Rosalía

29:41It's just everything is different. I don't think you can even compare other 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, artist B's music is like artist B. Claro. Artist A's music is a better music B's artist. Uh -huh. Do 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 entry is better than yours.

30:24It's no sense. Exactly. You know what my experience is. 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 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.

31:00I don't know. But I know that if you... That's the other thing that's 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 else. Yes, exactly. Exactly. You could work on it for two more years and it'll turn into something different, but then it'll be... Something different. Yeah, it'll just be... Exactly. A different time, you know. But it's a tentador. Tentador. It's tempting. Tempting. You could always be like spinning around an idea or something to try to find it a different way.

31:45It's okay to do. Sometimes you have to go past it to know... Clado, 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. Yeah. It's either getting better or it's not. That's an experience. But then... But if it's not, then it's maybe getting better for the process, right? Because then you go back. Yeah. 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 this is very... How is it very positive?

32:24Yeah. Anytime it starts not feeling all that it can be, I always go back to the last time that I really love... Yeah. And maybe that either that's it or that's the new starting point again. Yeah. 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. Right. What? Well, that matters is that it works. You know, like some... I know some people think, okay, I'm going to do this, this and this to it. Yeah. And then that's going to make it better. That's the thought. And then they do this, this and this to it. Mm -hmm. And it's not better. Right.

33:02But in their mind, they're like, well, I did the things I wanted to do. So check those off the list. I'm done. Right. And it's not as good as it even was before, you know? Yeah. Because a process, a creative process is not about checks, no? 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 and it's like, it's not better. Sometimes it's better. Sometimes it's way better. Sometimes 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.

33:35So sometimes my intuition will say, go this way or 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, how 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. 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, that it's relaxed.

34:12And 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. It's a feeling, it's emotional and it happens in our body. Yeah, I feel in my body. You feel it. Yeah. And you can relax into it, you can find peace in it, or you can find excitement in it. The energy that you need. Yeah. Yeah, excitement to it, exactly. See? Usually I find it if I'm really excited to play it for a friend, it's a good sign. Yeah. And do you feel like the way you hear it, it changes depending on who you're playing it for, or depending if you're playing it...

34:56Absolutely. Right? Absolutely. Why is that though? I don't understand. Just is. 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, I guess, because maybe I don't know how I feel. I don't know. I never did it. I never showed to her and showing it in person. Try some time and see. See what happens. I'll do it, 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.

35:37Yeah. I have a different relationship to it when someone else is listening. Another point of view. See? 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 to it. But 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. Yeah. Do you think writing has to be personal?

36:26No. Could be anything. Yeah. 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 story is yours. If it's a marial story, if it's nobody's story, if it's everybody's story.

37:13Yeah, it doesn't matter. It doesn't matter. No. And also, it doesn't matter if anybody helps is fine. My feeling is some people are very concerned with I did this myself. 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 just producers care about what other producers have done, about other writers have right. It's just, it doesn't really matter. I think but again, that requires being humble. That requires being humble, I think, because if you, you're on service of the song, the music, or whatever you do in the project, however you want to see it.

37:58I 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 to, I'm telling you, I'm a huge fan. And you say to know like, like, that it's about the best idea getting picked, no? 100 % it's 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. Yeah. I love how you think. I think it's always been a very present for me when I go to the studio.

38:44I remember a lot of times, like knowledge that I learn through reading or listening to you. 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 angel who poe him the other day or seeing like, monet painting, like, everything can be, there's like anything can be a trigger. It's true. See, I feel like nature is parents part into, I think all kinds of shit. Everything can be like an excuse to start. Yeah. 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.

39:53Why are we 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. I think that making musical out of times is a conversation with other artists from the past, what has been before you, what has been there, other artists around you. Just a conversation, I think. All we are is the sub -total of everything we've experienced in our lives. So, nothing really starts with us. Always, we're always part of a lineage. We're just a vehicle to move it forward. Yeah, and God is the first one, is the first thing, no?

40:40Yeah. And then, all of the more, it's coming after. So sometimes, I don't know what do you think about this, about... So, 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... You're never undermining that thing. You're shining light on it by doing something like it, because you think it's so beautiful.

41:26Yeah. 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. So, yeah, I think that... I understand that people have a feeling of belonging, belonging to... But I think if they feel that they don't understand it. I know that it's a misunderstanding. I've been thinking for a long time about this.

42:12I was always curious, like, what would you think? Because to me, I'm like... I understand that feeling of belonging, or the belonging, but I think it's different the feeling of possess, something. I never felt like I possess anything, even anything I've done. Because I don't even feel like I necessarily don't it. Yes. You know what I mean? Yes, yes, yes. So, yeah. 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.

43:00It becomes new when someone else experiences it. Exactly. It's not the same thing you made anymore. Exactly. Even that. Yes. It's always changing. Yes. 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 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.

43:43Yes. 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 is different and everybody has their own combination of all these elements, then you would always be able to do something unique. Absolutely. And when something is unique, no, I fail. I know how to say that in English. There's no mistake. There's no room for, you know, there's no room for fucking up. Come say, say, say, say, yeah, 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.

44:23Absolutely. Even, I would even say, if you tried to directly copy what someone else does, it's going to 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 like the Beatles. Why? You know, Led Zeppelin wanted to do American blues music. Clarence. It doesn't sound like American blues music. Sounds like Led Zeppelin. And thank God, no? Yes, because it's there. Yeah. Because it sounds like who they are. Clarence. And who they are, it's like if you write a, 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.

45:06Exactly. We each have our own way that we do the things that we do. And it's always different. Mm -hmm. 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 song's change through playing the month stage? No. 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.

45:57Yeah, 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 the 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 a little bit more guitar to make it feel a little bit closer to how I was the energy in motorbomb me, and that's it. I didn't necessarily change how I feel about the song though. Do you have to think about it when you're singing or you just say it just...

46:40It's like automatic. When you say think about it, what do you mean? When you're in the song, are you thinking about what lines come next? Are you thinking about... Yeah. Or are you experiencing the song as it's happening? Depending on the night. The night that I'm... 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. And most of the time, I think that I focus, especially in the platter, for example, but 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.

47:28I think the more I grow as a musician, 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 will focus a lot in being on key, singing with the right... The right note. The right note, the right D, the right D, and Nuelo Descubierto, I haven't discovered too long, maybe. How important I think is movement. When the movement is 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, it's there.

48:18So 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 the 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. It doesn't mean that that night maybe it's going to be the most... Which 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.

48:59Then I think I just start getting lost in the body. And that's what I've been... 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. Like 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 going to be another show. So I think that this show created having in mind that there's going to be a big number of people and trying to have in mind to be generous with the experience that we're going to share with them.

49:55And I think there's not a lot of props. There's not a lot of... Especially in the motor mamitor, there was not a lot of things on stage. There was not fireworks. There was no fire. But it was more focused on the emotion and on the... Is there a live band? No. No band. No band. You're on stage by yourself. Yes. Wow. Weight dancers. That's amazing. That's 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... White canvas. And there's no band. By the way, a lot of people were pissed off that there was no band.

50:47And 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, dosanically, it can really sound good if you don't have a band. It can really... It's optimized to sound good. It's hard to make a band sound good going from venue to venue nights and nights. Yeah. Which there's beauty in that... And it's a challenge too. But I think it just depends on the project. Absolutely. Right? So I think Motomami, there's not a band in the studio to make this album.

51:30Why 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 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 any energy when you went? Did you go home feeling different? Because at the end of the day, that's my main goal when I create a performance is that.

52:08The energy. The energy. Yeah, I'm with you. I'm so excited you didn't have a band being... Because I'm sure you're going to say, of course I have a band. Oh really? Yeah, but I'm so happy you don't. You really thought that was... Yes, because it's unexpected. It's great. It's great. I love it. I think that I'm going to have a band at some point. I'm sure it's the 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.

52:42But if I went to a hip -hop club, there 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 going back to some old thing. Like there was this whole revolution to bypass that. And get to it. 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.

53:34Just because the nature of... It's in every town, yeah. Yeah, just technologically, it could sound really good. Yes. And it did. Yeah, and that's exciting. Yeah. Also, I think that the band has a presence that I don't know if you want that, depending on the project. It depends on what it is. But I also, to me, it can also create a sense of makes it dated. 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. Yeah, it depends on how you do it. But I think that, for example, having a band on stage is definitely going to be a presence and it's definitely going to be an intention.

54:19It'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 beats. Those are reggaeton beats a lot. I 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 piece that's got the satián and Puerto Rico. With this type of music, as you say, is there's somebody that's tapping chando.

55:02There's not like a band playing those type of beats. So to me, it's obvious. Yeah, there are going to be moments that a band, it's perfect for an artist and a project. And there are times that no. And that doesn't make it a better concert or worse concert. By the way, there's so many ways of making a concert. Do you know the day a concert, what is a concert? It's a social moment, no? It's just a contecimiento social. So there's so many ways of approaching that. And I love the idea of going against any expectations of what we think 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 before?

55:44Yeah, I think that's a goal. That's a goal. Tell me what type of music you listen to now. I listen a lot to 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... I'm unbelievable. There's something that every time I don't feel really good, I play her albums and it warms. Warms. Yeah. My soul, like... The way she sounds and the way she plays, there's something about the decisions she makes that it just... ...medes arma, a guard down. Yes.

56:36...medes arma. Like... I really love her. And I've been listening to her a lot. Areta too? Areta frankly right? Yeah. I've been listening to her a lot too. I think 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 a lot more of Areta. Because naturally, I will listen more to Nina. And of course, there's so different know, but there's just... I admire so much the way she sings Areta Franklin. But I really, really, really feel how Nina Simón makes music.

57:25Yeah. I was very lucky to get to see her play live one time in New York City at... Wow. ...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. My Africa is my home. And went on a wild rant. And it was just...

58:11I never saw anything like it. It was so cool. Wow. Yes, so her... ...near and never performed, of course. I saw the... ...how does it say the documentary? Yeah, documentary. The documentary. And I just got that feeling of her not being understood. Not 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 on, get me to go. 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. I can make the music that I truly believe in.

59:01And 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? It's to be like, no, I don't see that. Of course, you... ...is impossible to not... ...a knowledge that exists, right? So I think... You can't change. For that. Of course, I mean, but I don't know. I feel like... ...for some people, there's artists and maybe they like...

59:46...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, Persona Pugliga, 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 this type of thing. I don't know. I don't feel like that is a place... ...or something that triggers me to create. I know there's other artists...

1:00:31...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... ...I'm gonna change this energy. And I'm gonna darle la vuelta. But it's not one of the best, I think... ...places to create from. It's not the most fructum... ...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... ...mash la guerra. And I understand, but I don't think that it's my story. It's me. So I try to focus more on...

1:01:12...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. Yeah. So I think that also as an artist... ...sometimes the thing is relieving... ...to think... ...okay, I'm whatever you need me to be in this moment. I'm this mirror where you're gonna see what you need to see. I'm gonna be this... ...sound that you're gonna hear what you need to hear. When people don't understand my lyrics sometimes... ...they say, oh, her diction is not really good.

1:01:51And they don't understand the lyrics. Sometimes 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. That makes people hear what they need to hear. Absolutely. You know what I mean? So I think that nothing is... ...not anything for 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 wanna be seen. I wanna be understood. I don't know the day I think that I... ...I wrote a focus on...

1:02:29...I want to know who I am. Yes. ...I wanna be like, you know, focused on... ...my part. You're going inside, not going outside. Yeah. Yeah. More going inside. More like, I know what I need to go through in this moment... ...and that's what I'm gonna do. And I hope that they're gonna 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. This movie, very beautiful. I'm so bad for the names. I forget words so easily. I made a lot of mistakes. I'm gonna make a lot of mistakes. Yeah, this movie closes.

1:03:08It made me cry so much. That's me, oh. I did years. There was years. It was years that I didn't cry so much. I think since I was a teenager. And somebody broke my heart. This movie... ...came on either. From this French guy. So close. And Lucas don't... I swear you have to watch it. You don't have to watch it. But I think that you will love it, I think. And you cried upset or cried? No, believing. I cried like... ...fuck, there's too much beauty in this. You know? Like, there's too much beauty. But I love... I don't know. I love movies that has... I don't know, like Tarantino, ultraviolencia. It's very interesting too.

1:03:57Or... I don't know, like, something that I'm... ...not used to see in my day -to -day, right? Yeah. So, I think that it's... ...it's very interesting. Or the channel just energy that I'm not... ...is not where I am most of the day. Yes. Or Pedro Almodó where I love how he sees women, how he sees... ...planning here for menina, 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 too. I've been watching in a succession. I'm not seen. I've been watching this show. Very interesting. Put me a little bit in tension. I'm not gonna lie.

1:04:37Yeah. I feel a little bit tense when I watch it. I don't watch it necessarily the whole episode. It sometimes takes me moments. Yeah. But... I don't like to feel tense. I don't... I don't pick things that make me feel scared or tense. I try not to watch. Yes. 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 though, yeah. Something with him, it's always like with a wink or a amp or... Yes, it feels as much like commentary about the violence as the actual...

1:05:15Exactly. It doesn't seem like it's brutal. Yeah, exactly. Or it's too much where it's like a cartoon. It doesn't feel personal. Yeah, it doesn't feel... It's true, it doesn't feel personal. It feels like you're seeing 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... In the way he does it, very, very tasteful that I can handle it. Yeah. When sometimes when it's too much, I'm like, no, no, no.

1:05:51Have 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 thinks. Talking about his... The movies that he grew up watching, his relationship to movies. Really? 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 watch so many current movies, but I watch old movies. And I do watch the new movies I watch. I do know a movie. M -U -B -I. It's like a streaming service like Netflix, but it's only cool.

1:06:32Oh, CCC have heard. But in the old movies. Old art movies. CCC. Like, 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 was some things that I wanted to ask you. Let me remember. Oh, see. I wanted to ask you. What do you think about the concept of sacrifice? To be an artist and to stay like, connect to your purpose and really like putting all the energy that you have and everything? Total commitment to your craft.

1:07:19See, exactly. Perfect words. Yes. In order to be that, you think that what do these things like the... Sacrifice, the role of the sacrifice 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 performing. It's all the time because you're the conduit for this creative energy and there's no off -time because it's not up to us.

1:08:11You 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. You know, 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 all a big party and it's not... That's so true. That's so true. Actually, so many people think that it's like being an artist is like, he -ha -ha.

1:08:52Yeah. Yeah. It can be though. Yeah, there's definitely moments of that, but 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. But there's sacrifice in everything we do. You've not even just commitment. There's always sacrifice. In every decision we make, there's another path that we didn't take. You know? Yeah. Yeah. I ask it because I think that for how I was raised, I think that the concept of sacrifice is very present.

1:09:45And I think that you can get excellence and still can have joy. Still have. You can have joy. Yeah. And I think that the sacrifice is - 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.

1:10:39I think that a lot of times, socially, it's much easier to think about men that are creadores, creators, they're men that are excellent in what they do as genius, right? The concept of genialida. But then when it's about a female or a woman, 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 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 - I know that anytime there's a label whether it be genius or brilliant, it's not really helpful.

1:11:35Wait. You know, like labels don't make anything better. Even to - You just the name. I mean, to me, man and woman, I definitely acknowledge men 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. Wait. 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.

1:12:19And 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 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 a more, like a more men, like a creadorias, or professionalism, the causes. When they are professionalized, I think it's easier to celebrate men doing things great than women, social mandate. And I just wonder because sometimes my sister and I would talk about this, no?

1:13:04And 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, like very obsessive, while women that I've met that they create a lot of times, I don't feel that, that compulsion, that obsession, I feel it's more about, it's more natural, the creation. For women, there's not this need of control that 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.

1:14:07But so I understand, for example, when people would explain me that Björk would fight nobody, I don't know if the war is fight, but she would be like, she would give a lot of importance to the credits, right? In order for people to understand the creadour that she is. But actually in the process of creating male energy is much more controlling to me, much more controlling in the intellectual creation. Maybe it's the men that I've met, though, they are great at what they're like beast, amazing. But I feel more, I don't know, there's just something very organic, I'm not trying to prove too much, and just creating by nature from women.

1:14:58Yeah. 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, no? For the first couple of years. Right. But once I saw, although other people have great ideas too, then it changed. It changed.

1:15:36It changed. Absolutely. Right. 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 right. Yeah, that's stick to that too. And I don't, 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. It would 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 interesting.

1:16:20Yeah. I think that it's 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 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.

1:17:03It'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.

1:17:45And 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 does. Yeah, 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 stino fate, no? Yeah. A component of that in life. Because I agree. I see, 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.

1:18:31So 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 going to 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 always knew 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 doing a different, having a different life? And I don't think that I do. I don't think that I see another option.

1:19:18I don't see myself doing something different. I know why I'm here. Yes. So when you know, you cannot look to another. No. 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.

1:20:06But that's what making it 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 possibility. It happened to rebuild. Impossible. And then you follow it. Yeah. Yeah. And now I feel a sense of obligation because it has been so beautiful.

1:20:51And 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 wanted to live up to my potential, whatever that is. Mm -hmm. 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 like on this, like on a, on a random as a responsibility, honoring that responsibility. Absolutely. It takes me forever to translate. It sounds nice. I'm a figure. It takes forever in my head to translate because I think in Spanish.

1:21:42Yes. So 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 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. Like, 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 spark, como brillo en los ojos, I think that's all I would want when I'm 60. And I imagine myself doing making music when I'm older. Yeah.

1:22:33Yeah, making music, not not my albums necessarily. If got one, yes. But they have nothing to explain, nothing to say. I rather than not do it, not do it and help other people to do them. This place 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 the room. And it's warmer. We have these doors open. What's it? So it's like being outside when you're at the top, really. Yeah. Oh, thank you so much for doing this. Of course.

1:23:17Pleasure speaking to you. Pleasure too.

1:23:32Thank you. Pleasure.

1:23:37Pleasure. Pleasure. Pleasure. Pleasure. Pleasure. Pleasure. Pleasure. Pleasure. Pleasure. Pleasure.