like for yourself and for your community

597
00:35:07,360 --> 00:35:10,160
Speaker 1: of other women, rather than doing things because you feel

598
00:35:10,160 --> 00:35:11,720
Speaker 1: that you should or you feel that you'll be punished

599
00:35:11,719 --> 00:35:15,400
Speaker 1: in some kind of way. Beautiful I UM. I feel

600
00:35:15,400 --> 00:35:19,279
Speaker 1: like on the podcast, we're super about transforming nightlife and

601
00:35:19,320 --> 00:35:22,880
Speaker 1: recaming nightlife, especially for queer folks and mohades. How do

602
00:35:22,920 --> 00:35:26,439
Speaker 1: you feel like lyrics and music can contribute to that process?

603
00:35:26,880 --> 00:35:29,040
Speaker 1: It's so important. I mean, as I was kind of

604
00:35:29,080 --> 00:35:33,800
Speaker 1: touching on, like your your brain is actually more receptive

605
00:35:33,840 --> 00:35:37,440
Speaker 1: to information when you're having fun, like when you're experiencing

606
00:35:37,480 --> 00:35:40,880
Speaker 1: something positive, so that things like dancing and music or

607
00:35:40,920 --> 00:35:42,920
Speaker 1: any other type of art. But as a musician, obviously

608
00:35:42,920 --> 00:35:46,600
Speaker 1: that's what I gravitate towards first. Um are such great

609
00:35:46,640 --> 00:35:51,080
Speaker 1: spaces to introduce new ideas and to introduce new dialogues

610
00:35:51,080 --> 00:35:54,640
Speaker 1: about certain kinds of things because like physically, your neurons

611
00:35:54,640 --> 00:36:01,239
Speaker 1: are responding to positive stimulation, nice sounds, um, dancing, like

612
00:36:01,320 --> 00:36:03,480
Speaker 1: all of these things that are happening to your body

613
00:36:03,480 --> 00:36:06,080
Speaker 1: and make your brain actually react to things in a

614
00:36:06,080 --> 00:36:07,839
Speaker 1: different way than if we were maybe just sitting down

615
00:36:07,840 --> 00:36:12,680
Speaker 1: and talking separately. That's like really really interesting to think

616
00:36:12,680 --> 00:36:16,839
Speaker 1: about the brain science behind dance. It's real. It's real, yeah,

617
00:36:16,880 --> 00:36:19,960
Speaker 1: because you know so often we talk about the healing

618
00:36:20,040 --> 00:36:23,200
Speaker 1: and dancing and like that is a really big part

619
00:36:23,280 --> 00:36:26,759
Speaker 1: of movement and even just feeling like you're inside of

620
00:36:26,760 --> 00:36:29,120
Speaker 1: your body and your present and you're sharing spaces other

621
00:36:29,160 --> 00:36:31,080
Speaker 1: people and there's so much joy in that. But thinking

622
00:36:31,120 --> 00:36:34,919
Speaker 1: about their neuroscience behind it and how important that is

623
00:36:35,360 --> 00:36:37,840
Speaker 1: to be receptive and how it's just really going to

624
00:36:37,880 --> 00:36:41,200
Speaker 1: seep in there. I I like that, And it also

625
00:36:41,239 --> 00:36:43,840
Speaker 1: makes me think of the fact that it's almost like

626
00:36:43,920 --> 00:36:48,680
Speaker 1: subliminal messaging. So we're not necessarily thinking about when we're

627
00:36:48,680 --> 00:36:51,120
Speaker 1: going out for a night of fun and maybe we're

628
00:36:51,160 --> 00:36:53,560
Speaker 1: drinking or we're smoking or whatever it is we're doing,

629
00:36:53,800 --> 00:36:56,279
Speaker 1: and we're trying to let loose and not be so

630
00:36:56,400 --> 00:36:58,919
Speaker 1: in our heads, but the messaging is still seeping into

631
00:36:58,920 --> 00:37:02,160
Speaker 1: our heads as you're listening, like you can't shut that

632
00:37:02,200 --> 00:37:04,000
Speaker 1: part of your brain off. So yo, yeah, you're dancing,

633
00:37:04,040 --> 00:37:05,840
Speaker 1: you're having a great time with the homies whatever. But

634
00:37:05,920 --> 00:37:08,080
Speaker 1: like then all of a sudden, you hear some singer

635
00:37:08,120 --> 00:37:12,000
Speaker 1: being like and I'll get so many looks of people

636
00:37:12,000 --> 00:37:15,160
Speaker 1: like in mid turn and they're like, what did she

637
00:37:15,280 --> 00:37:17,880
Speaker 1: just did she just say that? And people will like

638
00:37:17,920 --> 00:37:20,960
Speaker 1: stop and like I'll think about it. They think about

639
00:37:21,040 --> 00:37:22,680
Speaker 1: can you talk about I love that one? Can you

640
00:37:22,719 --> 00:37:27,160
Speaker 1: talk about one of my favorites and that song and

641
00:37:27,239 --> 00:37:29,680
Speaker 1: just let's talk about that. Sure. Um, it's one of

642
00:37:29,719 --> 00:37:33,680
Speaker 1: my favorite songs. Um because it's fun to play. Musically,

643
00:37:33,880 --> 00:37:35,960
Speaker 1: it really that's our song when we do live. My

644
00:37:36,000 --> 00:37:38,240
Speaker 1: band really gets to kind of explore and take space

645
00:37:38,280 --> 00:37:41,080
Speaker 1: for themselves, which I'm all about like in the band,

646
00:37:41,120 --> 00:37:44,560
Speaker 1: like I want my musicians to shine. Um. So musically

647
00:37:44,600 --> 00:37:47,160
Speaker 1: it's an exciting song to play. But content wise, it's

648
00:37:47,160 --> 00:37:50,160
Speaker 1: so fun because people do have a reaction to that

649
00:37:50,200 --> 00:37:53,799
Speaker 1: song because it's one of the most like blatant of

650
00:37:53,840 --> 00:37:57,759
Speaker 1: my songs. A lot of times my messages, UM, we'll

651
00:37:57,800 --> 00:38:00,279
Speaker 1: be kind of like hidden in metaphor or you know,

652
00:38:00,440 --> 00:38:02,400
Speaker 1: just put kind of tone of tongue in cheek. You

653
00:38:02,440 --> 00:38:04,600
Speaker 1: kind of have to think about the meaning behind it. Um.

654
00:38:04,600 --> 00:38:06,840
Speaker 1: And I do that intentionally so as not to appear

655
00:38:06,920 --> 00:38:10,239
Speaker 1: like this like feminazi that people are so scared about. Like,

656
00:38:10,760 --> 00:38:12,759
Speaker 1: but that's a whole other thing. But but a cent

657
00:38:12,840 --> 00:38:14,840
Speaker 1: them is one of my most like in your face

658
00:38:14,920 --> 00:38:18,480
Speaker 1: kind of songs, um. And it's it's a story song

659
00:38:18,680 --> 00:38:21,359
Speaker 1: about like a woman who's dating a man and then

660
00:38:21,400 --> 00:38:23,560
Speaker 1: she falls in love with a sister and like is

661
00:38:23,600 --> 00:38:26,760
Speaker 1: having a really honest conversation with him like hey, uh,

662
00:38:26,800 --> 00:38:31,800
Speaker 1: you know, I'm kind of into your sister. Like and um,

663
00:38:31,840 --> 00:38:33,800
Speaker 1: it can be seen like people are like, oh, but

664
00:38:33,920 --> 00:38:36,840
Speaker 1: isn't that like scandalous, Like you're framing the subject and

665
00:38:36,920 --> 00:38:39,440
Speaker 1: like you know, like isn't that's like super slutty and

666
00:38:39,480 --> 00:38:42,600
Speaker 1: like rudined. Like I just wanted to open up this

667
00:38:42,760 --> 00:38:47,040
Speaker 1: idea of like, you know what sexuality is fluid and

668
00:38:47,200 --> 00:38:50,799
Speaker 1: our hearts desire what they want. Um. Also touching on

669
00:38:50,840 --> 00:38:54,600
Speaker 1: like lesbianism within the Latino community, Like there's such a

670
00:38:54,680 --> 00:39:00,279
Speaker 1: stigma against against female relationships with other females, whether just

671
00:39:00,320 --> 00:39:03,279
Speaker 1: as friends or like you know, a romano romantic or

672
00:39:03,320 --> 00:39:06,840
Speaker 1: sexual way. I mean, Lesbiana was a term like a

673
00:39:06,880 --> 00:39:10,560
Speaker 1: derogatory term in the sixties during the Chicano Rights movement,

674
00:39:10,600 --> 00:39:12,600
Speaker 1: like they would when women started to try to talk

675
00:39:12,600 --> 00:39:17,279
Speaker 1: about feminist feminism within that movement, like iris Lesbiana or

676
00:39:17,480 --> 00:39:22,200
Speaker 1: Risin and so kind of just opening up like this

677
00:39:22,320 --> 00:39:26,400
Speaker 1: idea that it's okay and it's perfectly normal and it

678
00:39:26,400 --> 00:39:28,680
Speaker 1: shouldn't be something that people are ashamed of. To follow

679
00:39:28,719 --> 00:39:31,439
Speaker 1: your desires and follow your passions. That's what that song

680
00:39:31,520 --> 00:39:34,480
Speaker 1: is about, um. And it's a funny like I find

681
00:39:34,480 --> 00:39:37,440
Speaker 1: that humor is also a really good way to engage

682
00:39:37,480 --> 00:39:40,000
Speaker 1: people and things that might normally turn them off or

683
00:39:40,040 --> 00:39:42,720
Speaker 1: make them kind of flinch a little bit, Like it's funny,

684
00:39:42,800 --> 00:39:45,160
Speaker 1: the song is funny, the topic is funny, like but

685
00:39:45,480 --> 00:39:48,319
Speaker 1: in a very real way like humor. Using humor and

686
00:39:48,440 --> 00:39:51,360
Speaker 1: using music in order to bridge like these kind of

687
00:39:51,360 --> 00:39:54,960
Speaker 1: difficult topics is what lament us all about. There's so

688
00:39:55,040 --> 00:39:57,839
Speaker 1: much going on there and everything you just shared. And

689
00:39:58,200 --> 00:40:00,720
Speaker 1: I'm curious even like the origin, as if you're getting

690
00:40:00,719 --> 00:40:04,560
Speaker 1: into making music and performing and how did you get started,

691
00:40:04,719 --> 00:40:08,560
Speaker 1: and how did you make the decision to make Gumbia's

692
00:40:08,560 --> 00:40:10,759
Speaker 1: in Spanish as opposed to like I don't know, I

693
00:40:10,760 --> 00:40:13,200
Speaker 1: don't know even the right word, but like pop music

694
00:40:13,560 --> 00:40:15,680
Speaker 1: or stuff in English, like how does one like a

695
00:40:15,800 --> 00:40:18,719
Speaker 1: Latin now right now in l A decide that you're

696
00:40:18,719 --> 00:40:21,920
Speaker 1: gonna focus on kumbia. Well, and especially with the message

697
00:40:21,960 --> 00:40:23,439
Speaker 1: that I have, I feel like a lot of there's

698
00:40:23,480 --> 00:40:25,719
Speaker 1: a lot of that in English, like Nicki minaj or

699
00:40:25,760 --> 00:40:28,399
Speaker 1: like Amy Winehouse was like really open about like these

700
00:40:28,600 --> 00:40:31,799
Speaker 1: quote unquote scandalous like sexual songs. Um. And so that

701
00:40:31,880 --> 00:40:35,560
Speaker 1: avenue is definitely there. But my history, Um, I'm a

702
00:40:35,600 --> 00:40:40,200
Speaker 1: third generation Chicana, like you know, Um, but my mom

703
00:40:40,280 --> 00:40:43,920
Speaker 1: I grew up my mom as a she sings as well. Um,

704
00:40:44,160 --> 00:40:46,759
Speaker 1: And so I grew up in that space going to

705
00:40:46,840 --> 00:40:49,160
Speaker 1: gigs like and this was in the nineties up in

706
00:40:49,200 --> 00:40:52,239
Speaker 1: the Bay Area, so like they weren't they wouldn't trip

707
00:40:52,280 --> 00:40:53,920
Speaker 1: like oh the singer brought her daughter, like her ten

708
00:40:53,960 --> 00:40:57,839
Speaker 1: year old daughters, like sleeping backstay or like hanging out

709
00:40:57,920 --> 00:41:01,120
Speaker 1: like waiting for my mom to finish her that set. Um.

710
00:41:01,160 --> 00:41:03,480
Speaker 1: But so Latin music and Sansa was a very very

711
00:41:03,520 --> 00:41:06,239
Speaker 1: much a part of my childhood and my upbringing. Um,

712
00:41:06,320 --> 00:41:08,719
Speaker 1: so that when I first started making music, I was

713
00:41:08,760 --> 00:41:11,960
Speaker 1: actually first really drawn to the world of Rancea and

714
00:41:12,000 --> 00:41:14,760
Speaker 1: Bolero UM and my first couple of years I spent

715
00:41:14,960 --> 00:41:17,960
Speaker 1: you know, just performing street performing UM in San Francisco

716
00:41:17,960 --> 00:41:22,080
Speaker 1: and Oakland, and that's where I got quote unquote discovered.

717
00:41:22,160 --> 00:41:24,480
Speaker 1: Like a friend of mine had a Combia group, didn't

718
00:41:24,480 --> 00:41:26,080
Speaker 1: realize that I was a singer, and it happened to

719
00:41:26,120 --> 00:41:28,000
Speaker 1: be like on the bart one day, like oh, shoot,

720
00:41:28,040 --> 00:41:31,120
Speaker 1: I know you like over here singing La Vaga songs

721
00:41:31,120 --> 00:41:33,399
Speaker 1: and stuff, and he was like, you got a good voice. UM,

722
00:41:33,440 --> 00:41:35,480
Speaker 1: we'd love to have you audition for this new group

723
00:41:35,520 --> 00:41:39,280
Speaker 1: that's coming together. And at first I was like Coombia,

724
00:41:39,440 --> 00:41:42,240
Speaker 1: Like yeah, it's cool, but like my heart is super

725
00:41:42,280 --> 00:41:45,400
Speaker 1: into rana and like this other style of music, and

726
00:41:45,440 --> 00:41:47,600
Speaker 1: he was like, just give it a chance, girl, So

727
00:41:47,640 --> 00:41:51,279
Speaker 1: I did, and I stayed because the lore of that

728
00:41:51,360 --> 00:41:55,240
Speaker 1: particular type of audience, like the energy that you received

729
00:41:55,239 --> 00:41:57,640
Speaker 1: from a dancing audience is so much different from a

730
00:41:57,680 --> 00:41:59,759
Speaker 1: sit down like you know, we're just gonna watch you

731
00:41:59,800 --> 00:42:03,440
Speaker 1: staying and it's beautiful and it's nice, but like I

732
00:42:03,480 --> 00:42:06,279
Speaker 1: couldn't resist, like when people are dancing and then they

733
00:42:06,280 --> 00:42:08,560
Speaker 1: start learning your songs and singing along like this this

734
00:42:08,600 --> 00:42:12,759
Speaker 1: whole other experience. UM. So when I moved to l A.

735
00:42:13,440 --> 00:42:15,800
Speaker 1: I didn't even question, like, all right, I'm gonna continue

736
00:42:15,840 --> 00:42:17,960
Speaker 1: with the Latin music thing. I'm going to expand a

737
00:42:17,960 --> 00:42:20,120
Speaker 1: little bit because originally I was just doing Colombia up

738
00:42:20,120 --> 00:42:23,120
Speaker 1: in Oakland, UM for about seven years, and when I

739
00:42:23,160 --> 00:42:25,480
Speaker 1: came here, I really was interested in this idea of

740
00:42:25,520 --> 00:42:30,040
Speaker 1: incorporating Swankubano like Caribbean flavors into my music. Um So

741
00:42:30,080 --> 00:42:32,560
Speaker 1: I started exploring that I found really great musicians, and

742
00:42:32,640 --> 00:42:35,319
Speaker 1: it just wasn't even a question, Like there's so many

743
00:42:35,320 --> 00:42:37,799
Speaker 1: great genres that you can pursue, and there's so many

744
00:42:37,800 --> 00:42:42,080
Speaker 1: great innovators out there. But I just feel really strongly

745
00:42:42,360 --> 00:42:46,759
Speaker 1: about making a message within this style of music because,

746
00:42:46,800 --> 00:42:49,600
Speaker 1: like I was saying before, this, Latin music is so

747
00:42:49,760 --> 00:42:55,800
Speaker 1: entrenched in these systems of patriarchy and you know, systems

748
00:42:55,800 --> 00:42:58,120
Speaker 1: of oppression. Like to put it very bluntly, like people

749
00:42:58,200 --> 00:43:00,120
Speaker 1: kind of shy away from saying words like that, but

750
00:43:00,160 --> 00:43:02,920
Speaker 1: like it's true, Latin music has not been very supportive

751
00:43:02,960 --> 00:43:06,719
Speaker 1: of women and um let alone women performers. So I

752
00:43:06,800 --> 00:43:10,359
Speaker 1: just really wanted to make my make my stand within it.

753
00:43:10,440 --> 00:43:12,920
Speaker 1: You know. Yeah, And I love that you're talking about

754
00:43:13,040 --> 00:43:15,520
Speaker 1: just Latin music in general and being receptive to women

755
00:43:15,560 --> 00:43:18,239
Speaker 1: because right now, in this current moment, we're seeing a

756
00:43:18,320 --> 00:43:21,960
Speaker 1: specific type of woman in the Latin genre getting a

757
00:43:21,960 --> 00:43:24,200
Speaker 1: lot of shine and attention. Just want a Grammy which

758
00:43:24,239 --> 00:43:27,840
Speaker 1: is Rosalia, you know, and she's incredibly talented, but it

759
00:43:27,960 --> 00:43:31,440
Speaker 1: goes It also raises the question as to who's allowed

760
00:43:31,480 --> 00:43:35,880
Speaker 1: to perform latiniza, you know, when she's European, she's Spanish.

761
00:43:35,880 --> 00:43:39,480
Speaker 1: There's a whole other conversation about that as well. But

762
00:43:39,680 --> 00:43:42,279
Speaker 1: it is really interesting to see who's getting the accolades

763
00:43:42,320 --> 00:43:46,000
Speaker 1: now the Latin music is more mainstream, the like white

764
00:43:46,120 --> 00:43:51,640
Speaker 1: Colombians you know doing now Rosalia doing uh musica urbana

765
00:43:52,080 --> 00:43:55,920
Speaker 1: and fenco, which is a really cool fusion. But again,

766
00:43:56,040 --> 00:43:58,880
Speaker 1: who's getting the recognition and who has been doing it

767
00:43:58,920 --> 00:44:04,040
Speaker 1: for ages and decade aids, you know, generations, generations about Yeah,

768
00:44:04,280 --> 00:44:08,680
Speaker 1: that's a great point. It makes me think of that scene, um,

769
00:44:08,880 --> 00:44:11,720
Speaker 1: just because you brought up Selena right in the movie

770
00:44:12,040 --> 00:44:16,399
Speaker 1: where um they're telling her basically like you know, this

771
00:44:16,480 --> 00:44:19,839
Speaker 1: music is for men, like men dominate this music. You

772
00:44:19,880 --> 00:44:21,920
Speaker 1: are never going to get anywhere. People don't want to

773
00:44:21,920 --> 00:44:24,000
Speaker 1: see a woman singer or even think of like a

774
00:44:24,120 --> 00:44:28,000
Speaker 1: Pa La Barrio who like we saw her perform Atropa

775
00:44:28,480 --> 00:44:31,520
Speaker 1: and thinking about the fact that, you know, Homegirl has

776
00:44:31,520 --> 00:44:33,879
Speaker 1: been singing about men are trash and patriarchy for a

777
00:44:33,920 --> 00:44:38,640
Speaker 1: long time, and how there's almost like an archive there

778
00:44:38,680 --> 00:44:42,319
Speaker 1: between like a Buckitan all these other women who are

779
00:44:42,360 --> 00:44:45,920
Speaker 1: giants in the music industries, um in Mexico and Latin America,

780
00:44:46,040 --> 00:44:47,800
Speaker 1: and we can kind of look back at their lyrics

781
00:44:47,840 --> 00:44:49,840
Speaker 1: and almost use them as a guide to sort of trace,

782
00:44:49,920 --> 00:44:53,040
Speaker 1: like what you're talking about, right, the tensions in the

783
00:44:53,120 --> 00:44:55,960
Speaker 1: music industry and how they've had to make their way

784
00:44:56,440 --> 00:45:00,319
Speaker 1: and use their lyrics to help like really solidify that history,

785
00:45:00,360 --> 00:45:02,160
Speaker 1: which I think is super cool because you're doing that

786
00:45:02,200 --> 00:45:05,239
Speaker 1: too with your own lyrics, like you've described. Yeah, that's

787
00:45:05,280 --> 00:45:08,319
Speaker 1: definitely my intention, and I just want to as a

788
00:45:08,400 --> 00:45:13,080
Speaker 1: little footnote to that, like, um, there are like my

789
00:45:13,160 --> 00:45:15,160
Speaker 1: whole thing is not to say that there's hasn't been

790
00:45:15,400 --> 00:45:17,920
Speaker 1: women in the past who are making this choice and

791
00:45:18,040 --> 00:45:22,839
Speaker 1: being very intentional about what they do in their performance. Selena,

792
00:45:22,920 --> 00:45:26,240
Speaker 1: you know, all of these women, Celia Cruz have been

793
00:45:26,360 --> 00:45:29,160
Speaker 1: very important in creating a space for women within the

794
00:45:29,560 --> 00:45:33,600
Speaker 1: music industry, especially within the Latin music industry. However, when

795
00:45:33,640 --> 00:45:37,680
Speaker 1: you want to name powerful women. That list takes only

796
00:45:37,719 --> 00:45:40,080
Speaker 1: a few moments to create, but when you want to

797
00:45:40,200 --> 00:45:44,719
Speaker 1: name male icons, you know, legends like that list could

798
00:45:44,760 --> 00:45:47,040
Speaker 1: go on for days. And so it's just and it's

799
00:45:47,040 --> 00:45:48,880
Speaker 1: not that we're not out here. We just have to

800
00:45:48,920 --> 00:45:51,839
Speaker 1: create space and make ourselves heard because there are plenty

801
00:45:51,880 --> 00:45:54,720
Speaker 1: of us out here doing cool stuff for the movement

802
00:45:54,719 --> 00:45:57,680
Speaker 1: and for the music and for other mouhas. We're we're

803
00:45:57,800 --> 00:46:00,600
Speaker 1: just you know, we're facing some extraps to goals that

804
00:46:00,640 --> 00:46:02,759
Speaker 1: maybe the males in our industry didn't have to face,

805
00:46:02,800 --> 00:46:06,960
Speaker 1: but that we were strong, like we're out here. Yeah.

806
00:46:07,000 --> 00:46:10,879
Speaker 1: And I also I think it's important to complicate our icons, right,

807
00:46:10,960 --> 00:46:13,640
Speaker 1: Like like you mentioned like Selena's lyrics, like she has

808
00:46:13,719 --> 00:46:22,000
Speaker 1: some like songs. I can think of Sunavis, there's a couple, right, um,

809
00:46:22,040 --> 00:46:25,000
Speaker 1: but so complicating them right And Okay, thinking about the

810
00:46:25,000 --> 00:46:27,320
Speaker 1: context of when she was creating music, it was that

811
00:46:27,400 --> 00:46:30,920
Speaker 1: the handle in music industry it being extremely male dominated,

812
00:46:30,960 --> 00:46:33,319
Speaker 1: So seeing how she was navigating that. And I also

813
00:46:33,360 --> 00:46:35,400
Speaker 1: want to add a footnote before one of our listeners

814
00:46:35,400 --> 00:46:39,400
Speaker 1: tells us, I know that Vario has said transphobic things,

815
00:46:39,640 --> 00:46:42,719
Speaker 1: so I want to acknowledge that and complicate an icon

816
00:46:42,880 --> 00:46:45,839
Speaker 1: that has been doing talking about and singing about men

817
00:46:45,840 --> 00:46:48,719
Speaker 1: being trashed for years, but also recognizing, you know, our

818
00:46:48,760 --> 00:46:52,799
Speaker 1: our icons can be problematic. Also does any race like

819
00:46:53,080 --> 00:46:56,600
Speaker 1: the path that they've created for other musicians. For sure,

820
00:46:57,360 --> 00:46:59,120
Speaker 1: thank you for saying that, I mean, and I feel

821
00:46:59,120 --> 00:47:02,239
Speaker 1: like that's part of just such an ongoing conversation that

822
00:47:03,000 --> 00:47:07,440
Speaker 1: with the death of Kobe Bryant. Anytime like a legendary

823
00:47:07,480 --> 00:47:11,480
Speaker 1: figure passes away or we discuss anyone at all, it's

824
00:47:11,560 --> 00:47:14,920
Speaker 1: just the wholeness of their existence, like it's something that

825
00:47:14,960 --> 00:47:16,640
Speaker 1: they said, it's something that they did, it's part of

826
00:47:16,680 --> 00:47:19,520
Speaker 1: their life, you know. And it's like when we celebrate

827
00:47:19,800 --> 00:47:23,120
Speaker 1: a person in their history, being cognizant of if we

828
00:47:23,239 --> 00:47:28,160
Speaker 1: were selectively celebrating some things and intentionally overlooking everything else, well,

829
00:47:28,200 --> 00:47:34,759
Speaker 1: that's like romanticizing of people and icons definitely. But yeah,

830
00:47:34,840 --> 00:47:37,719
Speaker 1: and it's not to say that as a whole, these

831
00:47:37,760 --> 00:47:42,080
Speaker 1: people's lives didn't do some good. It's just to recognize it, like, yes,

832
00:47:42,120 --> 00:47:44,840
Speaker 1: there were some they were a human being who sometimes

833
00:47:44,840 --> 00:47:48,600
Speaker 1: made bad decisions like the rest of us do. Absolutely,

834
00:47:49,719 --> 00:47:56,080
Speaker 1: So let's talk about your album release. It's coming very soon, um,

835
00:47:56,160 --> 00:47:58,719
Speaker 1: And that's one of the main reasons that you are

836
00:47:58,920 --> 00:48:01,960
Speaker 1: here today to talk about album released. You're having a

837
00:48:02,000 --> 00:48:05,120
Speaker 1: released party as well, so please talk about that. I

838
00:48:05,120 --> 00:48:07,399
Speaker 1: want to hear the lineup. It looks amazing. Please sell

839
00:48:07,400 --> 00:48:10,400
Speaker 1: our listeners about it. Yes, I'm so excited, I like

840
00:48:10,480 --> 00:48:13,880
Speaker 1: can't stuff grinning about it. Um. So we're dropping the

841
00:48:13,920 --> 00:48:17,680
Speaker 1: album crew Um on February twenty one, and we're doing

842
00:48:17,680 --> 00:48:21,040
Speaker 1: a CD release at the Paramount and Boil Heights. We've

843
00:48:21,040 --> 00:48:23,680
Speaker 1: got some really amazing artists lined up. We've got DJ

844
00:48:23,760 --> 00:48:26,359
Speaker 1: Sizzle as you guys or know her very well from

845
00:48:26,400 --> 00:48:29,640
Speaker 1: cumaton Um. I've also got Weapons of Mass Creation for

846
00:48:29,719 --> 00:48:32,560
Speaker 1: Madain Long Beach doing some dope hip hop soul stuff,

847
00:48:32,960 --> 00:48:35,479
Speaker 1: and then Interverted Funk, who are kind of a newer group,

848
00:48:35,480 --> 00:48:38,560
Speaker 1: but like I'm constantly blown away, Like when I see

849
00:48:38,560 --> 00:48:40,839
Speaker 1: there said, I'm like, how have you guys only been

850
00:48:40,920 --> 00:48:44,640
Speaker 1: together for a year? Like that. The cohesiveness of their

851
00:48:44,719 --> 00:48:47,760
Speaker 1: music is so beautiful, and Vettel just has this incredible

852
00:48:47,800 --> 00:48:49,920
Speaker 1: stage presence, like for such a tiny person. She's like

853
00:48:50,080 --> 00:48:53,600
Speaker 1: four ft tall, She's so tiny. But so I'm super

854
00:48:53,640 --> 00:48:57,560
Speaker 1: excited about the lineup. And so, as I had mentioned earlier,

855
00:48:57,600 --> 00:49:00,279
Speaker 1: the album itself kind of you know is this um

856
00:49:00,440 --> 00:49:04,719
Speaker 1: women empowerment, like Queer Voices, Latino Voices. There's a lot

857
00:49:04,760 --> 00:49:07,040
Speaker 1: of different topics that kind of get covered throughout the

858
00:49:07,080 --> 00:49:09,440
Speaker 1: album UM. And So when I was sitting down to

859
00:49:09,480 --> 00:49:12,600
Speaker 1: plan their release, I really wanted it to be a

860
00:49:12,719 --> 00:49:15,759
Speaker 1: sell a continuation of that celebration of Latina, you know,

861
00:49:15,840 --> 00:49:18,759
Speaker 1: women out here doing cool shit UM. And so I figured, like,

862
00:49:19,560 --> 00:49:21,920
Speaker 1: there's plenty of bands I could ask who to join

863
00:49:22,000 --> 00:49:24,080
Speaker 1: the bill that would probably be super down, but I

864
00:49:24,160 --> 00:49:27,759
Speaker 1: really wanted to only ask other bands that have front

865
00:49:27,760 --> 00:49:30,920
Speaker 1: women UM because it's a really important thing for me.

866
00:49:30,960 --> 00:49:33,239
Speaker 1: And I mean, if the title of the album is

867
00:49:33,239 --> 00:49:36,080
Speaker 1: Serena like, why not also used this release as a

868
00:49:36,120 --> 00:49:39,160
Speaker 1: space to celebrate some of the fierce ass ship that's

869
00:49:39,160 --> 00:49:42,319
Speaker 1: going on here um and in Los Angeles. And and

870
00:49:42,360 --> 00:49:45,879
Speaker 1: I also didn't want to solely confine it to Latin

871
00:49:46,000 --> 00:49:49,319
Speaker 1: music specifically, so I reached out to other Latinas who

872
00:49:49,360 --> 00:49:51,920
Speaker 1: are doing cool stuff within their own genre. So, like

873
00:49:51,960 --> 00:49:54,760
Speaker 1: I said, we've got funk, we've got hip hop, DJ sizzle,

874
00:49:54,880 --> 00:49:56,960
Speaker 1: kind of spans a lot of different genres and then

875
00:49:57,000 --> 00:49:59,840
Speaker 1: of course Lamta we're going to be doing. But so

876
00:50:00,200 --> 00:50:03,160
Speaker 1: it's not only a bridging of different women um doing

877
00:50:03,200 --> 00:50:05,440
Speaker 1: cool stuff in Los Angeles. But it's also a bridging

878
00:50:05,440 --> 00:50:07,960
Speaker 1: of different genres that have a lot of commonalities, like

879
00:50:08,520 --> 00:50:11,600
Speaker 1: black music, funk music, you know, hip hop and Coumbia

880
00:50:11,680 --> 00:50:17,200
Speaker 1: Sansa all have common ancestry um from Africa and they've

881
00:50:17,200 --> 00:50:20,000
Speaker 1: evolved into these separate genres, but there's a lot of commonalities.

882
00:50:20,040 --> 00:50:22,000
Speaker 1: And so I really wanted to use the release as

883
00:50:22,000 --> 00:50:25,799
Speaker 1: a space not only to to recognize some really great

884
00:50:25,880 --> 00:50:28,160
Speaker 1: up and coming Latinas in Los Angeles, but also to

885
00:50:28,840 --> 00:50:32,440
Speaker 1: recognize the bridges that that combined us all that that

886
00:50:32,480 --> 00:50:35,680
Speaker 1: bind us um. And so I'm actually hoping and just

887
00:50:35,719 --> 00:50:38,080
Speaker 1: to kind of throw this in there, I'm actually hoping

888
00:50:38,120 --> 00:50:40,760
Speaker 1: to use this release as kind of a jumping point

889
00:50:41,360 --> 00:50:45,399
Speaker 1: um to do a series of shows that recognize other

890
00:50:45,480 --> 00:50:48,480
Speaker 1: Latinas and Los Angeles. There's some really great groups out

891
00:50:48,520 --> 00:50:51,080
Speaker 1: there right now that aren't getting the recognition that maybe

892
00:50:51,080 --> 00:50:53,440
Speaker 1: they should. And it's a it's a hustle and we're

893
00:50:53,480 --> 00:50:56,799
Speaker 1: all out here, and like, as a woman in this

894
00:50:56,880 --> 00:50:59,440
Speaker 1: industry who has been in it for a decade, like

895
00:50:59,480 --> 00:51:01,600
Speaker 1: I recogniz eyes that it's difficult. So I kind of

896
00:51:01,920 --> 00:51:06,440
Speaker 1: was hoping to go into this next chapter of my life. UM,

897
00:51:06,480 --> 00:51:10,120
Speaker 1: to use whatever space I have access to to help

898
00:51:10,120 --> 00:51:14,920
Speaker 1: other latinas you know, work together, collaborate together, and create

899
00:51:15,120 --> 00:51:18,000
Speaker 1: this solid space for ourself, much like Sizzle did with

900
00:51:19,320 --> 00:51:22,920
Speaker 1: creating space for undocumented queer folks UM in Los Angeles,

901
00:51:22,960 --> 00:51:25,440
Speaker 1: Like that's such an important space, and so kind of

902
00:51:25,440 --> 00:51:30,239
Speaker 1: just building off of that momentum and and focusing specifically

903
00:51:30,239 --> 00:51:34,000
Speaker 1: on Latin music or Latina musicians that are not specifically

904
00:51:34,719 --> 00:51:37,400
Speaker 1: doing Latin music, you know what I mean? Um, so

905
00:51:37,600 --> 00:51:39,080
Speaker 1: I was gonna say something else what I was gonna say,

906
00:51:39,080 --> 00:51:43,279
Speaker 1: I don't remember. No, that's great. And for um our

907
00:51:43,320 --> 00:51:46,799
Speaker 1: listeners who are new to you and your music, where

908
00:51:46,840 --> 00:51:50,799
Speaker 1: can folks follow and support and keep up with you? Yeah? Um,

909
00:51:50,920 --> 00:51:54,360
Speaker 1: We're on all your favorite music streaming platforms, so whenever

910
00:51:54,440 --> 00:51:57,360
Speaker 1: you use just type in lametra usually that's enough and

911
00:51:57,360 --> 00:51:59,719
Speaker 1: you'll see me look at all fierce with my my

912
00:52:00,000 --> 00:52:05,719
Speaker 1: all Victory curls um same on Instagram and Facebook, you'll

913
00:52:05,719 --> 00:52:09,839
Speaker 1: be able to find us. Yes, cool, Well, thanks so

914
00:52:09,920 --> 00:52:14,080
Speaker 1: much for joining us today and congrats on everything. Thank

915
00:52:14,160 --> 00:52:17,280
Speaker 1: you yea, And can we play one of your songs

916
00:52:17,040 --> 00:52:19,400
Speaker 1: that's your new album on this episode? And can you

917
00:52:19,440 --> 00:52:22,920
Speaker 1: introduce which song that would be pleased? Oh? Man, um,

918
00:52:23,040 --> 00:52:25,480
Speaker 1: I think that we should play seat right now. The

919
00:52:25,520 --> 00:52:27,960
Speaker 1: title track. Um, it's actually already been released. It was

920
00:52:27,960 --> 00:52:29,719
Speaker 1: one of our singles, but it's such a good one

921
00:52:30,239 --> 00:52:32,000
Speaker 1: and it kind of you know, we were talking about

922
00:52:32,000 --> 00:52:35,279
Speaker 1: it earlier. It kind of encapsulates the the theme of

923
00:52:35,320 --> 00:52:38,200
Speaker 1: the album as well as the theme of our release party.

924
00:52:38,280 --> 00:52:41,520
Speaker 1: We hope to see you guys all there on February on. Alright,

925
00:52:41,560 --> 00:52:43,480
Speaker 1: so before we go, we do want to announce a

926
00:52:43,480 --> 00:52:47,000
Speaker 1: ticket giveaway that we're doing with l and the Paramount,

927
00:52:47,120 --> 00:52:49,560
Speaker 1: which is where we had our three year look at,

928
00:52:50,760 --> 00:52:52,640
Speaker 1: which is where we had our three year Look Averse

929
00:52:52,680 --> 00:52:56,440
Speaker 1: three uh look at the podcast party. So to participate

930
00:52:56,480 --> 00:52:59,320
Speaker 1: in this ticket giveaway, we're going to post a flyer

931
00:52:59,480 --> 00:53:03,319
Speaker 1: of the event and you can tag two friends and

932
00:53:03,400 --> 00:53:07,920
Speaker 1: follow and of course follow us and the Paramount and

933
00:53:07,960 --> 00:53:13,799
Speaker 1: we will be selecting a winner by Thursday, February. Nice.

934
00:53:14,040 --> 00:53:18,640
Speaker 1: We'll post the giveaway rules again on the Instagram, So

935
00:53:18,719 --> 00:53:20,839
Speaker 1: check our instagram, check our feed and all that info

936
00:53:20,920 --> 00:53:22,759
Speaker 1: will be there. Yeah, just keep your eye out for that.

937
00:53:23,040 --> 00:53:24,440
Speaker 1: All right, Look, I'm what is well? Thank you for

938
00:53:24,480 --> 00:53:28,759
Speaker 1: tuning into another of local radio. You know what to do,

939
00:53:28,840 --> 00:53:31,799
Speaker 1: you know where to follow, subscribe, believe us a review

940
00:53:31,840 --> 00:54:05,960
Speaker 1: on Apple Podcast. All of that go Ma Rain Marmosa

941
00:54:06,520 --> 00:54:09,600
Speaker 1: or my guy has done. My boy eat my bungle

942
00:54:09,719 --> 00:54:16,879
Speaker 1: rab el men for goods. Pay you're man last meet

943
00:54:16,960 --> 00:54:20,880
Speaker 1: eye lights you sink at the end. Guys you may

944
00:54:20,960 --> 00:54:25,680
Speaker 1: get a preto cout bl No you no that I

945
00:54:25,800 --> 00:54:30,720
Speaker 1: had me ro madam, No, no, no, you're not gett

946
00:54:31,160 --> 00:54:54,800
Speaker 1: to you what my brain of you? So look at Getty.

947
00:54:54,920 --> 00:55:04,560
Speaker 1: You're not gona so he get summer the Alboria. I can't,

948
00:55:04,880 --> 00:55:07,920
Speaker 1: my god, what do you see? Ain't now you see no,

949
00:55:09,000 --> 00:55:12,280
Speaker 1: don't know you're dead eagle nothing that can't be moved.

950
00:55:12,600 --> 00:55:17,360
Speaker 1: Don't know your eagle. You're not getting it for you.

951
00:55:19,640 --> 00:55:28,120
Speaker 1: I'm I see la why he's nothing God, Marion, God,

952
00:55:28,840 --> 00:55:33,040
Speaker 1: I see I see la, I see I see right

953
00:55:33,520 --> 00:55:37,960
Speaker 1: I see, I see right now. I see nothing. But okay,

954
00:55:37,960 --> 00:55:40,759
Speaker 1: I'm gonna rain now you want be suckings my not

955
00:55:41,040 --> 00:55:49,600
Speaker 1: rain now you're gonna. I see I see I ain't

956
00:55:50,040 --> 00:55:53,880
Speaker 1: I see I see right now, I see I see

957
00:55:54,080 --> 00:55:57,279
Speaker 1: right now. I speak gets what I just my love

958
00:55:57,440 --> 00:56:01,320
Speaker 1: this I see us don't get test can see my

959
00:56:01,480 --> 00:56:06,759
Speaker 1: brothers go now. Then they go, you see no cabas

960
00:56:06,840 --> 00:56:12,839
Speaker 1: and go pever head go my other bedlin you going on. Now.

961
00:56:14,719 --> 00:56:18,680
Speaker 1: I see, I see ain no, I see, I see

962
00:56:18,680 --> 00:56:22,239
Speaker 1: it ain't no. I see. I see right now. I see,

963
00:56:33,520 --> 00:56:37,520
Speaker 1: I see, I see right now. I see, I see it.

964
00:56:37,520 --> 00:56:52,360
Speaker 1: Ain't I see. I see right now. I see I

965
00:56:52,560 --> 00:56:56,360
Speaker 1: see I see right now. I see, I see it

966
00:56:56,360 --> 00:57:00,759
Speaker 1: ain't I see, I see the ain't no. I see God.

967
00:57:01,040 --> 00:57:04,279
Speaker 1: That's the pain. I see. Y'all get any God as

968
00:57:04,360 --> 00:57:09,160
Speaker 1: time and you're can man the book that I called on.

969
00:57:11,120 --> 00:57:15,759
Speaker 1: I see, I see ye. I see, I see ray ye,

970
00:57:15,840 --> 00:57:22,720
Speaker 1: I see, I see right ye. Everyone leaves Gondon. What's happen?

971
00:57:22,920 --> 00:57:28,800
Speaker 1: Come witness God? Lets me I see, I see Lena see,

972
00:57:29,960 --> 00:57:34,200
Speaker 1: I see, I see ye, I see, I see right,

973
00:57:34,720 --> 00:57:37,479
Speaker 1: I see, I see ye. I see