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of black and Latino still united.

1:00

Ladino Front a cultural renaissance organizing.

1:02

At the forefront of the movement. I'm

1:05

money at you know, Hossa not have I am.

1:09

Hey. Let the new Usa listener Here's

1:12

a great show from Los at a

1:14

Chivas. For. Me music

1:16

has begun like I actually have a

1:18

song that. says. It. Has

1:21

become a religion. Has. Become my

1:23

master, my boss, And

1:26

as a lot of meaning in

1:28

my life. And.

1:30

People around me they know that that

1:32

they know that the we're working for

1:34

music. Because. Music. Is.

1:37

A menacing. From

1:42

Federal Media and Pr Eggs,

1:44

it's nothing the Usa I

1:46

might gain. Hossa today. Mexicans

1:48

singer songwriter Natalia left foot

1:50

guy. They invites us. To

1:52

seek refuge in music. It

2:04

took a while to get here, but Natalia

2:06

La Furcade wanted her latest

2:08

album to be a total

2:10

celebration of life, with

2:12

all of its vulnerability and

2:14

all of its joy. And

2:17

because it's such a special album,

2:19

she decided that it deserved a

2:21

proper debut of its own. So

2:25

Natalia chose to share the Todal

2:27

Estrades at a special concert on

2:29

one of the most iconic stages

2:32

in the world, Carnegie

2:34

Hall in New York City. And

2:38

I, dear listener, had the pleasure

2:40

of being there. Now,

3:03

Carnegie Hall is huge. Natalia

3:06

is pretty small, but she lit

3:08

up and took up the entire

3:11

space. She performed most of

3:13

the new album right there, premiering it

3:15

live. And she also performed

3:17

some selected songs from her 20-year career.

3:29

She brought the sounds of Mexico

3:31

onto the stage and also had

3:34

some special guests, including David Byrne

3:36

from the Talking Heads and the

3:38

legendary Omara Portuondo, a founding member

3:40

of Cuba's Buena Vista Social Club.

3:49

Throughout the evening, Natalia sang

3:51

about caring for her own

3:53

inner flowers, and she

3:55

encouraged us to tend to our own

3:57

inner gardens as well. Petodas

4:07

Las Flores is Natalia's

4:09

first album of all

4:11

original new music in

4:14

seven years. She

4:16

wrote it during a time of intense

4:18

isolation at her house in Barracruz at

4:20

the onset of the COVID-19 pandemic. First

4:27

to slow down, Natalia found

4:29

herself listening to the sounds of

4:31

her beloved tiara of the earth,

4:34

like the flutter of the hummingbirds in

4:37

her garden and the waves crashing along

4:39

her favorite beach. She

4:41

began to process death during a time

4:44

of so much loss and

4:46

also to value the gift

4:49

of life more than ever.

4:57

As much as she is influenced

4:59

by the present, Natalia's music is

5:01

also linked to the past. Her

5:05

2015 album, Hasta la Raí,

5:08

was inspired by her travels

5:10

throughout Mexico exploring her cultural

5:12

heritage. Over

5:18

the next five years, Natalia released

5:21

two pairs of critically acclaimed

5:23

albums featuring some reinterpretations of

5:26

classic Latin American songs. In

5:33

making her new album, Petodas Las

5:35

Flores, Natalia says

5:38

she awoke her most creative

5:40

self, and the album that

5:42

resulted captures her own

5:44

journey of healing. To

5:47

dig deeper into the significance of her

5:50

latest production and to look back upon

5:52

her career, I went down

5:54

to Sony Studios in Manhattan to

5:57

speak with Natalia just days before

5:59

her song. sold out her to go

6:01

home. Well,

6:18

first of all, Natalia La Fuca, welcome

6:20

to Latino USA. Oh, I will. Thank

6:22

you. It's a pleasure. Muchas

6:25

gracias. Ati, ati, ati, ati. So

6:29

I found it very interesting as we were

6:31

preparing that you decided to debut

6:33

your new album, The Todalas Flores, here

6:36

in Manhattan at Carnegie Hall. Quinta,

6:38

why did you decide that you wanted to launch

6:41

the album in New York and specifically

6:43

at Carnegie Hall? It wasn't

6:45

really like a decision, because

6:49

it was more some kind of

6:51

a destiny timing

6:53

and the way things

6:56

came. I wanted to go into

6:59

the studio. I wanted to record

7:01

new music, but I wasn't thinking about

7:03

Carnegie Hall. It

7:05

was a very beautiful

7:07

surprise. So when you

7:09

heard you're going to debut your album, it's

7:11

going to be live in Carnegie Hall. Mapas,

7:15

at that moment, then what did you feel when you

7:17

were like, OK, this is really going to happen? Well,

7:21

it's been something that we know since

7:23

very long ago that this is going

7:25

to happen. But the time when it

7:28

feels really like, OK,

7:30

it's real, is this

7:32

moment that we're talking right now.

7:34

I mean, let's see. We're in

7:37

a beautiful Sony studio. There's a

7:39

massive poster of you with the

7:41

name of your new album, The Todalas

7:43

Flores, you looking at a statue. I

7:45

mean, it's really happening,

7:47

Natalia. It's happening. And it's beautiful.

7:50

And I feel so grateful and

7:53

fortunate to have this happening

7:55

right now. When we were at

7:58

the rehearsals with the band. We

8:01

still have some rehearsals here because

8:04

I have members from different places coming,

8:08

but that moment felt real, you

8:11

know, the moment when the

8:14

music is finally happening. I'm

8:16

thinking, does New York in particular have

8:18

a particular meaning for you? New York

8:20

City as a place, as an artist,

8:23

or is it New York

8:25

symbolizes work, and I love it, but it's a

8:27

place to work. Yeah, somebody

8:31

just right now was saying that

8:33

I am an artist of contrast.

8:37

Contrastes. It is not

8:39

different from contrastes, he was

8:41

asking. And

8:43

I said, yes, yes, I think I

8:46

am. I love

8:48

contrastes. And it's funny that

8:50

this album has been so inspired

8:54

by nature, by

8:57

the energy of earth. It's

8:59

been the process of

9:01

the inner garden, which means it's

9:04

like a meditation, right? It's like you

9:07

go deep, deep, deep inside.

9:10

It has felt like that to me, this

9:13

one. And

9:15

the fact that I come to a city

9:18

like New York, right?

9:20

Just like the opposite of. Just like the opposite. I

9:24

found it so special, interesting,

9:27

interesting and magic. The

9:29

fact that I'm going

9:31

to be here in this

9:33

huge and wonderful, amazing city,

9:36

that it's everything. It

9:38

has all the contrast together,

9:41

right? Everything is

9:44

happening at the same time. It's

9:46

an opportunity to bring all

9:49

this energy that the album has. So

9:52

much energy from home. The cruise

9:54

and the montane and all that

9:56

inspiration. It's all

9:59

there. It's part

10:01

of the essence, so all

10:03

that is in the album. I

10:06

am a young girl,

10:08

I love her. I

10:12

love her. I

10:16

love her. I

10:19

love her. I

10:22

love her. I

10:27

love her. I

10:35

love her. It's

11:05

so different in its meaning. What

11:09

does that mean for me in my

11:11

life, in my journey? And

11:14

I think it's a part. You

11:18

go discovering these

11:21

new places, and

11:25

this very profound space that

11:28

music brings to you, and

11:31

that's what I love. And you know what

11:33

I love? I love to meet

11:36

people, I love talking to people, and

11:39

I love to do the

11:41

exercise of perceiving the age

11:43

of the soul, you know? And

11:47

I think, yeah, life is such a

11:49

long thing. It's

11:51

a very deep thing, so

11:55

for me, the age really doesn't

11:57

matter. I feel very, very, very, very

11:59

good. close to you like

12:02

that we're having this conversation with

12:04

there may be years in between

12:06

our ages but

12:08

for me really it's

12:10

more about how

12:13

this universe within

12:15

you like will mix with my

12:18

universe and our ideas

12:20

and I don't know I

12:22

found it very interesting. So for me to

12:25

have Omarita is like oh

12:27

I love that you call her Omarita. Oh my god

12:29

I love that. I

12:34

love her. She's my friend

12:36

you know. Buena Vista Social Club

12:38

has been a very very I mean

12:42

big influence and

12:44

inspiration in music for

12:47

me like that's the dream right.

12:49

So how old were you when you

12:51

remember hearing Buena Vista Social Club? I

12:53

was very young I was like 10, 11.

12:57

When they became Big Bill I was probably

12:59

let me

13:01

see maybe 15. I

13:04

was a little girl and

13:06

I remember like it's

13:09

part of my life like

13:11

for many of us right

13:13

it's the music that you

13:16

will play. Over and over and

13:18

over and over and over and every party.

13:21

Every single party. And from them all

13:23

this artist and music

13:26

that comes from that era and

13:28

that moment. Omarita was

13:30

there all the time for me as well.

13:33

I mean we had a chance to share

13:36

at the studio recording Tumia

13:39

Custombreaste for Musas we

13:41

had that moment together. But

14:08

having her at

14:11

this particular concert, in

14:13

this particular place for me, it's

14:16

very important. It's a

14:18

homage, a tribute for me

14:21

to music, to a

14:23

woman that I admire, that

14:25

I love. And it's

14:28

like a dream for me, you know? Like I hope

14:30

I can be that age and

14:33

still be singing and still

14:35

be doing the

14:37

way she's doing right now. Like

14:40

if you look at her, she's a very

14:42

strong woman in so many different

14:44

ways. And she's so beautiful. So

14:52

for me, it was important to have

14:55

that person, that

14:57

person and that woman that would

14:59

say welcome to

15:01

this stage because she knows it.

15:05

She was there. She knows what that

15:07

means. Why

15:14

do you think that going back into

15:17

history is such an essential part of your

15:19

expression, comortista? I

15:22

mean, Comora Portuondo, 91 years

15:24

old, and you're on stage with

15:26

her, your relationship with

15:28

the past, and obviously she's

15:30

present. But where does that

15:33

come from? There's so much weight

15:36

into that, right? Like there's

15:38

so much spirit and there's

15:41

something, it's part of the roots, right?

15:45

But I don't know. Many

15:47

times I say, I don't know, I feel

15:50

like a very old soul

15:52

or something. They made a mistake

15:54

by sending me this era. Because

15:57

I am from the 20s, the 30s, I don't

15:59

know. Like I have no story in the 20s and

16:01

the 30s, just the year 2000. Yeah.

16:05

I feel like from

16:07

a different time, in sometimes inside

16:10

the music I hear, the references,

16:12

can we amend there, like I

16:14

will connect to those

16:17

references. I'm from this time.

16:20

I don't know why, it's just like

16:22

that. So through

16:24

the years, I've learned to be, I

16:27

think this happens to you, right?

16:29

You just learn to be more

16:32

yourself than what maybe you're supposed

16:34

to be. Like so for me, it's me

16:36

like, I don't really

16:38

like this music. Everybody might like

16:40

it, but me personally, for

16:42

me, it doesn't mean anything.

16:44

Like it's not giving me anything

16:46

and I don't like it and I'm not

16:49

gonna listen. And I am not

16:51

going to convince myself to like this. I'm

16:54

gonna listen what I like. And it feels

16:57

the same with the music

16:59

that I want to sing, I want

17:01

to make. Two times

17:03

I said to the label, like,

17:06

do you still want me to be part

17:08

of the label? Because I feel like

17:10

I'm going against the, I

17:12

don't know how you say la cumo

17:15

la corriente, no? Sometimes I feel like

17:17

that, but it's nice that I have

17:19

a family in Sony Music and they

17:21

know me and they respect that fact

17:23

about my way. Pump

17:28

it up on Latino USA. My

17:30

conversation with musician Natalia

17:32

LaFurcade continues. Stay with

17:34

us. Notte Valle. And remember,

17:37

I'll get it. I'll take

17:39

it. No. And

17:42

remember, I'll get it. Swabby

18:01

season 2, you're here for a production

18:03

and it's coming to you real soon.

18:05

And believe me, it's going to be

18:07

epic. But right now, you can

18:09

catch me on tour in your city. All

18:11

you have to do is go to stubhub.com.

18:14

Swabby never give up tour and secure your tickets.

18:16

I can't wait to share with you. I can't

18:18

wait to laugh with you. I can't wait to

18:20

cry with you. I can't wait to see you

18:23

there. I see you in your city. Support

18:30

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more, visit odoo.com/Latino. That's

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odoo.com/Latino. Odoo,

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modern management made simple. Hey,

19:04

we're back. 2022

19:07

was a big year for Natalia La

19:10

Furcadé. When

19:14

we left off in our conversation, we

19:16

were talking about releasing her new album, De

19:19

To de Las Flores, and premiering

19:21

it live at a triumphant show

19:23

at Carnegie Hall. De To

19:25

de Las Flores, in fact, was the

19:27

product of years of emotional and personal

19:30

growth, along with years

19:32

of connecting with Latin America's musical

19:34

history. It was also a product

19:36

of excavating her own past,

19:38

growing up in Veracruz as

19:40

the daughter of a Chilean

19:42

refugee father. As

19:44

our conversation continues, Natalia and I get

19:46

into that part of her story too.

20:00

felt like you were leaving yourself. And

20:02

I'm wondering about that in particular, how

20:04

you understand this journey as an artist.

20:07

I mean, your last album was huge.

20:10

Were you overwhelmed? Were you? Of

20:13

course. Yeah. Scared? Of course.

20:16

I knew I had to stop at

20:19

certain point of my career. Everything

20:23

was good, apparently. Everything

20:26

was going to a

20:28

better and more and more.

20:30

And I knew in

20:33

my belly, I knew

20:36

in my stomach, I had to stop

20:39

and breathe and

20:41

integrate all those years

20:43

that I was working,

20:45

and working, and working, and

20:47

enjoying, and doing beautiful projects.

20:50

It was very happy. But

20:53

I had to stop, and I had to

20:55

breathe. I had to

20:57

reconnect to something that I wasn't able

20:59

to pronounce or to

21:01

describe, but I knew I had

21:04

to stop. So then we

21:06

stopped the tour. I

21:09

went home, and three months after

21:11

that, the pandemia happened,

21:14

and we cannot go out. So

21:17

it was actually real that

21:20

I had to stop. I think a lot of us felt

21:22

this way. It was like, Savi's gay? Stop.

21:25

You're not leaving. No more

21:28

going out. Check out. So

21:30

this period of time of silence

21:35

came to our lives. And

21:37

I think as everybody, for

21:40

me, that was the moment when

21:42

I stayed home and I realized

21:46

so many things about my

21:48

life. I was standing

21:50

a certain way, like,

21:52

OK, this is my life. This

21:55

is who I am. But what I want to

21:57

be, do I want to keep going this way?

22:00

or what am I going

22:02

to do with my free time because

22:04

I don't even know how to relate

22:07

to my house, my wall,

22:09

because I was on the road and

22:11

working all the time. So

22:13

for me, it was very confrontative

22:16

and I had to face it. And

22:19

when I finally was able to really

22:21

sit down and

22:24

be like doing

22:27

nothing, that was the moment

22:29

when I was able to read

22:32

how much I needed to go back

22:35

to my own music, my

22:38

own sound, my own

22:40

exploring of the

22:42

music and to try something different

22:45

new to reinvent me

22:48

as an artist. How do you

22:50

feel and understand the location of where you are

22:52

in terms of the art that you're able to

22:54

do? How does

22:56

the location where you're creating,

22:58

being at home, being on

23:00

paritos, gatitos? Yeah. Paritos.

23:03

Tero sigatos. Galinas. Galinas.

23:06

But talk to me about being in

23:08

your casita in Veracruz and

23:10

how the location means everything

23:12

for you as an artist. Yes, I

23:14

think it does because the location

23:18

affects the way you approach.

23:21

There are many different aspects around

23:23

you that will be part

23:26

of the process and how everything

23:29

gets built in

23:32

terms of music, for example. For me,

23:36

during this period of

23:38

time, four years, no going

23:41

anywhere, no concerts. I

23:44

had the chance to go three times

23:46

to Peru to walk in the mountain,

23:48

close to Cuzco. One

23:52

of the most beautiful experiences that

23:54

I had, I was able

23:56

to really get in there very in

24:00

the where you're

24:04

with Mama Earth, really. Like

24:06

you can feel. We are all

24:08

the time with Mama Earth. It's just

24:10

that there's many things around that don't

24:13

let us feel it. But when you're in

24:15

this context, those mountains,

24:18

the weather, the wind, the

24:20

cold, the water, like

24:23

the clean water, like all that

24:25

energy affected

24:28

in a good way, the way

24:30

I was approaching music this time,

24:32

you know, I wanted to feel

24:35

the silence in the music. I wanted

24:37

to feel the time

24:39

that is not there anymore. Like

24:41

when the time is gone, there's

24:44

no time. There's no this frame

24:47

of space. It's something

24:50

more that expands, right? So

24:53

I wanted to try that rhythm, the rhythm

24:55

of the wind, the rhythm of the water,

24:57

the elements, all those

24:59

things that were around. Then

25:06

I was at home and I

25:08

was able to present the

25:10

cycles of nature just by seeing the

25:12

trees around the house, you know, the

25:15

animals that come and they will eat

25:17

the whole tree. They

25:19

become butterflies and they're

25:21

everywhere. I

25:25

really needed

25:27

that. I

25:33

really, really needed it. And now that

25:35

I live into this context, I

25:38

feel like, OK, maybe I

25:40

can balance. So I

25:43

feel very happy to be here in the

25:45

city. Like somebody was asking, there's

25:47

no trees in New York. What are you going

25:49

to do? And I said, I'm going

25:51

to go to the stores. So,

26:03

talk to me about growing

26:05

up as the daughter of a Chilean refugee

26:07

in Mexico and how you

26:09

understood Mexico as

26:12

a place that at that

26:14

point was adorge fujados bienvenidos,

26:16

not necessarily what's happening in

26:18

Mexico today. It's

26:20

something that is very present in

26:22

its life, has

26:25

been very present and

26:27

in its heart, I think. In

26:29

his heart and his life. And his life. And

26:32

it's something that I can see through

26:35

distance and I can see through time

26:37

and also by

26:39

growing because when I

26:42

was a child, I didn't notice

26:44

the weight and

26:47

the difficult part about

26:49

this in his life, you know? I

26:52

never even thought about like, how

26:55

does it feel to leave your family,

26:57

to leave your daughters, to leave your

27:00

everything and just take the plane

27:02

like right as he

27:05

immediately from the night

27:07

to the day and you go to another

27:09

country and pretend to make

27:11

another life. It's

27:13

been very hard for him. It's

27:16

been a whole thing and he

27:19

did a life. He got

27:21

married with my mother. They made a

27:24

life. They got separated.

27:26

When he got another family, he

27:29

is very happy. How

27:31

do you feel that that impacted you as a

27:33

musician? Because again, your music is,

27:37

okay, la gente te vecomo una

27:39

bajadora, no? Somebody who is

27:41

bringing not only the music and rhythms

27:43

of Veracruz, but all of Mexico and

27:45

frankly, all of Latin America. Como

27:48

que, there's a little bit of a weight

27:50

on your shoulder. I was going to say

27:52

that. Yeah, sometimes

27:54

that happens, right? And it's

27:56

a perception really, like in

27:59

Peru, they... say gua huita.

28:05

I am very drunk. I have

28:07

so much to learn, you know?

28:10

So I don't know if I would really

28:12

say like I am an ambassador in Baja

28:14

do Radi, nada. I

28:16

don't know nothing really, but

28:20

I do know when something

28:23

gives me emotions.

28:25

I do know that. I can feel

28:28

that when I hear some

28:30

music or certain lyrics

28:32

or songs that is

28:34

like I want to learn this or I want

28:37

to listen to this. When

28:39

I was listening to Bialeta Parra and

28:42

then I was like those lyrics are

28:44

really deep and

28:47

amazing. And I feel, how

28:49

do you say, like reflected in this music

28:51

and I want to learn

28:54

this music. When I listen to Chabela

28:56

Vargas, it's like, this

28:58

is going directly to my soul. And

29:06

I don't know why, but it just, it

29:09

makes me laugh and it makes me cry

29:11

and it makes me feel alive. So

29:14

I want to learn this music and I want

29:17

to do this. I

29:19

am that. That's me. This person that

29:21

is curious about

29:23

learning and trying new things because

29:25

when you try new ways, different

29:27

things, the way I

29:30

made this new album, you

29:32

learn. You learn because you're approaching

29:34

to new experiences, right?

29:37

I love the music from my country,

29:39

traditional folk music, but

29:42

I have so much to learn. I

29:48

see real people like singing

29:51

and interpreting this music and I

29:53

am like, these people

29:55

come from the Yano, they're in the

29:57

land. You just started your gamble. They're

30:00

the truth. They're the truth. They know

30:02

it because they leave it. Your

30:20

debut is in 2002, solo debut. You

30:24

were 18 years old. You're a little

30:26

baby. Your

30:30

latest album is 20 years later. So

30:32

yeah, now you're like a

30:35

seasoned artist. And you've

30:37

been talking about this around the edges,

30:40

but very specifically, how do you understand

30:42

your evolution as an artist? It's

30:44

been a very

30:47

organic evolution.

30:49

Maybe we can say you're

30:51

growing understanding, as

30:53

I said, the power

30:56

of music. It helps

30:58

us so much. We don't

31:00

even know how much it is

31:03

going to help us to feel

31:05

happy, to dance, to feel free,

31:08

to feel peaceful,

31:10

whatever. Like cry, cry,

31:13

whatever. It can

31:15

give us so much. It's

31:17

emotions, and it's bringing them

31:19

to an arrangement, and

31:22

the chords, and the melodies, and

31:24

the structures into music.

31:27

And then you don't know what is going to happen,

31:29

if the music is going to come or not. So

31:32

I think that in

31:34

this time, I would say maybe

31:37

that's the evolution

31:39

so far for me, the

31:41

understanding about that, that it's something

31:43

else. It's not just me. It's

31:46

something else. It's something we don't. This

32:00

episode was produced by

32:04

Alejandra Salazar and

32:06

Elizabeth Lowenthal Torres.

32:29

It was edited by Andrea Lopez-Grusado

32:31

and mixed by Gabriela Baez. The

32:34

Latino USA team also includes

32:36

Victoria Strada, Reynaldo Leaños Jr.,

32:39

Lórimar Marquez, Marta Martinez, Mike

32:41

Sargent, Nour Saudi, and Nancy Trujillo.

32:44

Penny Leiramidis is our co-executive

32:46

producer. Our director of

32:48

engineering is Stephanie Laboe. Our senior

32:51

engineer is Julia Caruso. Our marketing

32:53

manager is Luis Luna. Our theme

32:55

music was composed by Zania Rubinos.

32:57

I'm your host and executive producer,

32:59

Maria Inojosa, and we'll see

33:01

you on our next episode. And remember, check us

33:03

out on all of your social media and I'll

33:06

see you in a second. Latibayas.

33:08

Ciao. Latino

33:10

USA is made possible in part by

33:13

New York Women's Foundation,

33:16

the New York Women's Foundation, funding

33:18

women leaders that build solutions in

33:20

their communities and celebrating 30

33:23

years of radical generosity. The

33:25

John Dee and Catherine T. MacArthur Foundation

33:28

and the Ford Foundation, working

33:31

with visionaries on the frontlines of

33:33

social change worldwide. I just

33:35

don't know if I am. I'm

33:40

so sorry. I

33:42

mean, I have overnight oats in my bag. No,

33:45

I'm going to eat right now. I

33:47

ate a banana and

33:50

some strawberries and that was it. So

33:52

this is the glorified life of an artist.

33:55

You work all the time. Sometimes

33:58

you don't eat. I don't know

34:00

that right now, but yeah. What

34:03

is she like? You're

34:05

having an interview with me? Yes,

34:07

please.