Tetragrammaton with Rick Rubin - Rosalía

Episode Date: June 28, 2023

Rosalía is a 2-time Grammy Award and 12-time Latin Grammy Award-winning innovative recording artist and producer who has quickly leapt to the forefront of the global pop landscape on the strength of her musical fusions and distinctive style. She has repeatedly shattered barriers for both female and Spanish language recording artists while being widely hailed for her musicianship in and out of the studio. ------- Thank you to the sponsors that fuel our podcast and our team: House of Macadamias https://www.houseofmacadamias.com/tetra Get a free box of Dry Roasted Namibian Sea Salt Macadamias + 20% off Your Order With Code TETRA Use code TETRA for 20% off at checkout ------- HVMN Ketone-IQ  https://hvmn.me/TETRA Use code TETRA for 20% off at checkout

Tetragramatine. I want to start by thanking you so much for making such great music. Thanks to you. And you've been inspiring me forever. But the music is like everyone is different. It feels like it keeps getting better. But the fact that it's different and that you have the confidence to follow what's inside is very inspiring, not so many artists do.

It's few and far between. Thank you so much. I try. Yeah. You can hear it. I try always. That is different. Every time is different. I think that this is the only way that this

real to every moment, because every moment is different. We're changing all the time, right? So I think that, at the end of the day music has to be a reflection of that, of every different stage life that we are. I think that the project is going to be different too. I think it's what's not, what I don't know, at least for me. Yeah, and you're, I imagine your influences keep changing as time goes on as well. See, I think so. Yeah.

You turn on to something new and it's exciting. Yeah. I find that when I hear new things, it gives me not so much that I want to do it what they do, but it allows a way of looking at things in a new way. You know, it opens a new door for us to go through. Yeah, exactly. Tell me to describe the difference. The three albums are completely different, I would say.

And tell me the process of each one, start with the first. Wow, that's a very difficult question to answer. Because again, I think each one represents a different moment. I think that the first one, if I'm not wrong, Los Angeles, it was 2017. I was in Barcelona. At that time, I was, I think, it was eight years that I was studying Flamenco, traditional Flamenco.

And then, I think that what I learned with my master, Chiqui, I felt like I had to give it a shape, And then I think that what I learned with my master, Chiki, I felt like I had to give it a shape, like a music shape, like a record shape. And then I just did that. Also, it's very demanding. Flamenco is so demanding. It requires a lot of focus on that and a lot of energy. So while I was studying that in college, I would do those recordings

because it's what I would learn in college with my master. So I would be like, yeah, okay, I learned this melody. Let me try to change these or that. Let me dress it different. Let me shape it different. But at the end of the day, those were the melodies that my master was teaching me. So basically, I met Refri, which is a great musician and a great producer,

and then we just did that album. It just happened. We played one day, we played in this club, Elio Gavali, Barcelona, and then we just did that. It just happened. At that time, did you imagine you would be a traditional flamenco singer forever? I don't think so. I think it's part of who I am, because that's my foundation. But I don't think that I'm just that, because I feel like my life, I think,

it's dedicated to music, to learning more music, and to, I think, that what I do, the projects that I do, a lot of times are about, like, love letters, two different styles, different music. And I think that I would love that in the future is like that, and it's been like that. So, I think it wouldn't be fidel. How do you say so? No. But not exactly.

Not exactly. It wouldn't be that. It wouldn't be. Not a fiel. Faithful? Yeah, a faithful exactly. To myself. If I would just decide to be one thing, those people maybe they are just one thing.

Maybe I don't know. In my case though, I don't feel like that. Did you know music was going to be what you wanted to do forever or no? I think so, yeah. Always. Yeah, since I was eight or nine years old, I decided I wanted to make music.

I decided I wanted to be on stage though performing but I didn't know I want to write or I want to produce I want to make music. It was with time that that happened later but I always knew that I wanted to be a musician I think. Performer, a musician, a performer in a musician. Use my voice which I think is like an instrument. Maybe the first one I don't know. What's the first time you sang in front of people? With my family yeah I was eight years old I think or something seven eight years old. What was the music that you would hear in your house growing up?

The music that I would hear, you'll be mainly rock, you'll be queen, both Dylan, super Trump, Bob Marley, Johnny Jobleen, yeah. And would that be your parents music? Yeah, that would be what my parents would play on the car. My mom she used to, when she was younger she used to have a radio, apparently she said that and she would play records that she would like and I think she would always love David Bowie, she would always talk to me about Johnny's or David Bowie or artists that she would like and I think my mom she always loved music. My dad too, he like Bommarly. Yeah. What does he do that besides Bommarly? He would like Queen. He'd like Freddie Mercury.

Yeah. They would listen mainly rock. That's why I think that when I was a teenager I was like like I didn't want to do anything like I think too close to that. I was more interested in electronic music. I wanted to do something different. And the more I grow, it's crazy. The more, the more, the more I go back to that, and the more I, my love grows for that music and those artists. For rock music. Yeah.

So do you think earlier it would be like rebelling against your parents to not to rock? Exactly. Like to have your own music. Yeah. I think that Los Angeles has some touches because of the attitude that Raul has, or I would have in like that energy that moment makes sense for both of us to make it sound like that. But I think that at the same time I wanted to do

in Malkerir, which is more electronic, and it was another proposal. A different proposal. Yeah, tell me about the world of music that you grew up in, the outside of the house. What was the music? I don't know anything about Spain. I've been to Barcelona one time for my city. I came to see the first show. It was a radio head concert. The first show for okay computer was in a club in Barcelona, maybe about a thousand people. And I came for that because I loved them so much and I want to see it. Yeah. So you traveled to Barcelona. Yeah. What how did you like it? Relicted. Why was there for 48 hours? So I was there enough to like it but not enough to really know it. Yeah, really. Yeah, I need to do it a little bit more time because it's really beautiful. I think it's a very beautiful place.

I think it's very like a cloudy and you know, architecture. Fantastic. And the food. I guess, but I like the gaudy and you know architecture fantastic and the food Everything yeah, I really love that place. So tell me about the music that was going on around like if you went out to listen to music What would it be? I mean when I was like for example 17 18 I was going to jam sessions, right? So there would be a lot a lot of flamenco or tablaos There would be a lot of flamenco or tablaos. There would be a lot of flamenco, there would be like traditional, traditional music from there. There would be... Flamenco is popular in Barcelona still like a main kind of music, not like traditional folk music. It's hard to say because I think that it depends on where you move.

If you, for example, if you are in the street, it definitely sounds. Like it, it's a music, it's part of the street, you know? But then it depends, like it depends. There's a lot of people that they love like music that is more where people rap. So there's a lot of that, I grew up with that,

to with my friends listening to music that would come from here So definitely would be those two then a lot of some sessions people would be rapping people would be playing saxophone people would be playing jazz people would be playing bossanova so many cells That's what I remember the most Mm-hmm and so jam sessions with live instruments, people playing live. Yes, exactly. Yeah, I would spend a lot of time studying in college or preparing to go to college or

jam sessions. Yeah. So when I would go out, for me, would be go out, I'll go to those places, those clubs, those bars where we would just play music. I would study standards, then I would go and sing it, even my English wasn't perfect. I would study Flamenco and then at some point in the tabla, I would say subete, and then you would just sing in Catapurbularia, so for what I say, it would be every be different. There was this component of improvisation. If I learned something about improvisation, it was there.

Or the Jamboree, where it would be just sessions. Makes sense. So the first album is primarily... I'll call it a modern flamenco album, but primarily vocally flamenco, no? I mean guitar and voice, mainly, yeah guitar and voice. I wanted that it was like that. And acoustic guitar and voice. Yeah.

Yeah. No guitar, when I guitar, I was Spanish. Yeah. Spanish. And then the second album sounds nothing like that. Yeah. Yeah. It's crazy, but when I was 16, 17, also, I would go to raves, and I would

go to the club. And that's how also my, my boys got damaged because of going out in the smoking and drinking and singing loud on a Saturday, when it's too late to be doing that. And then my boys got fucked up and then I had to get surgery. Wow. Yeah, and then go through a process of recovering my voice for a year I couldn't sing anything or more, just recovering. And then for almost six years between my 20 to 26, I would study with this woman, Dulso Escortez, she would teach me areas.

I would study that. So then I would get very interested with classical music too. Yeah, so all kind of music. And we studying it with the idea of, this is something I want to do professionally in terms of opera or just I want to have this ability for whatever you want to use it.

Yeah, the ability to be able to use my voice with freedom. Just being able to do whatever I imagine, I would love to be able to do it with my boys. I think that I'm still in that path of how can I make my boys even freer. And that's why I'm always interested in studying any style, vocally. One of my favorite songs on the second album is, I guess it's a more flamenco influenced lead vocal, but it has you singing like a loop behind it, fourth song. Yeah, that's right. Yeah, I love that one. So, I think so.

Yeah, I think so. It's a really good one. But again, it feels like the voice became, I love that one. So, you're tanto, is that one, no? Is that one? I think so. Yeah, I think so, yeah. It's a really good one. But again, it feels like the voice became, now the voice wasn't just a lead instrument, but it was the textural instrument as well. And that was new compared to the first album.

And I like. I think that Pablo had the reguinho, had a lot of experience sampling by doing samples. And I think that that was, his experience in that was so, so amazing and so, how do you say that he really added to the process of executing this and marketed idea. With somebody to me, he's the best one in my country doing sample sampling. He's the best to me. And I would listen a lot of electronic music. I would love James Blake. I would be

obsessed with him. I would listen a lot of different electronic music and I would be obsessed. I would be like I want to do something with flamenco with this style with these melodies, but arranging a different and using colors that I don't think I have heard this way. And that's why I did the marketer. Yeah, it's very, very modern sounding, different, futuristic, and unlike anything I've heard before. And then, and oh, this is

another interesting good sign when you're when your second album came out, friends of mine, great musicians. Like, if I said the names, you know, great musicians that you like. Some were like, second album came out, and some of my friends were like, oh no, the first album was so great. It's like, and then when the third album came out, other friends were like, oh no, the second one was the good one. So I think you're on to something good when it happens. Yeah, because then it's like, people are trying to hold you in their minds in the past. Yeah. And the fact that it keeps happening. Yes.

And when I hear it, each one sounds like it's getting better. It's a good sign. I love that you're saying that. I think that that you understand it, that you're like, exactly. Yeah. And I would say the last one is my favorite. And it's the one that theoretically I would say on paper I am not supposed to like. Because it's the poppiest of them.

100%. And it's not and I don't really listen to poppy music, but it's so good and it's so interesting and it keeps changing. It forces you to pay attention because it's never the same as what you might think someone else's record that sounds anything like this might sound like. It never does the regular. It's always innovating and always changing. The intention is that. Yeah, I can feel it. I feel it. Yeah, the intention is that. But thank you so much. Yeah, or I tell you, another pop album happens also from Spain is the Tengana, the red covered album. Right, CC.

That album. And Madrileño? Yeah. Yeah. That album blew my mind. Blu my mind. Fantastic album. I think that when I hear you talking about some people liking

more one album and then you do another project and then they liked the one the previous one before more. I think that as fans it's usual that you get disappointed because you get attached to something right and I think that artists we have to I think if we're staying true to who we are in every moment, I think we get used, we have to get used to this point at some point, our fans, I think because they probably gonna expect something, continueista. And when they don't get that, or maybe they think, I know the person, I know the artist, I know this, I know this sound, I know that is familiar. So you hold into that, right? But then, yeah,

it's inevitable, I think, inevitable. It's inevitable. That that deceptive, but I think as a fan, it makes you grow the artist that disappoint you are the ones that make you grow as a fan. It makes you grow in the way you listen to music, because there are so many artists or albums that when I listen first, I didn't enjoy it. Years after I go back and I'm like, exactly. So it takes time to process certain things. For sure, especially if the context of what we expect when it changes. We're expecting to hear more of the same and it's new. Yeah.

And at first, it can be jarring. Exactly. And the context changes everything, definitely. So I can, yeah. But I would say because you've done three now that are all different in a way, your audience is going to be ready for wherever you go. It doesn't mean they like wherever you go, but at least it won't be a surprise of like, oh no, she changed.

Exactly. Because you're always changing. Exactly. Because that's the constant that they're going to find that it's always changing. So at the end of the day, that's who I am. I rather take the risk of disappointing or not connecting. I'm a huge fan of yours and you say at some point you said something like just because as an artist,

just because you do the album where you do the project, just by doing that is enough. You're a accomplished, right? Yes. Yeah. It's successful. The minute you finish it success. It's a success Exactly. So I I should say the minute you say okay, you can

The world can hear it exactly you can't control their reaction Exactly, but you get to make the thing that you believe and true to you Yeah, and I think that that's enough. I feel like that's more than enough. That's a blessing. If you're capable to close something, finish something and feel like that's exactly what I had to go through. And I think that I try to make music from this place. Of course, there's like a desire, illusion of connecting. Of course, there's that, but even that exists is not what look at me move. It's not the driving force. Yes, it's not the driving force. It cannot

be. It's not. Yeah, when you make something great that you love, it's great. And then if someone else likes it, great. Great. And if they don't like it, you wouldn't change it because to make it so they like it, that's the purpose. Exactly. It's a gift. If they enjoy it, that's a gift. Yeah. Yeah.

And so far, you've had good results in that you've changed, and people have accepted the changes. Maybe not everybody. But that's another part of it is that in the change, the new people come, and that's another part of it is that in the change, the new people come. And that's okay. See, I think so. Also, probably when you are older, your audience is maybe not the same as when you're younger.

And I guess that's just normal. That's just life. Or when you change and somebody just, like, separate. Yeah, that is life too. Like, your friends sometimes are not the same. when you change and somebody just, come what is apart of you. Separate. Yeah, that is life too, like your friends, sometimes are not the same. My friends from childhood are not the same as now, and that's just life.

Yeah, yeah, it's growing. It's growing. Yeah, with some friends you grow together, with some friends you grow apart. Yeah, and there's beauty in accepting that, I think. Absolutely, and you mentioned David Bowie earlier, and I would say, David Bowie continually changed. And it feels like you're following this trajectory.

Yeah. It feels good. He's an inspiration. I love, how come a Leon, he was changing so much, and he would even make music about that and I think that I Connect so much. I love him. Do you have any ideas of what the next phase is gonna? A direction. Yes, I have a whole Note in my iPhone so long. I have to scroll, scroll so much to get to the bottom. Yes.

Wow. Yes. Yeah, I always try to write down everything that I feel in the intuition that I want to go there. And those notes would be more stylistic notes more than lyrics or sometimes a lyric or an image. How would you describe the notes? The whole thing. Everything. Yes, I have written about lyrics, I've written about how I imagine the show to be. I write about ideas of type of arrangements I would like to try. I write down, yeah, everything that comes to my head, that it has to do with the project. So we talked about the first album of the second album, now from the second album to the third album, what was different in the way you approached it?

I think I definitely didn't want to repeat what I found in a marketer. I think also that I found the sound while I was working in it. Yeah. Yeah, well, a marketer was clear, but had to sound before I did it. Yeah. Yeah. Well, the micro era was clear. But had to sound before I did it. And so, Motomami, I think it was more about more playful, more enjoying the process and making it part of the project, the fact that I was enjoying it, the fun, the sense of humor, the... I can hear it. Yes. Like all the things that may be in other projects, the market area was much more solemn. Solemn?

Yeah. Mousmoui komu kompesso, like, very... Serious solemn. Very serious, yeah. But the subject was serious. So it makes sense that it sounded like this or the lyrics were like that, et cetera. So it was like, let me write lyrics different.

Let me do it different. Let me do this even a range different. Let me try to produce different. Let me try to think it different. Really trying to intentionally separate from the previous one. And I think it took me three years because I wasn't sure I wanted to do that jump. As you said before, i el primer és un. I em va fer 3 anys perquè em va ser una cantaurra a ser un tradicional. Em va dir que... Em va dir que vaig anar a veure com vaig veure la música de la meva filla, però a més, em then I think there was a point where I had to

do this jump. I think. And I think it was like, either I do it now, why do it in 10 years? And I think that now I have the energy, so let me do it. And I just did. Welcome to the House of Macadamias. Macadamias are a delicious superfood. Sustainably sourced directly from farmers. Macadamias, a rare source of Omega-7, linked to collagen regeneration, enhanced weight management and better fat metabolism. Macadamia's, art healthy and brain boosting fats.

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Where do you think the confidence to continually change comes from? Because I think many artists would be afraid, especially in success. Ah, that's a difficult question. Maybe my sister, she's here, maybe you would say, better, or my mom, because they know me really well. They would always say that when I was growing up, they would always say, you're very brave. You're very brave, you're very brave.

So then, I'm more valent. So I think that that probably is part of my personality. I like when things are a little bit risky. I like to be in that place where I'm like, I know I'm about to fall. Maybe if I don't fall, then I go somewhere else. And I really like that feeling. That's exciting. That's exciting feeling.

Yeah, yeah. See. My favorite too. Yeah. Exactly. It's very, very exciting. Where would you say songs come from? From God.

From a buff. Yeah. They're written already. Tell me about your spiritual connection. I think that these men said it really good. Let me see if I pronounce it right. Men, right? Right, he says, I don't know if I want to say right. But something like that, he said something like,

creation is divine, and reproduction is human. Every original is created from debinity. But every reproduction from the original is like a human thing to do. And so I think that when I'm a music, I think a lot about God. And I think that I put myself in service of God. I like to think that I mean, service in the studio, I mean, in service, I put myself in service of whatever the energy has to be on stage. I always say that to myself every time before I go to the stage.

I'm always like, I'm going to be a channel, I'm a channel. I'm going to be the most open as I can. So this energy flows through me. So I put myself in service. And I think that God's the best artist is the best, how do you say it? Where I learn the most. es el mejor artista, como se dice, donde me lo aprendí el más, y como un hombre,

nosotros probablemente hemos hecho esto por todo, como se dice un tambor, la C es la mejor trámica, ¿no lo sé? El mejor tambor. You know what I mean? The rhythm of the ocean, the rhythm of the waves. See, that's the original, or the heartbeat, or our voice, which is a gift. And that's the beginning of everything. These people from New Baguina, if I'm not wrong,

they say that the best music is the one that comes from the trees, the birds. So they listen to the birds and that's music for them. And I think that we are always constantly, God is so present and we can always make music if we just look around or listen. You know, a little bit. You don't need too much, you know what I mean? You just sit and listen. And there's a little tension.

It's all around us all the time. Exactly. Yeah, that's how I feel it. Also, that's why I think I tried to be open to all the styles because I think that as humans we try to find new ways of making things, or we make music in different ways, right? Like there's these people that they think that the music is from the trees, it's nature. But then there's other people, John Cage, right?

He'll make just a partitura del silencio, but because it's in a context of a concert, it's, John Cage, right? He would make just a part of the silence. But because it's in a context of a concert, it's considered like that, right? It's considered music. So how amazing is to stay open to whatever music? How ever music is going to shape, how music is going to happen? Because there's infinity of ways it could happen. Absolutely. The same way that there's infinity, ways of being a human being, right? And it seems to me crazy when people be like, oh, this is style or this other.

It has to be like this. You read? It makes no sense. It makes no sense. And then, yeah, when I listen to your music, I always felt like you don't have prejudice and the way you create. And I really feel connected to that. I love when people create from a place of no judging if there's something better worst,

which I guess that you are like that. It's just everything is different. I don't think you can even compare other, you know, different parts against other art, because... Thank you. They're just different. Exactly. So then awards wouldn't make a lot of sense.

No sense. You can't do... How can you say somebody's music is better than somebody else's music? Yeah. You know, artist A's music is like artist A's. Artists B's music is like artist B. Claro. Artists A's music is a better music B's artist.

Uh-huh. You know like that, like you can't. Yeah, judges. Yeah, we each make our own best work. Claro. And it's like saying, In every moment, my diary and trees better than yours. It's no sense. Exactly.

Exactly. Exactly. I agree. Yeah. Competition is a strange thing. I don't feel very much of it in anything. I just want to make the best thing I can make. I may feel competitive with myself because I like to keep pushing forward.

You know, if you make something really good and then you make something not as good as it doesn't feel good to you. But as far as anyone else goes, they have nothing to do with it. It doesn't maybe, it doesn't feel true to where you are or who you are in that moment. Maybe that's what doesn't feel right. Maybe that's why it doesn't feel right.

I don't know, yeah. But I know that if you keep, that's the other thing, the relationship between time and the music is when you make it, it's a representation of where you are in that moment. And if you're willing to work on it until it can't be any better, there it is. It's done. You know, it can't be anything. Yes, exactly. It's like you could work on it for two more years and it'll turn into something different, but then it'll be something different. Yes, exactly. You could work on it for two more years and it'll turn in something different, but then it'll be something different. Yeah, it'll just be a different

time, you know. But it's a tentador, tentador. It's tempting. To you could always be like spinning around an idea or something to try to find it a different way. Yeah. It's okay to do. Yeah. Sometimes you have to go past it to know, oh. Clare, exactly. Yeah, that last one was really good. Exactly.

Sometimes in the moment it happens, you don't know. Yeah, exactly. Sometimes it's very obvious right in the moment. There's no rule to any of it. It's either getting better or it's very obvious right in the moment, like there's no rule to any of it. It's either getting better or it's not. That's so experienced. But if it's not, then it's maybe getting better for the process, right? Because then you go back.

You know that you have to go back. That's what allows you to know. Yes. Okay, I have to go back. Yes. Which I think that is's very positive too. Yeah. Anytime it starts not feeling all that it can be,

I always go back to the last time that I really love, you know, the last version that we really liked. And maybe that either that's it or that's the new starting point again. It's like to see where else it could go. Even if we put a lot of time and effort since then, that doesn't matter. Well, that matters is that it works. I know some people think, okay, I'm gonna do this, this, and this to it. Yeah. And then that's gonna make it better. That's the thought. And then they do this, this, and this to it. And it's not better. But in their mind, they're like, well,

I did the things I wanted to do. So check those off the list. I'm done. And it's not as good as it even was before. You know, because a process, a creative process is not about checks. No, I mean, you can do a list of things you want to do or something. But sometimes you do the list and then you listen, it's like, it's not better. Sometimes it's way better. Sometimes it's way better. It's not better at all. Exactly. I think you have to find, I mean, everybody has their own process.

But to me, I always say to myself to follow the intuition. So sometimes my intuition will say, go this way, you'll go this other, and then that's where I go, and that's it. But I think that sometimes people question, they ask me, like do you when do you know that the song is finished right? And I never know how to really answer that. I don't know if you have any better answer, because I would love to know what you think. But to me, it's very difficult to answer that. I'm always like, I just know that it feels right.

So and I feel anxious every time I listen to it, I know it's not finished. When I can hear it in peace, even I feel it in my body, it is relaxed. And even my ears, the way they open, it's a physical feeling even. I know that it's right and it's finished. Then boom, you're finished. That's a good point. So much of it is not intellectual. Exactly. Yeah, it's a feeling, it's emotional, and it happens in our body. Yeah, I feel you're my body. You feel it. And you can relax into it, you can find peace in it,

or you can find excitement in it. The energy you need. Yeah. Excitement to it, exactly. See. Usually I find if I'm really excited to play it for a friend, it's a good sign. Yeah. And do you feel like you're the way you hear it?

It changes depending on who you're playing it for, or depending if you're playing it. Absolutely. Right? Absolutely. Why is that though? I don't understand. Just this. We hear it different in the presence of other people.

Yeah. I agree. That's why I send my music to my mom by email. Instead of looking at her face. Yeah, yes, because maybe I don't know how we feel. I don't know. I never did it. I never show to her and show it in person. Try some time and see. See what happens. I'll do it. I'll try. What I like about playing music for other people is not necessarily so much for what their reaction is, but what's going on in me while they're listening. I hear it in a new way. Yeah. I have a different relationship to it when someone else is listening.

Another point of view. Yeah. It happens to me too when I play for other friends. It does happen when I play for friends that are artists, they're musicians. I have a different way of listening. Or when I play for my sister, she's my best friend. And I play for her. And I have a different way of listening to it too. It's crazy context.

Yeah, the whole thing is magic. The whole creative world is so, none of it necessarily makes sense. But it's really fun. It's so much fun. It's just like that. Do you think writing has to be personal? No. Could be anything.

I think anything can be a good excuse to make a song. So I think that if you have an experience, that it's a good excuse to start a song, then that's what you use. If you don't have an experience, then maybe you use fantasy and that's what you use. And I don't think that there's better or worse material in order to write something. I think that the point is to do that,

to do that the right, just right, right? I think that's the point. We're through it. Yeah. So it doesn't really matter if the point. We're through it. Yeah. So it doesn't really matter if the story is yours, if it's a Mario's story, if it's nobody's story, if it's everybody's story.

Yeah, it doesn't matter. It doesn't matter. No. And also, it doesn't matter if anybody helps is fine. Yeah. My feeling is, some people are very, some artists are very concerned with, I did this myself. Like, all that matters is that it's good.

Yeah, exactly. If it's good, everybody wins. Yeah. It's all good. Everybody's on the same team. Exactly. Who cares who did what? I think producers care about what other producers have done, about other writers have

right. It's just, it doesn't really matter. I think but but again that requires being humble, you know, that requires being humble I think because if you you on surveys of the song, the music or whatever you do in the project, however you want to see it, I think that then it's not as important how it happens to be done, of course, with good intentions, of course, but it doesn't really matter. It's more about getting there. Yeah. Yeah. And you say, I'm telling you, I'm a huge fan. And you say, you do know, like, like, that it's about the best idea getting picked, no?

100%. It, all that matters. Yeah. You've been a master for a long time, always read your quotes, send it to my sister, my sister sent me your quote, because she read it. And we love it. It's like, yeah, I love how you think. I think it's always been a very present for me when I go to the studio.

I remember a lot of times, like a knowledge that I learn through reading or listening to you. Keytone IQ, a drinkable dose of keytones. Discover more physical and mental potential, discover ketosis without fasting, ketones improve metabolic health and appetite control. It's used by top performers for gentle, long-lasting energy. Ketown IQ.

One dose in the morning for cognition up to three doses before a workout. No sugar, no caffeine. Ketown IQ. A metabolic superfuel. Place in order today at hvmn.com slash tetra. KETO NIKU. Where does inspiration come to you besides music? Where do you find inspiration for your work? In everything.

In my grandma cooking, in my grandma explaining something. In Pedro Almodóvar's movie, in, I don't know, reading my angelou po'am the other day or seeing like monet painting like everything can be anything can be a trigger. It's true. I feel like nature is very inspiring too. I think all kinds of shit. Everything can be like an excuse to start.

Yeah, my sister definitely talking to her, being with my friends, having conversations in the studio with people that I admire that I love, and talking about, even just talking about the process that we are, where we are, why we're doing this, how are we doing it, these that showing different references to each other. I think that the conversation helps definitely with the creative process too. And I think that making musical out of times is a conversation with other artists from All the rites from the past, what has been before you, what has been there, all the rites around you, just a conversation I think. Yeah, all we are is the sub-total of everything we've experienced in our lives, so nothing really starts with us.

It's always, we're always part of a lineage, you lineage. We're just a vehicle to move it forward. Yeah, and God is the first one, is the first thing, no? Yeah. And then, todo lo demás viene después. So sometimes, I don't know what do you think about this, about todo tiene un antecesor? Simple, there's always something before, right?

Yes. There's always something before. So what do you think about the concept of appropriation, for example, which is something that is so common nowadays that people talk a lot about it? Yeah, I think it's an impossible idea. It's crazy. I mean, the only reason you make something like something that someone else has ever made is to contribute to that. It's never undermining that thing, you're shining light on it by doing something like it

because you think it's so beautiful. Yeah, or something that is inspired in... Yeah, always. Yeah, I think we can be inspired by anything and it's only good. And a lot of art is being created from other art, right? So at the end of the day, that's like the origin of things, because everything is created by something that it was created before, or with the knowledge that was that thing before, or that person, or that energy, or that thing before or that person or that energy or that thing. So yeah,

I think that, hmm, I understand that people have, like, a feeling of pertinent, belong pertinent, but I think if they feel that they don't understand it, I think it's a misunderstanding. I've been thinking for a long time about que jo sempre ho dic, què vol dir? Per mi, em dic... Em dic que la feta de la fila de la fila de la fila o de la pertenentia, però la fila de la fila de la poza, no em sembla que la poza de la fila

ha d'anar a la fila d'any, perquè no em sembla que la fila de la fila ha de ser necessariat. Sí. Sí, sí. anything, even anything I've done, because I don't even feel like I necessarily don't it. You know what I mean? Yes, yes, yes. So, so yeah. You're part of it, but it has its own life. It has its own life, exactly. And the way you relate to it and the way other people relate to it, even that's not the same.

Claro. You know, you can write something and know exactly what you're thinking, and then someone else gets to experience it, and they have their own experience, has nothing to do with what's in your head. It becomes new when someone else experiences it. Exactly. You might not.

It's not the same thing you made anymore. Exactly. Even that. Yeah. It's always changing. Yeah. It's always changing. It's always changing. It's always changing. It's always changing exactly.

And again, all we ever make comes from somewhere. It doesn't start with us. It's always starting somewhere. We're always inspired by something. And through our filter, we find the most interesting combination of, you know, this experience from from today and this experience from 20 years ago, and this thing that I saw in a movie one time, and the thing I overheard at the coffee shop, all of those things combined together to make this new thing. That's why maybe we should never be afraid of the creative process, I think, because if you understand how powerful it is

that everybody's different, and everybody has their own combination of all these elements, understand how powerful it is that everybody is different and everybody has their own combination of all these elements, then you'd always be able to do something unique. Absolutely. And when something is unique, no, I failed. I don't know how to say that in English. No, there's no mistake, there's no room for, you know, there's no room for fucking up. Come say the mistake.

Yeah, mistake. Yeah, there's no room for fucking up. Come say, say, yeah, let's take a look. I mean, say, yeah, if there's no room for that. So I think that we should always be open to where, however, has to be, depending on who we are. Absolutely, absolutely. Even, I would even say if you tried to directly copy what someone else does, it's gonna be different when you do it than when they do it.

Yeah, but that's a human exercise. Yeah, if you look at the history of music, the Beatles wanted to do music like Motown, like American music. It doesn't sound like it. Exactly, or a little bit. It sounds like the Beatles. Why?

You know, Led Zeppelin wanted to do American blues music. Klaar. It doesn't sound like American blues music. Sounds like Led Zeppelin. And thank God, no? Yes, because it's there. Because it sounds like who they are. Kla Led Zeppelin. And thank God, no? Yes, because it sounds like who they are. And who they are, it's like if you write a script for a movie and give it to five different directors, you're going to get five different movies. Even with the same script. Exactly.

We each have our own way that we do the things that we do and it's always different. way that we do the things that we do and it's always different. What's it like playing a song comes to life in the recording studio, you record it, and then it lives on in that people listen to it, but then you play it on stage. Does your relationship to the songs change through playing them on stage? Same. Yeah. If I love a song, I love a song. My love for that music doesn't necessarily grow or... No.

Maybe I'm not in touch with how it's changing, but I don't feel it. Great. Yeah. I think that, however, I see it once it's finished, is how it feels. Yeah, that think that however I see it once it's finished is how it feels. Yeah, that's how I see it. I don't know if with time, I don't feel any different from when I did. If you do a song from the first album now. I feel the same way.

I was actually doing the platter. Yeah. Yeah, in this store and in motorbomb, and I feel like I maybe I was trying to sing it a little bit more open, if I could, I was trying to sing it days and that, but not the way I see the song. I just distorted it a little bit more, to make it feel a little bit closer to how I was the energy in the motor, and that's it. I didn't necessarily change how I feel about this on though. Do you have to think about it when you're singing or you just saying it just, it's like automatic.

When you say think about it what you mean? When you're in the song, are you thinking about what lines come next? Are you thinking about, or are you experiencing the song as it's happening? Depending on the night. The night that I'm mooring my body, the night that I'm a little bit mooring my head, when I'm in my head, I try to go a little bit back as much as I can. Most of the time I think that I focus, especially in the platform, I focus on the feeling of openness or the feeling of just finding a good feeling in moving.

The movement I think is so key. I think the more I grow as a musician or as a performer or however you want to call it. The more I find out that movement is the key. I think that before when I was studying, I think the teachers would focus a lot in being on key, singing with the right... the right note. The right note, the right D, the right that. And Nuelo descovierto, I haven't discovered too long, too long maybe. How important I think is movement. When the movement, it's right, there's no right and wrong, though.

When the movement is in its center, I don't know how to explain the energy. When the energy is there, the movement is there, and then the sound of it is there. So the more the looser I can get on the movement, the better it always sounds. So you feel like if you're physically connected to the music in a way your body is moving, then vocally it's going to be better.

Yes. Which is not going to be perfect. That doesn't mean it's going to be perfect. Yes. Which is not going to be perfect. That doesn't mean it's going to be perfect. It doesn't mean that that night maybe it's going to be the most, the pitch is going to be the best, but most of the time it is. And it really makes a difference. So I try to focus mainly on that. Once I've really processed the lyrics, once I really know

each line, like the intention of each line, at least the intention I understand in each line, then I think I just start to get lost in the body. And that's what I've been, like a transitar, that's what I've been, where I've been in this last tour. Tell me what the tour is like. What's the show like? I've never seen you live. The show is... I show that I think you can enjoy

from different points of views. If you see the show from the screen is a different show, if you see the show looking to the stage, close to the stage, you're going to find another show. If you see the show from back, back, back, back, but looking to the stage is're gonna find another show. If you see the show from back, back, back, but looking to the stage is gonna be another show. So I think that this show created

having in mind that there's gonna be a big number of people and trying to have in mind to be generous with the experience that we're gonna share with them. generous with the experience that we're going to share with them. And I think there's not a lot of props. There's not a lot of, especially in the motor, the motor, there was not a lot of things on stage. It was not fireworks. There was no fire. That's a lot, but it was more focused, I think, on the, on the emotion and on the, is there a live band? No.

No band. No band. You're're on stage stage by yourself. Yes. Wow. Wait dancers. That's amazing. There's a better. I'm excited. I want to see that. Thank you. There's eight male dancers. There's a huge screen on the back of the stage. But before it wasn't like that, there was just white, a white canvas. And there's no band. By the way, a lot of people were pissed off that there was no band. And I was like, damn, I'm singing my ass off for almost two hours. I'm playing the guitar. I'm playing the piano.

And I'm dancing so much in still you complain about not being a band. It actually sounds better without a band. It just depends on the... No, just sonically, it can really sound good if you don't have a band, because it's already... It's optimized to sound good. I know.

It's hard to make a band sound good going from venue to venue tonight. Yeah, which there's beauty in that, how do you say it? In that challenge too, but I think it just depends on the project. So, right? So I think Motomami, there's not a band in the studio to make this album. Why is it going to be a band on stage to play this album? It's just, I don't know, to me it's so be a band on stage to play this album? Yeah, yeah.

It's just, I don't know, to me, so obvious, but it seems that for other people, they missed that, but I think it's the attachment they could have to, how they have experienced concerts. But to me, I think a concert can be so many things. Absolutely. Yeah, a concert can be so many things. So it doesn't really matter how you present it. It's more about, did you get the feeling, did you get, did you get any energy when you

went, did you go home feeling different? Because the other day that's my main goal when I create a performance is that. Energy. The energy. Yeah, I'm with you. I'm so excited you didn't have a band being at night because I was sure you were going to say, of course I have a band. Oh really? Yeah, but I'm so happy you don't. You really thought that all. Yes, because it's unexpected. It's great. It's great. I love it.

Oh, wow. I think that I'm going to have a band at some point. But I'm sure it's a way. When it makes sense. When it makes sense in the early days of hip-hop music, the music that came before the music that we made was made by bands because the people who were making the records, that's how they knew how to do it. But if I went to a hip-hop club, it was no band club. It's a DJ, maybe drum machines,

but mostly scratching and DJing. Exactly. So I started making records that were scratching and DJing and drum machines and those kind of records. And live, it would be a DJ scratching, sometimes a drum machine. And then over time, as hip hop became bigger, some of the artists started bringing bands on the road. And it's like, that's just something else. It's like, it's like going back to some old thing Like there was this whole revolution to

bypass and get to yeah, yeah, yeah, yeah, yeah, and when in the days when rap groups were opening for rock groups or band groups Even though the rap groups were the opening acts they always sounded better than the rock groups every time Just because the nature of it's in sounded better than the rock roof, every time, just because the nature of. It's in every tower, yeah. Yeah, just technologically, it could sound really good. Oh, yes. And it did.

Yeah, and that's exciting. Yeah. Yeah. Also, I think that a band has a presence that I don't know if you want that, depending on the project, right? It depends on what it is. But I also,

to me, it can also create a sense of makes it dated. Mm-hmm. You know. Right. I think depending on how you use it to. Absolutely. Yeah, I think that. Yeah, there's no right or wrong way to do anything. See, yeah, it depends on how you do it. But I think that, for example, having a man on stage is definitely going to be a presence and it's definitely going to be an intention. It's going to be something that you play with that you present that. So I think that in my case, I just wanted to present something different. I wanted to be more centered in movement. Also, it made more sense with the type of beat those are reggaeton beats a lot. They are like reggaeton drums. So those drums, I don't necessarily feel motivated to listen in an instrument that is acoustic, played on stage and try to like get a good sound of that.

When it's already sounding good like that, also the origin of it again, as you say, you know, was the last feast that satiana and Puerto Rico with this type of music, as you say, is there's somebody that's tapping chando. There's not like a band playing those type of beats. So, to me, it's obvious. Like, yeah, there are going to be moments that a band, it's perfect for an artist and a project. And there are times that that no and that doesn't make it a better concert or worst concert. By the way, there's so many ways of making a concert right? I didn't know the day a concert, what is a concert? It's a social moment, no?

It's just a so a contest, so there's so many ways of approaching that and I love the idea of going against any expectations of what we think Yeah, it's it has been in the past exactly how cool would it be to go to a concert and have it feel like an experience? You never had it. Yeah, I actually think that's a goal. That's that's yeah, that's a goal Tell me what type of music you listen to now I listen a lot of music in the shower. And I've been obsessed for a couple of years and trying to listen to Nina's discography, the discography of Nina Simone.

And I've been listening to... Nina Simone's unbelievable. Yeah, like... Unbelievable. There's something that every time I don't feel really good, to. Minnes Monts are unbelievable. Yeah. I'm not even going. There's something that every time I don't feel really good, I play her albums and it warms warms my soul. Yes. The way she sounds and the way she plays, there's something about the decisions she makes that

it just made us armor. It got down. Yes. Made us armor. she makes that it just medes arma, a guard down, medes arma. Like I really, I really love her. And I've been listening to her a lot. Are they are too? Are they? Are they? Are they are frankly right? I've been listening to her a lot too. I think like when I travel, it makes me listen to music depending where I am, trying to understand better the place that I am, or trying to get closer to something that I don't understand yet, or something. And I think that with them, I've been trying to listen more of Arreta, because naturally I will listen more to Nina.

And of course, they are so different now, but there's just, I admire so much the way she sings at Rita Franklin, but I really, really, really feel how Nina Simone makes music. Yeah, I was very lucky to get to see your play live one time in New York City at the Beacon Theater. And I didn't know that much about her then when I got to see her as maybe when I was in college. And she had not been in the United States for many years. And she came out and she played the first song she played was Black as the color

of my true love's hair. And it was staggering. Unbelievable. Unbelievable. And someone in the audience yelled, welcome home Nina and she got up and started screaming, I am, this is not my home. Africa is my home and went on a wild rant and it was just, I never saw anything like it was so cool. Wow Yes, oh, her never never perform of course. I saw the How she did the documentary yeah documentary and it just I just got that feeling of her not being understood No, like a general feeling of This woman was on earth sharing so much

being so generous and still not feeling like seen or understood enough. And fuck like that. That just come what you're metoko. It was very inspiring to know about her story. Do you ever feel not understood in what you do? I think I feel very grateful that I can make the music that I truly believe in, and that I can actually connect with a lot of people by creating projects. I think that I focus more on that than in anything else. Right, but at the same time, there's definitely... I don't know

why, but those, the people that they don't see you, they don't understand, they are there too, and it's really impossible to ignore, right? Does it be like, no, I don't see that. Of course, you, it's impossible to not, not acknowledge that that exists. Right? So I think... You can't change. You can't change that. Clearly, I mean, I don't know. I feel like for some people, there's artists

and maybe they like fighting more. They like confrontation more, right? I'm a Libra. I like when things are chill. I don't like confrontation too much. You know so when I find that my, it's not even me. It's more like the projection that or the idea that some people get about me, personal public or however they want to, however they see, whatever they see, the

confrontation that they can have with that or the negativity that can be in this type of thing, I don't know, I don't, I don't feel like that is a place or something that triggers me to create. I know there's other artists that they find something in that. And I could say that there's lyrics that I've done where I've had some of that. I used some of that energy to be like, okay, I'm going to change this energy. And I'm going to, Darlella, Welta. But it's not one of the best, I think, places to create from. It's not the most fru-como. No, it's lower vibration. Exactly. Exactly.

And I understand that other people, I don't know, like there's other artists that are more polemic because they like Masla Guerra. And I understand, but I don't think that it's my story. It's me. So I try to focus more on the positive and on the love if that makes sense. Yes, I think also when people see you differently than you are, it often has more to do with them than it does with you. Exactly. It talks more about them or what they need to see. Yes.

So I think that also as an artist, sometimes I thing is relieving to think, okay, I'm whatever you need me to be in this moment. I'm this mirror where you're going to see what you need to see. I'm going to be this sound that you're going to hear what you need to hear. When people don't understand my lyrics, sometimes they say, oh, her diction is not really good, blah, blah, blah. And they don't understand the lyrics. So I even think, oh, maybe that's not bad.

Maybe that's not bad, because then it's so, it's ambiguous. You know, ambiguous with that. That makes people hear what they need to hear. Absolutely. You know what I mean? So, I think that nothing is not in other port casualty. So, if that's who I am, then that's who I am. And I hope that they find what they need to find.

I'm not trying to change it so much because I guess that it's not what I'll try to be like, I want to be seen. I want to be understood. Blah blah blah. At the end of the day, I think that I, I wrote a focus on, I want to know who I am. Yes. I want to be like, you know, focused on my path. You're going inside, not going outside. Yeah.

More going inside, more like I know what I need to go through in this moment. And that's what I'm going to do. And I hope that they're going to find what they need to find in that. Absolutely. That's fantastic. What type of movies do you watch? What type of movies do I watch? I watch the other day. Què tal de les mules de l'Aj? Què tal de l'Aj? L'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, l'Aj, I was so young, I was so young, I was so young, I was so young, I was so young, I was so young, I was so young, I was so young, I was so young, I was so young, I was so young, I was so young, I was so young, I was so young, I was so young, I was so young, I was so young, I was so young, I was so young, I was so young, I was so young, I was so young, I was so young, I was so young, I was so young, I was so young it, but I think that you will love it, I think.

And you cried upset or cried? No, believing. Yeah. I cried like, fuck, there's too much beauty in this. You know? Like, it's too much beauty. But I love, I don't know, like, I love movies. I don't know, like Tarantino, ultraviolencia, it's very interesting too.

Or, I don't know, like something that I'm not used to see in my day-to-day, right? So I think that it's very interesting. Or the channel just energy that I'm not, it's not where I am most of the day. Or Pedro Almodó where I love how he sees women, how he sees plan a here feminine, how he understands it, how he explains it, or the culture from my country. And I love to see his point of view.

See, but I love serious to have been watching in a succession. I'm not seeing. I've been watching this show. Very interesting. It puts me a little bit in tension. I'm not gonna lie. I been watching this show. Very interesting. It puts me a little bit in tension. I'm not going to lie. I feel a little bit tense when I watch it.

I don't watch it. Necessarily the whole episode. Sometimes it takes me moments. I don't like to feel tense. I don't think things that make me feel scared or tense I try not to watch. So horror movies you hate. I don't pick things that make me feel scared or tense. I try not to watch. Yeah. So horror movies you hate.

I don't, yeah, I don't watch it. No, but I'll watch Tarantino movies, even though there's violence and I don't normally like to see violence. It's different. But something with him, it's always like with a wink or a amp or a feel as much like commentary about the violence as the actual. it doesn't seem like it's brutal Yeah, exactly or or it's too much where it's like a cartoon. It doesn't it doesn't feel personal Yeah, it doesn't feel it doesn't feel personal

It feels like you see his point of view all the time. Yes, how he thinks I mean at least I don't know your interpretation of how he thinks and I think that There's always like I don't know. It's not like violence that I cannot handle. Yeah, it's just like something That in the way he does it very very tasteful that I I can handle it Yeah, when sometimes when it's too much. I'm like no, no, no Have you seen his new book? He's got a great book. No. Yeah. Cinema speculation came out at the end of last year and it's great.

See? Yeah. Wow. Okay. About him explaining how he sees. Talking about his, the movies that he grew up watching, his relationship to movies. Very beautiful book.

Wow. Yeah. Thank you for letting me know. And you're the movies that you like the most. Probably old movies. I don't I don't watch so many current movies, but I watch old movies. And I do watch the new movies I watch. I do know a movie, a Mubi, it's like a streaming service like Netflix, but it's only cool. Oh, CC, CC I've heard. We're in a few movies. CC, like feeling. Very good.

I think it may be his French. Yeah. Very good. Oh wow. I'll check, I'll check. But many of them are tense. So like, if it gets too tense, I stop watching, but I like seeing how beautiful they look.

They really look beautiful. Yeah. There are some things that I wanted to ask you. Let me, there was some things that I wanted to ask you. Let me remember. Oh, I see. I wanted to ask you, what do you think about the concept of sacrifice, to be an artist and to stay like, connected with your purpose, and really like putting all the energy that you have and everything. The total commitment to your craft. See, exactly, perfect words.

In order to do that, you think that what do these things like the sacrifice, the papel del sacrificio in that? I think it's a tremendous sacrifice in that if you put your craft as the most important thing in your life and it's the total focus, it's very difficult to discuss how different that is than the way other people get to live. It's like being a monk, you know, it's a serious commitment because it's not just when you're in the studio, it's not just when you're in the studio. It's not just when you're performing It's all the time. Yeah, because you you're the conduit for this creative energy and

there's no Off time because it's not up to us, you know as the creators, it's not up to us Every time there's an inspiration or an emotion that comes up, we're mining those. That's part of our work. So we're paying attention and we're always in this awareness practice.

That's just very different. And it's a serious commitment. And I'm used to it because I've been doing it my whole life. But I would say it's not for everybody. Yeah, I agree. And I think most people think of it as all of it's of all a big party. And it's not... That's all true.

That's all true. Actually, so many people think that it's like... ...Binanart is like, yee-ha-ha. Yeah. Yeah. It can be though. Yeah, he he ha ha. Yeah. Yeah. It can be though. Yeah, there's definitely moments of that. Yeah.

But it's not, it's not based on that. It's based on this commitment to whatever it takes to be great. So you think that commitment, okay, so excellence requires commitment, commitment requires sacrifice. That's how you would think it. Yes, but I don't think about the sacrifice so much, but yes, it certainly exists.

It certainly exists. But there's sacrifice in everything we do. You're not even just commitment. There's always sacrifice. In every decision we make, there's another path that we didn't take. In every decision we make, there's another path that we didn't take. I ask it because I think that, for how I was raised, I think that the concept of sacrifice is very present. And I think that you can get excellence and still can have joy. You can have joy. Yes, and I think that sacrifice.

You can have joy in sacrifice. Exactly, exactly. That's what I think. Because sometimes I think that people think about sacrifice in a way that it has to be in a way that it doesn't have to do with joy. And I think that you can find joy in that. Absolutely. If your highest intention is being of service,

that gives joy. Sacrifices part of accomplishing that joy of sacrifice, that the joy of service. Yeah, yeah, exactly. It's a spiritual concept. Yeah. See, also I wanted to know what's your point of view about this. I think that a lot of times, socially is much easier to think about men that are creadores,

creators that are men, men that are excellent in what they do as genius, right? The concept of of genialida. But then when it's about a female or women, I think that it's more about, oh, brilliant, but not genius, right? It's usual that. That's interesting. Yeah, it's usual that I think that socially you can tell, like have the way people judge women's work or judge men's work.

So I'll be like, hmm, what's the reason of that? You know, I'm the origin. I wonder what's the origin? Yeah. I don't know. So I know that anytime there's a label, whether it be genius or brilliant, it's not really helpful. You know, the labels don't make anything better. Even to, I mean, man and woman, I definitely acknowledge man and women as different. But I don't think in terms of if we're making something, it doesn't matter if the man made it or the woman made it, if it's something, I mean, other than maybe a baby. The way where it makes a big difference. But in general, we're all, again, everybody's working together for this purpose.

I'll say I've worked with some women musicians in the past who have felt an extra need to be in control in a way that maybe some men artists don't feel. And it doesn't seem like it, from my point of view, seeing it from the outside, it doesn't seem necessary. It feels like it's taking on extra work for no reason not to make it better but like to prove something. And there's nothing to prove.

I think, I think it cannot be nothing to prove but I think that that comes from The fact that socially, I think it's easier to celebrate like more like man Like a creadorias or a professional is the causes When they are professionalized. I think it's easier to celebrate when they are professionalized. I think it's easier to celebrate men doing things great than women, so the al-Mande.

I just wonder because sometimes my sister and I would talk about this, and it's like, what's the reason? That makes men maybe feel that difference and makes men move in certain way just because of that difference too. And I think that men are the men that I've met as artists. They're extremely obsessive. And they can become so great at what they do because of this, και μπορεί να κάνουν πολύ γυναίες γιατί αυτήν κόμπουλσή, όπως πολύ ευκαιρία, γιατί εγώ που έχω μεταρυμιώ, πολλά χρόνια,

δεν ξέρω, που χρόνια, που εγώ πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να πρέπει να there's not this need of control that you would be talking about. For me, I think that some women can be worried about how things got credit, how things are explained, the narrative, because maybe the narrative hasn't been fair enough for a lot of years. But so I understand, for example, when people would explain me that Bjork would fight nobody, I don't know if the war is fight, but she would be like Betty. Πολλο θα εξημείμαι ότι η ίδια θα φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φτωσε να φ male energy is much more controlling to me, much more controlling in the intellectual creation. Maybe it's the man that I've met, they are great at what they're like beast, amazing, but I feel more, I don't know, there's just something very organic and not trying to prove too much and just creating by nature from women.

Yeah. See, and I don't know. There's something about that that I was like, I'm curious about what he thinks. Yeah, I don't know. I know, it's interesting. I would say that early in my career, I was more controlling right in the beginning,

but only because I didn't have as much experience to see as big of a picture. So from, you know, when I first started making things, I felt like I had a vision for how to do it. So that was the right thing. Right. But that was just one way, you know, for a couple of years. Right.

But once I saw, although other people have great ideas too, then it changed. It changed. Absolutely. So maybe, and I think many people goes back to what we were talking about originally with, if people find a way that works for them, they tend to stick with that. That's the, yeah, they stick to that too. And I don't have that. I like the evolution and the change and the excitement.

If I was making the same music I was making 35 years ago, I wouldn't be doing it anymore to be boring. Yeah. Did that. Yeah. So the fact that it's always something new and finding some new way in is very exciting, much more fun. Yeah, the process has to be different. Yeah.

I think that is much more exciting when the process is always different. Yeah. See, there's no right way. That's the other part. There is no right way to do this. Yeah. It's a million ways. See. And you think that they all want to lead you to different places or different ways that are going to lead you to the... There's no right way to do this. Yeah. It's a million ways. See?

And you think that they all want to lead you to a different place or different ways that are going to lead you to one place. I think the different ways lead you to a different place and then it's up to you to decide which is the place you want to, which is the one you like. In claro. Yeah. Yeah, like a preference. Yeah.

I also, I don't know, I think this maybe is more of a fatalistic view that the choices we make lead us to the place that we need to get to. It's a little different than what I just said, but it's I think that's true. I think yes, we get to make all these choices, but there's also some part of our lives go the way they're meant to go. You know, like there's some, I know some incredibly talented people who, for whatever reason, never had success. It's not because they're not talented enough. It just isn't, it's not in the stars, you know, they didn't do anything wrong. And then there are other people who, for whatever reason, either, and

some people just have a really good work ethic. And great stuff happens for them, or some people just happen to be very lucky. And great things happen for them. And there's no rule in any of these. I will say, I know that regardless of who's doing it, if you're not willing to work very hard for a long time, it doesn't work. Regardless of any of the other stuff. You know, it's very hard work and takes tremendous amount of focus and attention. It doesn't happen. It's not an accident. Yeah, it's not an accident. I agree. I think that there's a component of the destino faith, a component of that in life. Because I agree. I see that too. I see people that I'm like, why this doesn't turn in the way they want it.

But maybe even you desire something a lot that doesn't mean that that's God's plan for you. So I think that if you stay humble, if you have like, milda enough, you'll understand what God's plan is for you, right? And then you're gonna maybe find joy in that once you are there, once you are in that path. I think I always felt that I had to make music. So I was new since I was very young and I always stayed focused on that, like focused on this is where I'm going. This is how it, my life is and my sister will say sometimes like, would you do something different or would you do you see yourself

like doing a different, having a different life and I don't think that I do. I don't think that I see another option. I don't see myself doing something different. I know why I'm here. So when you know, you cannot look to another no. No. Can you look at me? My experience was different because I didn't know. I knew I would make music and it would be the most important thing in my life, but I never knew it could be a job. I thought I would have a job. Really? And music would be my hobby, of course. So you started then the label? Just for fun. For fun? Oh, absolutely. I love that. Yeah, yeah. We hope to sell enough records to make another record. That's all it ever was. And at that time, nobody, anyone who was making hip-hop music at that time,

had any expectations of success because it was no one had ever had it. But that's what making was amazing. Yeah, it was pure. It was just pure people making art for the sake of making art because they loved it. And I thought I'd have a real job. And then I would make music in the time that I didn't have to work to support myself. Yeah, claro. So that's an example where I didn't even know. I knew what I liked to do, but I didn't think that it was a possible path. That happened all by itself.

You didn't thought that that was a possible path that happened all by itself. You didn't thought that that was a possibility. It happened, it revealed. Impossible. And then you follow it. Yeah. Yeah. And now I feel a sense of obligation because it has been so beautiful. And when an artist comes to me and asks for help, I feel an obligation to help because I feel like that's why I'm here. That's my, again, I didn't decide that. That's how it has been.

It happened. It happened. Yeah. So I want to live up to my potential, whatever that is. I think if you have the blessing of seeing with clarity, I think that's a responsibility. So it makes sense that you use it and you live, as a responsibility. Honoring that responsibility. It takes me forever to translate. It takes forever in my head to translate,

because I think in Spanish. I try to find the right words to say the thoughts in English. I can feel just by being in front of you that you are where you're supposed to be and just by being in front of you, that you are where you're supposed to be. And because of the music you've done, that's so well used to. And even when we talk, like the way your eyes spark, how old are you? How old am I? 60. That's amazing. Honestly, that's gold.

That's gold. To me, right now, being with you today, that's gold, that also being with 60, with clarity, and also, as part, as a part of the bridge and the other things, I think that's all I would want when I'm 60. And I imagine myself doing making music when I'm older. Yeah. yeah, making music not not my albums necessarily. If got ones yes, but they have nothing to explain, nothing to say, I rather than no, not do it, not do it and help other people to do them. This play is so beautiful by the way. Thank you. I love the decision that you made of not making this room too big.

Yeah. It's smart. Yes. I feel like the nature is much more important than the actual space where we are. Absolutely. And with the room. And it's warmer. We have these doors open.

What's it? So it's like being outside when you were. It's so really. Yeah. Oh, thank you so much for doing this. Of course. Pleasure speaking to you. you