November 13, 2024 • 39 mins
Pa’lante primo! Let’s look forward once again! In this episode, we enlist the help of our favorite music journalist, Tomás Mier, to peer into the future and spill the tea on the next generation of icons. This time, we cover the genre everyone’s been talking about: Corridos Tumbados. Join us as we dive into all things Peso Pluma, Natanael Cano, and Fuerza Régida, exploring their current impact and their bright future ahead.
Lilliana Vazquez and Joseph Carrillo are the hosts of Becoming An Icon with production support by Nick Milanes, Santiago Sierra, Evelyn Uribe and Edgar Esteban of Sonoro Media in partnership with iHeart Radio's My Cultura Podcast network.
If you want to support the podcast, please rate and review our show.
Follow Lilliana Vazquez on Instagram and Twitter @lillianavazquez
Follow Joseph Carrillo on Instagram @josephcarrillo
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:02):
Welcome back to another Icons in the making, where instead
of looking back, we're taking a little look forward.
Speaker 2 (00:10):
And it's one of our favorites to be honest.
Speaker 1 (00:13):
Yeah, So join us one more time as we peer
into the future to talk about a new generation of icons.
These icons are all about fancy, fast cars and drinking
Don Perignon, Lady.
Speaker 2 (00:25):
Gaga and that's rich bitch. I'm your host, Lilianavosca and
I'm Joseph Carrio and this is Becoming an Icon.
Speaker 1 (00:38):
A weekly podcast where we give you the rundown on
how today's most famous latinv stars have shaped pop culture.
Speaker 2 (00:45):
And given the world some extra leuble. Sit back and
get comfortable.
Speaker 3 (00:50):
Because we are going in the only way we know
how with Buena's with us, whenasriesas some es, and a
lot of opinions, as we relive their greatest achievements on
our journey to find out what makes them so iconic.
Speaker 1 (01:16):
Okay, Joseph, So, just like we did a few moons
ago with the future Queens of Reggaeton, today we're going
to take a peek into the future of the ones
responsible for making Musika Mexicana affectually known as Gorridosumbus and.
Speaker 2 (01:30):
You already know we're not doing this alone.
Speaker 1 (01:33):
Hanging we are stronger as three, and one of our
favorite journalists is here with us, joining us today on
becoming an icon is Thomas Mire, who is a staff
writer at Rolling Stone, where he covers some of the
biggest names in pop and Latin music and of course
all things trending now. Before he worked at Rolling Stone,
(01:54):
Thomas was a digital music writer at People and an
intern at the La Times and also fact he was
also an intern at The Today Show and helped produce
an amazing interview with John Legend. For me, one of
the best things about the Moss is he's Mexicano, just
like Joseph and I. And to be honest, you guys,
he's one of the best and just truly the brightest
(02:16):
in the music industry right now.
Speaker 2 (02:17):
I am so excited to see where he goes.
Speaker 1 (02:20):
And Joseph the Moss is on the show with us
a few times, right, honey.
Speaker 3 (02:23):
He has been here to spill the he and share
his music wisdom and to show us the future of
Latin music. So we love to have him with us,
and he's already pretty much part of the family.
Speaker 1 (02:34):
He's basically our third co host, so the mass me
welcome back to becoming an icon.
Speaker 4 (02:41):
Hey y'all, how y'all doing. I feel like that meme
of when they walk into the room and they're.
Speaker 2 (02:46):
Like, hey, I.
Speaker 5 (02:48):
Keep coming back.
Speaker 2 (02:49):
I know, it's like it's you again. We love you.
Speaker 1 (02:53):
Right, It's like your brims that like are always at
your house and you're like, you don't live here, and
they're like, oh.
Speaker 2 (02:58):
I don't live here. Yeah, just expect.
Speaker 4 (03:01):
Now.
Speaker 1 (03:02):
Last time we heard from you, Thomas, I think we
were right in the middle of our season and we
had been talking about Guanga, Celia, Selina and I think
since then we've also covered Christina Aguilera, Mana Vicente Fernandez, Willi, Colonne,
and Talia. And you actually told us one of the
most moving stories I think I've heard ever on this
(03:24):
show about your experience with Digres del Norte.
Speaker 2 (03:28):
You actually used.
Speaker 1 (03:29):
Their song to create some connection and comfort in coming
out to your dad.
Speaker 5 (03:35):
Right, Yeah, that's right.
Speaker 4 (03:37):
That song brings me back so much joy and thinking
about it always makes me super emotional.
Speaker 1 (03:42):
I can't really listen to that song without thinking about
you and also really thinking about how that isn't obviously
it's such an important memory for you, but that's probably
a shared experience for a lot of young Latinos like
I you know what I mean. I think so many
people have found connection through that song, and it's kind
of like, I think that's the purpose of songwriting, right,
(04:03):
It's like to give people a way to connect outside
of just using their words. It's like you use their
words to find connection with the people that important in
your life. So I think think it is in Northea,
I mean, have brought people together in so many ways
unexpected for some right, but whether they're telling the stories
of got pacinos or factory workers, or helping you connect
with your father on coming out. You know, like Mexican
(04:24):
and Latinos in the US have always seen their life
really being represented through these biggest songs.
Speaker 2 (04:31):
But now the landscape has changed.
Speaker 3 (04:34):
There's a new generation of icons in the regional Mexicano scene,
the ones breaking the charts for their corridos to battles.
So what are your thoughts on the regional Mexicano scene
the mass You.
Speaker 4 (04:48):
Know what, We've talked a lot about this in the
industry and among journalists and people within the people that
are making the music about changing the word that we
use to describe Mexican music, and now there's this term.
It's very simpleman. So it's just Mexican music as as
an overarching term for the different genres that come out
(05:09):
of Mexico, because the term dejonal might suggest like coming
from certain regions in the country, which is true, sure,
But since Mexican music has become so global now, it's
become this like giant entity with so many of these
of these different branches, and it's pretty sick to see
something like Corridos Tombalo's grab what's been built and run
with it and become what's introduced Mexican music to a
(05:32):
massive global audience.
Speaker 3 (05:34):
Wait, one of the craziest things is that I don't know, Liliana,
if you know this or not, but you were at
a contract and I was obviously stalking your Instagram and
you saw bestl Pluma and I had no idea who
that was.
Speaker 2 (05:46):
And you were like talking about pestol Ploma like I should.
Speaker 3 (05:49):
Have because like we have a podcast about Mesic and
I had no idea. But what contract was this that
you had seen him? Or why did you see pestl ploma.
I just want to remember.
Speaker 5 (05:58):
I think it was that he had little bit of
like an Amazon Music event.
Speaker 4 (06:02):
He was doing a big concert for that first album
that he made, and it was a way of like
bringing together like this big impact that he had with
Ami La Sola, his song with Iso, that was the
one that completely took over and kind of propelled the
genre to the height that it is right now, for sure.
Speaker 2 (06:19):
And really quickly.
Speaker 1 (06:20):
We are actually going to get to this later in
the episode, right We're going to be talking about.
Speaker 2 (06:23):
Fesl, Plumaira and Nada.
Speaker 1 (06:26):
But do you think there was a pivotal moment that
allowed you know, call it Mexican music or specifically these
corridos umbos, Like do you think there was that one
moment and was it Besso's moment that really accelerated the
pace of the acceptance of this music on a more
global scale, Because for me, the answer is yes. Like
(06:48):
when I saw him on with Jimmy Fallon, I thought,
what in the fuck, Like I've grown up with this music.
I never thought I would see the day were those
kinds of songs that like Mike Yos listened to at
the Gannasada would now be on the Tonight Show with
Jimmy Fallon, like that was a really big deal, And
(07:09):
I just want to talk about for you as a journalist,
did that feel as significant for you as it did
for me? Or did you think did you see this
coming long before it happened.
Speaker 5 (07:17):
No, I think you're definitely right.
Speaker 4 (07:19):
I think that moment on on like Late Night Show,
it was a Late Night Show history moment, you know,
having a Mexican artist on a platform that big, not
just performing but doing a full interview, and it was
bringing what my parents were listening to in my at
the Carnasada, but propelling it to a new generation of
listeners that are born in the US like I am,
(07:41):
and are listening to music in both Spanish and English,
but are still connected to those deep Mexican roots. And
I think that's what makes this different. It's not Lostida's
at northey're born in Mexico making music for Mexican people
who now live here. It's the kids of Lostida's at
Norte making music for kids who born here.
Speaker 5 (08:00):
And I think that that's what I'm saying now right, And.
Speaker 3 (08:03):
You know it's funny you saying that, because I feel
like it's also helping the Leonosabo kids learn Spanish just
you know, because they know some words, but they're just
getting a little bit more familiar with singing it because
the sound is cool, like as opposed to being embarrassed,
where you know, someone might have felt like that before
because the music wasn't ass popular.
Speaker 2 (08:21):
Yeah, no doubt about that.
Speaker 1 (08:22):
I mean, I think there's always this kind of you know,
when you're first generation, like I am right born here,
both my parents not born here.
Speaker 2 (08:29):
Yeah, you're kind of like ni that, yimi that yem.
Speaker 1 (08:32):
Yeah, No, That's what I'm saying, you know, And sometimes
you're like, but am I American?
Speaker 2 (08:37):
Or am I Mexican? Can I be both?
Speaker 1 (08:39):
And so to have this music Gomas, like you said,
that's really derivative of our parents' generation, but first and
foremost created for this generation, it feels like we now
have something of our own, and I think that's a
really beautiful.
Speaker 2 (08:52):
Space to exist in.
Speaker 1 (08:54):
And I do want to quickly do a Gorrillos bumbados
one oh one, because a lot of our listeners like
this could be the first time they're really assigning the
genre to hearing that music, You're like, well, I've heard it.
Speaker 2 (09:05):
I like it, but what exactly is it?
Speaker 1 (09:07):
So if you're listening and you're not too familiar with
the genre, So these songs come from classic Mexican gorridos, right, which,
like Domas was saying, is kind of this like subgenre
of regional Mexican music, and gorridos umbados kind of combine
the sounds of regional Mexican music with more modern sounds,
so things that you might hear in more urban music,
(09:30):
whether that's like hip hop or tracked.
Speaker 2 (09:33):
Right. And when you look at lyrics right.
Speaker 1 (09:36):
Sometimes you see a lot of explicit content in there,
not gonna lie, and they do address a lot of
like common themes that you used to see present in
Mexico and across Mexico, so like violence, life in different
types of neighborhoods. There's a lot of references to firearms.
Domas and I leave anything out like goes that a
good explanation of what it kind of is.
Speaker 5 (09:58):
Yeah, I think so.
Speaker 4 (10:00):
I think if you think of corridos, the classic corrido,
it's storytelling at its finest. It's telling a story about
what happened in your pueblo that you want to share
with another bueblo. That's how they would get stories across
and tell the stories of their communities in Mexico.
Speaker 5 (10:16):
And so now we bring that to the.
Speaker 4 (10:17):
Twenty first century with the existence of rap and hip
hop and also the changing landscape of like nacuoculture in Mexico,
and it's now kids singing about their current lifestyles and
what they're going through and they're living today. So it's
bringing those like that same sort of storytelling but to
the twenty first century and with a touch of like personality.
Speaker 3 (10:38):
Yeah, because I was going to say, I kind of
feel like sometimes the song can feel a little emo
like emo, like how Juice World had emo rap totally,
Like I kind of feel like they talk about like
it's a little more emotional than just like what it
used to be the corridos that we heard before, Like
these guys are also just kind of like, oh well,
I'm kind of going through.
Speaker 2 (10:57):
This where it wasn't really like that before.
Speaker 4 (10:59):
Yeah, so you'll here, of course, like how Leanna was
saying about there being parties and drugs maybe in violence.
But there's also a lot of the Emao songs of
like I Miss You So Much. There's one Vessel Pluma
song called Lagunas where he sings with this songwriter Hasel
Nunez about swimming through lagunas like these poles of water
(11:19):
in my brain of how much I love you and
miss you and and it's like these displays of affection
that you see in Mexican telenovela, but you're hearing them
in a corrido tumbalo maybe.
Speaker 2 (11:29):
H yeah.
Speaker 1 (11:31):
I mean that's what I found about it, And I
think it's so important that you brought that up, because
I do think that storytelling is at the forefront, right,
like when you think of the word gorrido, right, Like
we're literally running our stories from town to town, and
now these kids are using a different medium to tell
those stories, right, Like they didn't have TikTok back then.
Like now we're sharing this socially, right, We're able to
share these stories digitally with each other. And I think
(11:53):
that has really led to this explosion of this music,
because you can live in the farthest end of the
world and still be able to hear a story that
you connect with musically, which I think is amazing. But
I also from a fashion perspective, what I think is
amazing is when I think about Lospiga's right I think
of like a very classic Mexican dress, right, Like I'm
(12:15):
thinking of the jeans, the bortas, like the big belt buckle,
the sombreros.
Speaker 2 (12:19):
Like there's horses in the videos.
Speaker 1 (12:21):
These guys like Beeso Pluma Nada. That's not how they're dressing.
I mean they are in like head to toe designer.
They're like cruisin on ATVs in the desert. They have
really adopted a very different set of visuals to represent
their music. Do you think that's also helped really popularize
the genre as well?
Speaker 5 (12:41):
I think so.
Speaker 4 (12:41):
I mean, I think it's part of that's just part
of their lifestyle now. You know, you see kids in
Mexico and they're not going to be wearing sombreros and
writing horses, you know, like a mixed no. And it
goes back to those hip hop influences a lot of
the times as well. You think of somebody like Naa
Nata who came to the US, or for Satahia that
(13:02):
grew up in southern California surrounded by these neighborhoods that
were probably Black dominated. We're black and Latino dominated, and
those two cultures come together to produce what we're seeing now.
With with the Corrios Tomlos that connects specifically with the
kids that were born over here, you know, and those
no kids that you were mentioning Jessin do.
Speaker 2 (13:22):
You know Sabo, No question about it.
Speaker 1 (13:24):
And I think with this explosion in their popularity, I
want to get into them specifically.
Speaker 2 (13:29):
You know.
Speaker 1 (13:29):
We keep saying the same three names because those are
the ones that keep coming up for us, so besl Pluma,
Natan and Sara Hida. And as we were producing this
episode and writing it, we're like, we need to get
themas in here to really fill us in on how
they started and most importantly where they're going. Right, we
want to know what the future is going to look
like for them. So let's kick it off with bessel Pluma.
(13:50):
How do you think Besl became the face of this
genre the mus.
Speaker 4 (13:55):
I mean, that's that's such a loaded question, you know,
because it took four or five six bezol Pluma before
bezl Pluma for us to get the one that would
really propel the genre. And it was in part are
very much thanks to a by La Sola, which is
actually a Laos song that besil Bluma's featured on, but
around the time that that song took off.
Speaker 5 (14:14):
Bessel Bluma had another song, lave Bee, which is.
Speaker 4 (14:17):
More of a song that he was on love that
song that was also taking off, So it just propelled it.
Speaker 5 (14:22):
You know, he really blew up and it was top
of the charts.
Speaker 1 (14:25):
You know, I mean not just top of the charts,
you guys, I mean he actually was the most stream
artist on Spotify in March twenty twenty three, meaning he
surpassed bad Bunny, who was one of I think our
opening icon when we started this series. So even though
it might have felt, you know, to the Maass's point
like overnight, it wasn't. There was a lot of foundational
(14:46):
that allowed him to kind of step into this role. Now,
what do you know about bessel Pluma's background that might
be interesting to our listeners? The must that we may
not know because I know you've done a lot of
writing about him. I know you've covered an his album
in great detail. So what are some interesting things about
him as a person that could be interesting to us totally?
Speaker 4 (15:07):
Well, everybody, if you think of bessel Pluma, you think
of his haircut.
Speaker 5 (15:10):
Yes, the haircut was an accident, accident.
Speaker 4 (15:14):
Yeah, he said before that he got a haircut and
it like the guy like walked away or something and
he saw he was like, wait, I'm just going to
keep it like that, So it wasn't meant to be,
and then he kept it and now he's back to
this like sexy best of Bluma like that you would
never expect. But Besol grew up in Walladajda surrounded by
a lot of musical friends. He was in those environments
that maybe weren't the safest and that really played a
(15:36):
role in the sort of music he started to make.
Really early on, he connected with a lot of artists
that he's still connected with today, back when they were
not famous at all. I mentioned this songwriter, Hacier Nunez,
who is kind of his like right hand pen, you know,
he's his songwriter.
Speaker 5 (15:53):
He's now signed to his label.
Speaker 4 (15:55):
And they met really early on when when Bessel was
a teenager and maybe had like one YouTube video out,
and they quickly built a friendship and have been together
through the ups and downs and most recently the ups,
you know, of building this career. So I think it's
really cool to see how they've built family within the
genre and like have used each other to really like
(16:17):
grow and propel their careers together.
Speaker 1 (16:21):
And Somas where do you see him going? Like, what
do you think is the next natural evolution for him
as a musician. Do you see him continuing to stay
kind of honest and true to this genre or do
you think he has aspirations to step out of this.
Speaker 4 (16:37):
I think it's a good mix because I think he's
always going to be a corrio tumlo artist. He's always
going to be making Mexican music. I think he shines
sometimes when he steps out of his comfort zone. He
has a song with Kayli Uccis or his voice is
like it's not on a pop song and I'm like,
holy smack, Like why why is my gay radar is
like ooh, this is music?
Speaker 5 (16:58):
I like, you know what I mean?
Speaker 4 (16:59):
Like It's like I can sometime I feel like I
would tune into my Mexican radar and then my gay one.
When I listened to Kylie wach Is the gay one,
and I'm like, here's special coming into that world and
it works. It makes sense because Besil has such a
distinct voice, but he can play around with it and
really do something special.
Speaker 2 (17:15):
I love that. I can't wait to see what he does.
Speaker 1 (17:17):
Honestly, I mean, I really think even watching interviews, like
I remember watching him in an interview when he was
a guest with Becky g I think you were at
his Coachella set with her, and I remember watching an
interview and thinking, Wow, he really needs some media training.
Like he could I could tell that fame was really new, right,
this was like an unchartered waters for him, and watching
(17:40):
him recently, he's really stepping into his own and it's
incredible to watch the growth that has happened. I mean
that was literally a year and a half ago, and
I feel like so much has changed for him musically,
and we just can't wait to see what happens next.
(18:04):
Somebody else that we've got to talk about is a
Natano who is affectionately referred to as Nata.
Speaker 2 (18:10):
So share with us a little bit about his background.
Speaker 1 (18:13):
We know that he moved to La to start his
music career when I think he was just seventeen, But
what is his kind of space and what is the
territory that he really dominates in this genre?
Speaker 4 (18:24):
If you ask pessol Pluma who the king of corios
Tomos is, it's natan Cano. He is the person who
like baptized this genre as corrio tombalo.
Speaker 5 (18:35):
He's the one who created this. So the movement starts
with Nata.
Speaker 4 (18:40):
Well, actually I would say aria caa macho, who is
an artist that came before Natanel Well maybe the godfather
who like introduced what would become asquiral toumbabo. But in
its essence, Natano is that artist that really created this
genre and this space for artists who who live that
like in between line between him pop trap and corridos
(19:02):
and combine the.
Speaker 5 (19:03):
Two super effortlessly.
Speaker 4 (19:05):
And he was the first one to collaborate with Bad
Bunny really way before we had Mickel Porciento, like before
all of that. Really yeah, Bad Bad Bunny believes in
not Acano's vision and joined him for a remix because
he knew.
Speaker 5 (19:20):
This was going to be it.
Speaker 2 (19:21):
That's amazing. I had no idea.
Speaker 1 (19:23):
I thought that was the first time Bad Bunny had touched,
you know, like you said this the genre. I didn't
realize that they had collaborated even earlier than that.
Speaker 2 (19:30):
Also, not even that, No pressure, how old is this guy?
Twenty four?
Speaker 4 (19:35):
Yeah, he's a young one, and he's literally called the King,
Like okay, he's like, yo, get over here.
Speaker 1 (19:41):
But also smart on Bad Bunny, and I also think
that this is why we opened our entire Becoming an
Icon's podcast with him is because I think his ability
to see the future musically and not just see it,
but provides support and like a hand to these artists,
Like it's one of the loveliest things about him in
this business.
Speaker 2 (20:01):
So I love, I absolutely love hearing this.
Speaker 1 (20:04):
And by the way, Bad Bunny's not the only collaborator
that Nata has had.
Speaker 2 (20:07):
We're talking Snoop Dogg, Steve Aoki.
Speaker 1 (20:10):
I mean, he's really gone across so many different genres
and when asked about why he did this, he said, quote,
I did those collapse for the culture and for people
to know who I am, so that people would understand
this Corridos Umbado's movement and that we're on the same
level as them.
Speaker 2 (20:26):
Boom. I mean we're here for that.
Speaker 5 (20:28):
That's it.
Speaker 3 (20:29):
That's all he had to say, because it's true, like
if you're working with that person, it's because you're you're there.
Speaker 1 (20:34):
Absolutely, Domas, how would you describe not that's vibe like
his visual vibe totally.
Speaker 4 (20:41):
I mean in gate terms, he's a twink. I'm just
like ah built man, which I think changes up the
aesthetic that you think of when you think of maybe
like a strong Corrillo singer.
Speaker 5 (20:53):
He's like thin, a little smaller, but he dresses in me.
Speaker 4 (20:57):
He's like like Gucci brought up big brand names. So
bringing it back to that hip hop culture that I
mentioned earlier, and I feel like that's been a really
big part of what's propelled this genre.
Speaker 5 (21:10):
Right.
Speaker 3 (21:10):
I was gonna say, this seems to be like the
style like that they're all kind of wearing totally.
Speaker 4 (21:16):
It's like the big jewelry, the hoods, the snapbacks. That's
been all of it, and that started with this artist.
His name is Codisiato. He was in a group called Colisiato,
and he's known for being the first Directorona Act to
be like I'm gonna wear my street fashion even though
I'm making Mexican music. And so it started with Goliato
(21:37):
on the looks, and then nothing else can really built
that up and continued it with his style and how
he looks, and now everyone does it.
Speaker 5 (21:44):
It's not even like a question anymore.
Speaker 2 (21:46):
No, Like I'm not gonna lie.
Speaker 3 (21:48):
I need to actually get some of those outfits because
I think I would look super delicious in them.
Speaker 2 (21:55):
I think you would look so good in them.
Speaker 1 (21:56):
I mean, you guys aren't exactly like the same vibe,
but I do feel like you are one of those
fashion chameleons who can kind of pull off any look.
But I think for me, when I really first started
seeing what these guys were wearing and the brands they
were pulling, I thought, there's a real study and contrast there, right,
And I think it also shares and shows how important
(22:20):
the visuals of who these guys are and what they
represent means to the genre, because if you just listen
to the music, you have an idea of what they
might look like historically based on what these guys have
looked like, right, But then you see them, and then
instantly the music feels modern, it feels cool, it feels
current because of how they visually represent themselves. And I
(22:42):
think it's so cool that they're able to really take
this very kind of like old, deeply rooted in history
and culture when it comes to the sound, and move
it forward and advance it just with the way that
they produce the songs, but also how they produce themselves visually.
Speaker 2 (22:56):
I think it's so cool to watch it.
Speaker 3 (22:58):
Nothing says modern Life, head to toe, Birdberry, Gucci.
Speaker 1 (23:03):
Prontclair says, nowadays nothing says get that new money, honey.
Now we cannot continue without talking about Forsa Rehida. Now
talk to me about them because they are very much
American but so very Mexicano, which is exactly what you
(23:27):
were saying earlier. This is music that our parents listened to,
but really driven by our experiences as being American first
by birth right totally.
Speaker 4 (23:38):
I mean that's probably that sign of like like born
over here with these Mexican roots, grew up watching YouTube.
Speaker 5 (23:46):
These guys have a super interesting story.
Speaker 4 (23:48):
So the front man, his name is Jops is what
it spells out to, but you call him Jop, that's
the street name. And he's somebody who who really like
started on the vlockspace on YouTube. So as he was
trying to build his band performing at local shows, King
Signeta's weddings in San Bernardino County where he's from, he
(24:09):
was building up a fan base online through these YouTube
flogs and he was able to combine the two and
that's how started to become the band that we know today.
Speaker 1 (24:20):
Now for sarahid that for me, I think they're this
example of like you said, started really small right with
can you imagine you like had them play your King Signetta?
Speaker 3 (24:29):
Like just as I was literally like also what I
love about that we keep talking about all these icons,
Like most of their assess was really up in the
in the King Signetta as in the local bars, like
to be those people that like you you had them
at your Kintanneta, Like, yeah, you had.
Speaker 1 (24:43):
Them at your King sit two years ago. But now
they're signed to Sony Music USA. I mean that's a
big leap in a very short.
Speaker 2 (24:51):
Amount of time.
Speaker 1 (24:52):
The most, how do you find that these labels are
expanding their roster in this space? Like do you feel
like they're out there looking for these bands playing at
Keene says being like who's going to be the new
for Sarahida? Or do you feel like they're like, oh, yeah,
we're at capacity. We already have enough. Like where do
you feel the A and R side and the label
side is like are they are they bullish right or
(25:15):
are they bearish on this category of music?
Speaker 5 (25:19):
Oh?
Speaker 4 (25:19):
The record labels are putting the eggs in the Mexican basket.
They're getting Mexican chickens, Mexican eggs, and putting them in
the Mexican basket. And I say this because you've been
seeing it in a lot of really huge label signings
over the last few years. My brain goes to the
singer Hobby who has this iconic song that was released
in the last year called who signed to Innerscope Records
(25:41):
in this like really massive deal for a small artist.
They signed him before he was big, developed him over
two to three years and then bam drops the song drops.
Another one gets top of the charts and becomes this
like staple of the genre super quickly. And you saw
that with the treatment of Natanaelkano before having this other artist,
Ivan Cornejo, who's also massive, was signed to Interscope, and
(26:05):
it showed the people within the labels that this is
where the money's at, Like, yeah, if you tap into
Mexican people, we will buy tickets to your show, we
will be streaming the music, and we're going to be
supporting along the way.
Speaker 5 (26:19):
And that's I think what they're tapping into now.
Speaker 4 (26:21):
And you see a lot of Latino slash Mexican artists
who don't necessarily make music in that space now being
supported as they pursue music in that space because the
labels are understanding, oh, this is real and this is
going to be here to stay period.
Speaker 1 (26:36):
And to that point, let's talk about el Hefe featuring
because there we have somebody, I mean, I think to
your point though us right, it's you see somebody like
Shakidah who by the way, can make her own music.
She doesn't need to collab with anybody, like she stands
on her own like she's shocky right. And she also
is somebody who I think is a true musician at heart.
So when you listen to these corridos like this is
(26:58):
real music, right, this is a it's a band, right
like this, there's the sound there. This is even though
it can be very produced, the core of this is
the musicality of it. What did you think of el Hefe,
because that I think is probably Reida's most mainstream song yet.
Speaker 2 (27:16):
Did you love it or did you hate it? The
must that's a good question.
Speaker 5 (27:19):
I liked it. I don't think I loved it.
Speaker 4 (27:21):
I think it was in my opinion, more of of
for sa Rahida giving Shakira space within the Mexican music
genre to build on that because on this album that
Shakida dropped, she also worked with a group of Fromtera,
so she was definitely dabbling in the Mexican music space
and as opposed to it helping Forsa.
Speaker 5 (27:42):
I think it was Shakira coming into a space.
Speaker 4 (27:44):
That was new for her and I really enjoy when
when artists, and usually the ones to take the risk
are female artists.
Speaker 5 (27:50):
I will say, so her doing that, I'm all here
for it.
Speaker 4 (27:54):
I saw my favorite song of hers, definitely not my
favorite for Sara Hida song who in the last year
have become like these like symbols of like making banger
after banger. They also have a song with Marshmallow that's
gone really huge that I think really like encapsulates what
their whole energy is in the space and how they're
building it beyond just Mexican people.
Speaker 1 (28:16):
Well, on that note, talk to us a little bit
about what you see as the future of Corridos bumbados
and how do these three players really fit into that vision.
Speaker 5 (28:28):
That's a good question.
Speaker 4 (28:29):
So I just did an album review about bessel Pluma's
second album, Exolo, and I will say that I feel
like I was a little bit harsh on them on.
Speaker 5 (28:37):
Him because.
Speaker 2 (28:40):
You know what, now that I'm reflecting back you.
Speaker 1 (28:42):
Know what's so funny is you know you you're because
you guys are listening to Thomas and we're looking at
him and he has like the sweetest baby face. He's
so kind, he is warm and like just pure like
joy and love. But then give that bitch a pen
and like he will cut some one.
Speaker 2 (28:58):
He is so precise. He is so honest.
Speaker 1 (29:02):
And that's what I think it stands out about your
writing is that it's really truthful and it's authentic and
it's real and you come at it with heart.
Speaker 2 (29:10):
So definitely read his article. But tell us now what you.
Speaker 5 (29:13):
Said, Thank you. I appreciate that.
Speaker 4 (29:16):
No, I stand by what I wrote, and what I
said in the X of the review was that I
wish Besel had taken the extra step. I could see
him trying to combine like different sounds like EDM or
electronic music in goridles, but he would just like just
go back to what he knew. And he separated his
album too, so he had like eight songs that were
(29:37):
reggaeton or outside of the genre, and the rest of
the album was all corridos and Mexican music, but there
were elements of electronic music, elements of hip hop in
the other music that I wish had just.
Speaker 5 (29:48):
Been infused completely.
Speaker 4 (29:50):
But then for Rechi that dropped their most recent album
and they penned this term called Jersey Corridos. Not yeah,
like it's like it was basically like house music, but
with the gorrillo sound and the corrido lyricism, and in
my personal opinion, that album did not land at all.
(30:13):
But I really really commend for Khida for taking that
step and being like, you know what, fuck it, let's
just do something completely new and completely different and put
it all out there. And they did exactly that that
with this last album. It's probably gonna be one of
those albums that they're gonna look back and be like,
remember when we did this, you know. And there's one
(30:33):
or two songs that do stand out for me, but
overall it was too far of a stretch, Like for
Best Of was like, just do a little more, and
then fore was like, oho, you know. So I think
meeting it in the middle is going to be, in
my opinion, the future of the genre, finding ways to
incorporate it with other.
Speaker 5 (30:49):
Genres and also building on.
Speaker 4 (30:51):
That foundation that we already have, which I think is
already really really strong for sure.
Speaker 1 (31:05):
Let's talk about dream collaborations because you have such a
wealth of musical knowledge. I had learned so much from
you every time you were on the show with us.
So I want you to put your like you know,
future hat on and think five ten years down the road. Okay,
if you could have these artists collab with anybody in
(31:27):
the music industry, who would it be and why?
Speaker 2 (31:30):
Let's start with Bessel Pluma.
Speaker 5 (31:32):
Ooh oh my gosh.
Speaker 4 (31:34):
Beessill has already done really big collapse Carol g He's
done Kaalie Uccis as I mentioned, But I would have
liked to see him with like post Malone or somebody
along those lines, because you know how post Malone just
did his little country flair.
Speaker 5 (31:48):
So I would love to see post Malone.
Speaker 4 (31:50):
Step into like a musika meh Khana vibe, and I
feel like they would become good friends.
Speaker 1 (31:54):
Wow, I love that pairing. Let's make it happen. From
your lips to God's ears. Okay, what about nat Don
who is on the collab dream list?
Speaker 2 (32:02):
For him?
Speaker 4 (32:03):
This one's crazy, but one of his biggest songs is
called Madonna. I yes, and so I was I could
see Natan Nael tapping or madonna'ld be like, who is
this guy?
Speaker 5 (32:15):
You know, who is this guy? Let me do a collab?
Speaker 4 (32:18):
Like because she's cool like that she is exactly So
I could see that happening for Nathan I and.
Speaker 2 (32:23):
For for who is their dream collab in your eyes?
Speaker 4 (32:28):
So when I got to interview Jop, he kept bringing
up Little Baby.
Speaker 5 (32:32):
He's like, I love little Baby.
Speaker 4 (32:33):
Little Baby's an icon, Like that's somebody that I really
really admire. So I want to continue manifesting that for him,
and I hope he gets that dream collaboration because it's
out of the ordinary, but it is fusing that hip
hop and Mexican music feel that we were talking about earlier.
And I think he'd be down.
Speaker 2 (32:51):
I think he'd so, I mean, he'd be dumb not
to be down. I think it's what you said.
Speaker 1 (32:54):
It's the same thing that the record labels see, right,
Like I will say that Latino's generally over index and
it comes to consuming content on streaming channels, whether that's
your Netflix or Spotify or YouTube. We love it. We
love the content content the better. We're also really loyal.
So if you follow that money, you're following it to latinos.
(33:15):
And if you're really getting specific, like Mexikanos in this country,
like we're going to be the majority. So you want longevity,
you want cash, you want streaming numbers, like, come get it.
Speaker 2 (33:26):
We're here for you.
Speaker 1 (33:28):
Okay, guys, get out your pens and pencils or just
your notes app and your iPhone because this is one
of our favorite things to do with the Mass, because
this is truly going to change your next playlist.
Speaker 2 (33:40):
We like to play a game called sipe Gusta.
Speaker 1 (33:43):
So we're gonna give you some really popular songs by
some of the three different artists we talked about today,
and the MASS is gonna tell us who we would
like in that same space. Okay, So sipe Gusta, Tommy
and Pamela, it's Beecil Pluma featuring.
Speaker 5 (34:02):
Oh my God.
Speaker 4 (34:04):
Okay, I did prepare for today's episode the share I
will say for that song, I think Keenya Os is
somebody that we're just not paying attention to as much
as we should.
Speaker 5 (34:17):
So best of Pluma.
Speaker 4 (34:18):
Tapping her in Mexico she's massive, but in the US
she needs to have her moment.
Speaker 5 (34:23):
So listen to Os.
Speaker 4 (34:27):
But if we're going to choose a different artist. There's
also this other cunty girl. Her name is Yerimir right.
She's so she's so cute like that, she's very silly,
she's hilarious and she makes kind of like those tongue
in cheap, tongue in cheek kind of songs.
Speaker 1 (34:44):
Her song is yeah, exactly, great answer, I'm writing it down, okay,
see Gusta three hundred notes, which is not that I
don't off featuring Belinda.
Speaker 4 (34:58):
And this one's a classic. And she's been around for
a really long time. But her last album was so great.
I'm gonna say Dana formerly known as Dana, don't call
her more though.
Speaker 2 (35:08):
Oh my god, so we can't call her Anna Paula.
Speaker 5 (35:10):
No girl.
Speaker 4 (35:11):
She she put out the statement that she is gone.
It's not just Dana. But her latest album was really
really good. The album cover is beautiful. It's like her
above these like demon creatures like and the album is
called child Star about her experience like going through being
a child star and and and all of that. And
the album is really really good. That's why I would suggest,
(35:33):
especially if you like the Belinda side of that song.
Speaker 3 (35:36):
I did the cover of her makeup for El Mexico
by the way.
Speaker 5 (35:39):
Oh I saw that. Why do you think I mentioned
in MoMA there you go.
Speaker 2 (35:42):
It looks so good. She looks so good.
Speaker 1 (35:44):
She did look absolutely beautiful. You did such an amazing
job on that. What she was really really, really nice.
She was like singing we were listening to her album.
She had just come out with the album at the time.
Speaker 3 (35:56):
And they just weren't sure what to do with and
this guy had tattoos and so he put the photographer
was just kind of like, why don't you put your
hand on her face?
Speaker 2 (36:03):
It would it look like tattoos? And that was like
the shot. And she was just so sweet about everything.
She was like in hedgetuble garis or whatever. She's shak
She's done it. Get it chic chic shake. Okay. Last I.
Speaker 4 (36:22):
Mentioned hav earlier, and while he does have two songs
that are massive, I think we're still waiting for him
to break with that debut album. So if you're here now,
tap into the heavy hype now so when the album
comes out, you're ready to just embrace it.
Speaker 5 (36:38):
His voice is incredible.
Speaker 4 (36:40):
He reminds me of best of Pluma in a lot
of ways with the raspiness of his vocals, but he's
also a songwriter, and he's one of those artists that
I think I'm definitely eyeing for being the next best
of Plum.
Speaker 5 (36:51):
Did I say that? Oh?
Speaker 2 (36:53):
Whoa wait, I.
Speaker 1 (36:55):
Just I just wait, hold on, I just I just
posted that on Instagra, just tweeted that.
Speaker 2 (37:00):
And don't forget I also do.
Speaker 5 (37:03):
Yeah, turning my notifications off.
Speaker 1 (37:07):
I mean, this is why we love having you here.
I feel like you make me infinitely cooler just by
listening to what you have to say on what's happening
in the industry, what's coming in the industry, who to
listen to, why I should listen to them. I really
feel like you should have your own podcast. iHeart thank
you coming give it to him. He is, let's manifest
(37:33):
this for you. Speaking of what are you working on
right now, because rumor has it you are perhaps in
the talks to do some big interviews here in La.
Speaker 4 (37:42):
Oh my god, well, you know I love to be
around town that I'm talking about the Grammy Museum in
downtown La tonight. This will probably happen before this episode
comes out, but I'm doing an interview with Orville Peck,
who is an amazing gay country singer. So I've been
doing a lot of these live interviews with musicians and
having a conversation about the records, and we might have
(38:04):
one pretty cool with another artist that I enjoy, and
you both are invited.
Speaker 5 (38:09):
Joseph fly Down said.
Speaker 4 (38:11):
Don't start, because I will. I'll be there and we'll
go to Clube Temple together.
Speaker 3 (38:16):
Oh my god, no please. But also before you go,
what are where can we find you? Where are your
social handles?
Speaker 4 (38:21):
Yes, so I'm at Thomas Underscore meed on x and
Instagram and at Thomas Meed on TikTok, and then you
can read my stories at Rollingstone dot com.
Speaker 2 (38:31):
And your only fans. You forgot to leave the lank.
Speaker 5 (38:35):
My all is linked in my bio. My venno is at.
Speaker 1 (38:42):
I love it well, Thomas. As always, it is such
a pleasure talking with you. Thank you for sharing all
of your knowledge and your wisdom and your wittingness with us.
We are not worthy and we cannot wait to have
you back. Have a wonderful day. I can't wait to
see you on that stage at the Grammy Museum.
Speaker 5 (38:57):
Thank you. I love you, guys. I really appreciate joining
the show.
Speaker 1 (39:05):
On the next becoming an icon. It's time for the
season finale. Join us as we relive the best moments
from our second season.
Speaker 2 (39:15):
The tea will be typing hot Hanging.
Speaker 1 (39:22):
Becoming an Icon is presented by Sonoo and Iheart's Michael
Duda podcast Network. Listen to Becoming an Icon on the
iHeartRadio app, Apple podcast, or wherever you get your podcast
Welcome back to another Icons in the making, where instead
of looking back, we're taking a little look forward.
Speaker 2 (00:10):
And it's one of our favorites to be honest.
Speaker 1 (00:13):
Yeah, So join us one more time as we peer
into the future to talk about a new generation of icons.
These icons are all about fancy, fast cars and drinking
Don Perignon, Lady.
Speaker 2 (00:25):
Gaga and that's rich bitch. I'm your host, Lilianavosca and
I'm Joseph Carrio and this is Becoming an Icon.
Speaker 1 (00:38):
A weekly podcast where we give you the rundown on
how today's most famous latinv stars have shaped pop culture.
Speaker 2 (00:45):
And given the world some extra leuble. Sit back and
get comfortable.
Speaker 3 (00:50):
Because we are going in the only way we know
how with Buena's with us, whenasriesas some es, and a
lot of opinions, as we relive their greatest achievements on
our journey to find out what makes them so iconic.
Speaker 1 (01:16):
Okay, Joseph, So, just like we did a few moons
ago with the future Queens of Reggaeton, today we're going
to take a peek into the future of the ones
responsible for making Musika Mexicana affectually known as Gorridosumbus and.
Speaker 2 (01:30):
You already know we're not doing this alone.
Speaker 1 (01:33):
Hanging we are stronger as three, and one of our
favorite journalists is here with us, joining us today on
becoming an icon is Thomas Mire, who is a staff
writer at Rolling Stone, where he covers some of the
biggest names in pop and Latin music and of course
all things trending now. Before he worked at Rolling Stone,
(01:54):
Thomas was a digital music writer at People and an
intern at the La Times and also fact he was
also an intern at The Today Show and helped produce
an amazing interview with John Legend. For me, one of
the best things about the Moss is he's Mexicano, just
like Joseph and I. And to be honest, you guys,
he's one of the best and just truly the brightest
(02:16):
in the music industry right now.
Speaker 2 (02:17):
I am so excited to see where he goes.
Speaker 1 (02:20):
And Joseph the Moss is on the show with us
a few times, right, honey.
Speaker 3 (02:23):
He has been here to spill the he and share
his music wisdom and to show us the future of
Latin music. So we love to have him with us,
and he's already pretty much part of the family.
Speaker 1 (02:34):
He's basically our third co host, so the mass me
welcome back to becoming an icon.
Speaker 4 (02:41):
Hey y'all, how y'all doing. I feel like that meme
of when they walk into the room and they're.
Speaker 2 (02:46):
Like, hey, I.
Speaker 5 (02:48):
Keep coming back.
Speaker 2 (02:49):
I know, it's like it's you again. We love you.
Speaker 1 (02:53):
Right, It's like your brims that like are always at
your house and you're like, you don't live here, and
they're like, oh.
Speaker 2 (02:58):
I don't live here. Yeah, just expect.
Speaker 4 (03:01):
Now.
Speaker 1 (03:02):
Last time we heard from you, Thomas, I think we
were right in the middle of our season and we
had been talking about Guanga, Celia, Selina and I think
since then we've also covered Christina Aguilera, Mana Vicente Fernandez, Willi, Colonne,
and Talia. And you actually told us one of the
most moving stories I think I've heard ever on this
(03:24):
show about your experience with Digres del Norte.
Speaker 2 (03:28):
You actually used.
Speaker 1 (03:29):
Their song to create some connection and comfort in coming
out to your dad.
Speaker 5 (03:35):
Right, Yeah, that's right.
Speaker 4 (03:37):
That song brings me back so much joy and thinking
about it always makes me super emotional.
Speaker 1 (03:42):
I can't really listen to that song without thinking about
you and also really thinking about how that isn't obviously
it's such an important memory for you, but that's probably
a shared experience for a lot of young Latinos like
I you know what I mean. I think so many
people have found connection through that song, and it's kind
of like, I think that's the purpose of songwriting, right,
(04:03):
It's like to give people a way to connect outside
of just using their words. It's like you use their
words to find connection with the people that important in
your life. So I think think it is in Northea,
I mean, have brought people together in so many ways
unexpected for some right, but whether they're telling the stories
of got pacinos or factory workers, or helping you connect
with your father on coming out. You know, like Mexican
(04:24):
and Latinos in the US have always seen their life
really being represented through these biggest songs.
Speaker 2 (04:31):
But now the landscape has changed.
Speaker 3 (04:34):
There's a new generation of icons in the regional Mexicano scene,
the ones breaking the charts for their corridos to battles.
So what are your thoughts on the regional Mexicano scene
the mass You.
Speaker 4 (04:48):
Know what, We've talked a lot about this in the
industry and among journalists and people within the people that
are making the music about changing the word that we
use to describe Mexican music, and now there's this term.
It's very simpleman. So it's just Mexican music as as
an overarching term for the different genres that come out
(05:09):
of Mexico, because the term dejonal might suggest like coming
from certain regions in the country, which is true, sure,
But since Mexican music has become so global now, it's
become this like giant entity with so many of these
of these different branches, and it's pretty sick to see
something like Corridos Tombalo's grab what's been built and run
with it and become what's introduced Mexican music to a
(05:32):
massive global audience.
Speaker 3 (05:34):
Wait, one of the craziest things is that I don't know, Liliana,
if you know this or not, but you were at
a contract and I was obviously stalking your Instagram and
you saw bestl Pluma and I had no idea who
that was.
Speaker 2 (05:46):
And you were like talking about pestol Ploma like I should.
Speaker 3 (05:49):
Have because like we have a podcast about Mesic and
I had no idea. But what contract was this that
you had seen him? Or why did you see pestl ploma.
I just want to remember.
Speaker 5 (05:58):
I think it was that he had little bit of
like an Amazon Music event.
Speaker 4 (06:02):
He was doing a big concert for that first album
that he made, and it was a way of like
bringing together like this big impact that he had with
Ami La Sola, his song with Iso, that was the
one that completely took over and kind of propelled the
genre to the height that it is right now, for sure.
Speaker 2 (06:19):
And really quickly.
Speaker 1 (06:20):
We are actually going to get to this later in
the episode, right We're going to be talking about.
Speaker 2 (06:23):
Fesl, Plumaira and Nada.
Speaker 1 (06:26):
But do you think there was a pivotal moment that
allowed you know, call it Mexican music or specifically these
corridos umbos, Like do you think there was that one
moment and was it Besso's moment that really accelerated the
pace of the acceptance of this music on a more
global scale, Because for me, the answer is yes. Like
(06:48):
when I saw him on with Jimmy Fallon, I thought,
what in the fuck, Like I've grown up with this music.
I never thought I would see the day were those
kinds of songs that like Mike Yos listened to at
the Gannasada would now be on the Tonight Show with
Jimmy Fallon, like that was a really big deal, And
(07:09):
I just want to talk about for you as a journalist,
did that feel as significant for you as it did
for me? Or did you think did you see this
coming long before it happened.
Speaker 5 (07:17):
No, I think you're definitely right.
Speaker 4 (07:19):
I think that moment on on like Late Night Show,
it was a Late Night Show history moment, you know,
having a Mexican artist on a platform that big, not
just performing but doing a full interview, and it was
bringing what my parents were listening to in my at
the Carnasada, but propelling it to a new generation of
listeners that are born in the US like I am,
(07:41):
and are listening to music in both Spanish and English,
but are still connected to those deep Mexican roots. And
I think that's what makes this different. It's not Lostida's
at northey're born in Mexico making music for Mexican people
who now live here. It's the kids of Lostida's at
Norte making music for kids who born here.
Speaker 5 (08:00):
And I think that that's what I'm saying now right, And.
Speaker 3 (08:03):
You know it's funny you saying that, because I feel
like it's also helping the Leonosabo kids learn Spanish just
you know, because they know some words, but they're just
getting a little bit more familiar with singing it because
the sound is cool, like as opposed to being embarrassed,
where you know, someone might have felt like that before
because the music wasn't ass popular.
Speaker 2 (08:21):
Yeah, no doubt about that.
Speaker 1 (08:22):
I mean, I think there's always this kind of you know,
when you're first generation, like I am right born here,
both my parents not born here.
Speaker 2 (08:29):
Yeah, you're kind of like ni that, yimi that yem.
Speaker 1 (08:32):
Yeah, No, That's what I'm saying, you know, And sometimes
you're like, but am I American?
Speaker 2 (08:37):
Or am I Mexican? Can I be both?
Speaker 1 (08:39):
And so to have this music Gomas, like you said,
that's really derivative of our parents' generation, but first and
foremost created for this generation, it feels like we now
have something of our own, and I think that's a
really beautiful.
Speaker 2 (08:52):
Space to exist in.
Speaker 1 (08:54):
And I do want to quickly do a Gorrillos bumbados
one oh one, because a lot of our listeners like
this could be the first time they're really assigning the
genre to hearing that music, You're like, well, I've heard it.
Speaker 2 (09:05):
I like it, but what exactly is it?
Speaker 1 (09:07):
So if you're listening and you're not too familiar with
the genre, So these songs come from classic Mexican gorridos, right, which,
like Domas was saying, is kind of this like subgenre
of regional Mexican music, and gorridos umbados kind of combine
the sounds of regional Mexican music with more modern sounds,
so things that you might hear in more urban music,
(09:30):
whether that's like hip hop or tracked.
Speaker 2 (09:33):
Right. And when you look at lyrics right.
Speaker 1 (09:36):
Sometimes you see a lot of explicit content in there,
not gonna lie, and they do address a lot of
like common themes that you used to see present in
Mexico and across Mexico, so like violence, life in different
types of neighborhoods. There's a lot of references to firearms.
Domas and I leave anything out like goes that a
good explanation of what it kind of is.
Speaker 5 (09:58):
Yeah, I think so.
Speaker 4 (10:00):
I think if you think of corridos, the classic corrido,
it's storytelling at its finest. It's telling a story about
what happened in your pueblo that you want to share
with another bueblo. That's how they would get stories across
and tell the stories of their communities in Mexico.
Speaker 5 (10:16):
And so now we bring that to the.
Speaker 4 (10:17):
Twenty first century with the existence of rap and hip
hop and also the changing landscape of like nacuoculture in Mexico,
and it's now kids singing about their current lifestyles and
what they're going through and they're living today. So it's
bringing those like that same sort of storytelling but to
the twenty first century and with a touch of like personality.
Speaker 3 (10:38):
Yeah, because I was going to say, I kind of
feel like sometimes the song can feel a little emo
like emo, like how Juice World had emo rap totally,
Like I kind of feel like they talk about like
it's a little more emotional than just like what it
used to be the corridos that we heard before, Like
these guys are also just kind of like, oh well,
I'm kind of going through.
Speaker 2 (10:57):
This where it wasn't really like that before.
Speaker 4 (10:59):
Yeah, so you'll here, of course, like how Leanna was
saying about there being parties and drugs maybe in violence.
But there's also a lot of the Emao songs of
like I Miss You So Much. There's one Vessel Pluma
song called Lagunas where he sings with this songwriter Hasel
Nunez about swimming through lagunas like these poles of water
(11:19):
in my brain of how much I love you and
miss you and and it's like these displays of affection
that you see in Mexican telenovela, but you're hearing them
in a corrido tumbalo maybe.
Speaker 2 (11:29):
H yeah.
Speaker 1 (11:31):
I mean that's what I found about it, And I
think it's so important that you brought that up, because
I do think that storytelling is at the forefront, right,
like when you think of the word gorrido, right, Like
we're literally running our stories from town to town, and
now these kids are using a different medium to tell
those stories, right, Like they didn't have TikTok back then.
Like now we're sharing this socially, right, We're able to
share these stories digitally with each other. And I think
(11:53):
that has really led to this explosion of this music,
because you can live in the farthest end of the
world and still be able to hear a story that
you connect with musically, which I think is amazing. But
I also from a fashion perspective, what I think is
amazing is when I think about Lospiga's right I think
of like a very classic Mexican dress, right, Like I'm
(12:15):
thinking of the jeans, the bortas, like the big belt buckle,
the sombreros.
Speaker 2 (12:19):
Like there's horses in the videos.
Speaker 1 (12:21):
These guys like Beeso Pluma Nada. That's not how they're dressing.
I mean they are in like head to toe designer.
They're like cruisin on ATVs in the desert. They have
really adopted a very different set of visuals to represent
their music. Do you think that's also helped really popularize
the genre as well?
Speaker 5 (12:41):
I think so.
Speaker 4 (12:41):
I mean, I think it's part of that's just part
of their lifestyle now. You know, you see kids in
Mexico and they're not going to be wearing sombreros and
writing horses, you know, like a mixed no. And it
goes back to those hip hop influences a lot of
the times as well. You think of somebody like Naa
Nata who came to the US, or for Satahia that
(13:02):
grew up in southern California surrounded by these neighborhoods that
were probably Black dominated. We're black and Latino dominated, and
those two cultures come together to produce what we're seeing now.
With with the Corrios Tomlos that connects specifically with the
kids that were born over here, you know, and those
no kids that you were mentioning Jessin do.
Speaker 2 (13:22):
You know Sabo, No question about it.
Speaker 1 (13:24):
And I think with this explosion in their popularity, I
want to get into them specifically.
Speaker 2 (13:29):
You know.
Speaker 1 (13:29):
We keep saying the same three names because those are
the ones that keep coming up for us, so besl Pluma,
Natan and Sara Hida. And as we were producing this
episode and writing it, we're like, we need to get
themas in here to really fill us in on how
they started and most importantly where they're going. Right, we
want to know what the future is going to look
like for them. So let's kick it off with bessel Pluma.
(13:50):
How do you think Besl became the face of this
genre the mus.
Speaker 4 (13:55):
I mean, that's that's such a loaded question, you know,
because it took four or five six bezol Pluma before
bezl Pluma for us to get the one that would
really propel the genre. And it was in part are
very much thanks to a by La Sola, which is
actually a Laos song that besil Bluma's featured on, but
around the time that that song took off.
Speaker 5 (14:14):
Bessel Bluma had another song, lave Bee, which is.
Speaker 4 (14:17):
More of a song that he was on love that
song that was also taking off, So it just propelled it.
Speaker 5 (14:22):
You know, he really blew up and it was top
of the charts.
Speaker 1 (14:25):
You know, I mean not just top of the charts,
you guys, I mean he actually was the most stream
artist on Spotify in March twenty twenty three, meaning he
surpassed bad Bunny, who was one of I think our
opening icon when we started this series. So even though
it might have felt, you know, to the Maass's point
like overnight, it wasn't. There was a lot of foundational
(14:46):
that allowed him to kind of step into this role. Now,
what do you know about bessel Pluma's background that might
be interesting to our listeners? The must that we may
not know because I know you've done a lot of
writing about him. I know you've covered an his album
in great detail. So what are some interesting things about
him as a person that could be interesting to us totally?
Speaker 4 (15:07):
Well, everybody, if you think of bessel Pluma, you think
of his haircut.
Speaker 5 (15:10):
Yes, the haircut was an accident, accident.
Speaker 4 (15:14):
Yeah, he said before that he got a haircut and
it like the guy like walked away or something and
he saw he was like, wait, I'm just going to
keep it like that, So it wasn't meant to be,
and then he kept it and now he's back to
this like sexy best of Bluma like that you would
never expect. But Besol grew up in Walladajda surrounded by
a lot of musical friends. He was in those environments
that maybe weren't the safest and that really played a
(15:36):
role in the sort of music he started to make.
Really early on, he connected with a lot of artists
that he's still connected with today, back when they were
not famous at all. I mentioned this songwriter, Hacier Nunez,
who is kind of his like right hand pen, you know,
he's his songwriter.
Speaker 5 (15:53):
He's now signed to his label.
Speaker 4 (15:55):
And they met really early on when when Bessel was
a teenager and maybe had like one YouTube video out,
and they quickly built a friendship and have been together
through the ups and downs and most recently the ups,
you know, of building this career. So I think it's
really cool to see how they've built family within the
genre and like have used each other to really like
(16:17):
grow and propel their careers together.
Speaker 1 (16:21):
And Somas where do you see him going? Like, what
do you think is the next natural evolution for him
as a musician. Do you see him continuing to stay
kind of honest and true to this genre or do
you think he has aspirations to step out of this.
Speaker 4 (16:37):
I think it's a good mix because I think he's
always going to be a corrio tumlo artist. He's always
going to be making Mexican music. I think he shines
sometimes when he steps out of his comfort zone. He
has a song with Kayli Uccis or his voice is
like it's not on a pop song and I'm like,
holy smack, Like why why is my gay radar is
like ooh, this is music?
Speaker 5 (16:58):
I like, you know what I mean?
Speaker 4 (16:59):
Like It's like I can sometime I feel like I
would tune into my Mexican radar and then my gay one.
When I listened to Kylie wach Is the gay one,
and I'm like, here's special coming into that world and
it works. It makes sense because Besil has such a
distinct voice, but he can play around with it and
really do something special.
Speaker 2 (17:15):
I love that. I can't wait to see what he does.
Speaker 1 (17:17):
Honestly, I mean, I really think even watching interviews, like
I remember watching him in an interview when he was
a guest with Becky g I think you were at
his Coachella set with her, and I remember watching an
interview and thinking, Wow, he really needs some media training.
Like he could I could tell that fame was really new, right,
this was like an unchartered waters for him, and watching
(17:40):
him recently, he's really stepping into his own and it's
incredible to watch the growth that has happened. I mean
that was literally a year and a half ago, and
I feel like so much has changed for him musically,
and we just can't wait to see what happens next.
(18:04):
Somebody else that we've got to talk about is a
Natano who is affectionately referred to as Nata.
Speaker 2 (18:10):
So share with us a little bit about his background.
Speaker 1 (18:13):
We know that he moved to La to start his
music career when I think he was just seventeen, But
what is his kind of space and what is the
territory that he really dominates in this genre?
Speaker 4 (18:24):
If you ask pessol Pluma who the king of corios
Tomos is, it's natan Cano. He is the person who
like baptized this genre as corrio tombalo.
Speaker 5 (18:35):
He's the one who created this. So the movement starts
with Nata.
Speaker 4 (18:40):
Well, actually I would say aria caa macho, who is
an artist that came before Natanel Well maybe the godfather
who like introduced what would become asquiral toumbabo. But in
its essence, Natano is that artist that really created this
genre and this space for artists who who live that
like in between line between him pop trap and corridos
(19:02):
and combine the.
Speaker 5 (19:03):
Two super effortlessly.
Speaker 4 (19:05):
And he was the first one to collaborate with Bad
Bunny really way before we had Mickel Porciento, like before
all of that. Really yeah, Bad Bad Bunny believes in
not Acano's vision and joined him for a remix because
he knew.
Speaker 5 (19:20):
This was going to be it.
Speaker 2 (19:21):
That's amazing. I had no idea.
Speaker 1 (19:23):
I thought that was the first time Bad Bunny had touched,
you know, like you said this the genre. I didn't
realize that they had collaborated even earlier than that.
Speaker 2 (19:30):
Also, not even that, No pressure, how old is this guy?
Twenty four?
Speaker 4 (19:35):
Yeah, he's a young one, and he's literally called the King,
Like okay, he's like, yo, get over here.
Speaker 1 (19:41):
But also smart on Bad Bunny, and I also think
that this is why we opened our entire Becoming an
Icon's podcast with him is because I think his ability
to see the future musically and not just see it,
but provides support and like a hand to these artists,
Like it's one of the loveliest things about him in
this business.
Speaker 2 (20:01):
So I love, I absolutely love hearing this.
Speaker 1 (20:04):
And by the way, Bad Bunny's not the only collaborator
that Nata has had.
Speaker 2 (20:07):
We're talking Snoop Dogg, Steve Aoki.
Speaker 1 (20:10):
I mean, he's really gone across so many different genres
and when asked about why he did this, he said, quote,
I did those collapse for the culture and for people
to know who I am, so that people would understand
this Corridos Umbado's movement and that we're on the same
level as them.
Speaker 2 (20:26):
Boom. I mean we're here for that.
Speaker 5 (20:28):
That's it.
Speaker 3 (20:29):
That's all he had to say, because it's true, like
if you're working with that person, it's because you're you're there.
Speaker 1 (20:34):
Absolutely, Domas, how would you describe not that's vibe like
his visual vibe totally.
Speaker 4 (20:41):
I mean in gate terms, he's a twink. I'm just
like ah built man, which I think changes up the
aesthetic that you think of when you think of maybe
like a strong Corrillo singer.
Speaker 5 (20:53):
He's like thin, a little smaller, but he dresses in me.
Speaker 4 (20:57):
He's like like Gucci brought up big brand names. So
bringing it back to that hip hop culture that I
mentioned earlier, and I feel like that's been a really
big part of what's propelled this genre.
Speaker 5 (21:10):
Right.
Speaker 3 (21:10):
I was gonna say, this seems to be like the
style like that they're all kind of wearing totally.
Speaker 4 (21:16):
It's like the big jewelry, the hoods, the snapbacks. That's
been all of it, and that started with this artist.
His name is Codisiato. He was in a group called Colisiato,
and he's known for being the first Directorona Act to
be like I'm gonna wear my street fashion even though
I'm making Mexican music. And so it started with Goliato
(21:37):
on the looks, and then nothing else can really built
that up and continued it with his style and how
he looks, and now everyone does it.
Speaker 5 (21:44):
It's not even like a question anymore.
Speaker 2 (21:46):
No, Like I'm not gonna lie.
Speaker 3 (21:48):
I need to actually get some of those outfits because
I think I would look super delicious in them.
Speaker 2 (21:55):
I think you would look so good in them.
Speaker 1 (21:56):
I mean, you guys aren't exactly like the same vibe,
but I do feel like you are one of those
fashion chameleons who can kind of pull off any look.
But I think for me, when I really first started
seeing what these guys were wearing and the brands they
were pulling, I thought, there's a real study and contrast there, right,
And I think it also shares and shows how important
(22:20):
the visuals of who these guys are and what they
represent means to the genre, because if you just listen
to the music, you have an idea of what they
might look like historically based on what these guys have
looked like, right, But then you see them, and then
instantly the music feels modern, it feels cool, it feels
current because of how they visually represent themselves. And I
(22:42):
think it's so cool that they're able to really take
this very kind of like old, deeply rooted in history
and culture when it comes to the sound, and move
it forward and advance it just with the way that
they produce the songs, but also how they produce themselves visually.
Speaker 2 (22:56):
I think it's so cool to watch it.
Speaker 3 (22:58):
Nothing says modern Life, head to toe, Birdberry, Gucci.
Speaker 1 (23:03):
Prontclair says, nowadays nothing says get that new money, honey.
Now we cannot continue without talking about Forsa Rehida. Now
talk to me about them because they are very much
American but so very Mexicano, which is exactly what you
(23:27):
were saying earlier. This is music that our parents listened to,
but really driven by our experiences as being American first
by birth right totally.
Speaker 4 (23:38):
I mean that's probably that sign of like like born
over here with these Mexican roots, grew up watching YouTube.
Speaker 5 (23:46):
These guys have a super interesting story.
Speaker 4 (23:48):
So the front man, his name is Jops is what
it spells out to, but you call him Jop, that's
the street name. And he's somebody who who really like
started on the vlockspace on YouTube. So as he was
trying to build his band performing at local shows, King
Signeta's weddings in San Bernardino County where he's from, he
(24:09):
was building up a fan base online through these YouTube
flogs and he was able to combine the two and
that's how started to become the band that we know today.
Speaker 1 (24:20):
Now for sarahid that for me, I think they're this
example of like you said, started really small right with
can you imagine you like had them play your King Signetta?
Speaker 3 (24:29):
Like just as I was literally like also what I
love about that we keep talking about all these icons,
Like most of their assess was really up in the
in the King Signetta as in the local bars, like
to be those people that like you you had them
at your Kintanneta, Like, yeah, you had.
Speaker 1 (24:43):
Them at your King sit two years ago. But now
they're signed to Sony Music USA. I mean that's a
big leap in a very short.
Speaker 2 (24:51):
Amount of time.
Speaker 1 (24:52):
The most, how do you find that these labels are
expanding their roster in this space? Like do you feel
like they're out there looking for these bands playing at
Keene says being like who's going to be the new
for Sarahida? Or do you feel like they're like, oh, yeah,
we're at capacity. We already have enough. Like where do
you feel the A and R side and the label
side is like are they are they bullish right or
(25:15):
are they bearish on this category of music?
Speaker 5 (25:19):
Oh?
Speaker 4 (25:19):
The record labels are putting the eggs in the Mexican basket.
They're getting Mexican chickens, Mexican eggs, and putting them in
the Mexican basket. And I say this because you've been
seeing it in a lot of really huge label signings
over the last few years. My brain goes to the
singer Hobby who has this iconic song that was released
in the last year called who signed to Innerscope Records
(25:41):
in this like really massive deal for a small artist.
They signed him before he was big, developed him over
two to three years and then bam drops the song drops.
Another one gets top of the charts and becomes this
like staple of the genre super quickly. And you saw
that with the treatment of Natanaelkano before having this other artist,
Ivan Cornejo, who's also massive, was signed to Interscope, and
(26:05):
it showed the people within the labels that this is
where the money's at, Like, yeah, if you tap into
Mexican people, we will buy tickets to your show, we
will be streaming the music, and we're going to be
supporting along the way.
Speaker 5 (26:19):
And that's I think what they're tapping into now.
Speaker 4 (26:21):
And you see a lot of Latino slash Mexican artists
who don't necessarily make music in that space now being
supported as they pursue music in that space because the
labels are understanding, oh, this is real and this is
going to be here to stay period.
Speaker 1 (26:36):
And to that point, let's talk about el Hefe featuring
because there we have somebody, I mean, I think to
your point though us right, it's you see somebody like
Shakidah who by the way, can make her own music.
She doesn't need to collab with anybody, like she stands
on her own like she's shocky right. And she also
is somebody who I think is a true musician at heart.
So when you listen to these corridos like this is
(26:58):
real music, right, this is a it's a band, right
like this, there's the sound there. This is even though
it can be very produced, the core of this is
the musicality of it. What did you think of el Hefe,
because that I think is probably Reida's most mainstream song yet.
Speaker 2 (27:16):
Did you love it or did you hate it? The
must that's a good question.
Speaker 5 (27:19):
I liked it. I don't think I loved it.
Speaker 4 (27:21):
I think it was in my opinion, more of of
for sa Rahida giving Shakira space within the Mexican music
genre to build on that because on this album that
Shakida dropped, she also worked with a group of Fromtera,
so she was definitely dabbling in the Mexican music space
and as opposed to it helping Forsa.
Speaker 5 (27:42):
I think it was Shakira coming into a space.
Speaker 4 (27:44):
That was new for her and I really enjoy when
when artists, and usually the ones to take the risk
are female artists.
Speaker 5 (27:50):
I will say, so her doing that, I'm all here
for it.
Speaker 4 (27:54):
I saw my favorite song of hers, definitely not my
favorite for Sara Hida song who in the last year
have become like these like symbols of like making banger
after banger. They also have a song with Marshmallow that's
gone really huge that I think really like encapsulates what
their whole energy is in the space and how they're
building it beyond just Mexican people.
Speaker 1 (28:16):
Well, on that note, talk to us a little bit
about what you see as the future of Corridos bumbados
and how do these three players really fit into that vision.
Speaker 5 (28:28):
That's a good question.
Speaker 4 (28:29):
So I just did an album review about bessel Pluma's
second album, Exolo, and I will say that I feel
like I was a little bit harsh on them on.
Speaker 5 (28:37):
Him because.
Speaker 2 (28:40):
You know what, now that I'm reflecting back you.
Speaker 1 (28:42):
Know what's so funny is you know you you're because
you guys are listening to Thomas and we're looking at
him and he has like the sweetest baby face. He's
so kind, he is warm and like just pure like
joy and love. But then give that bitch a pen
and like he will cut some one.
Speaker 2 (28:58):
He is so precise. He is so honest.
Speaker 1 (29:02):
And that's what I think it stands out about your
writing is that it's really truthful and it's authentic and
it's real and you come at it with heart.
Speaker 2 (29:10):
So definitely read his article. But tell us now what you.
Speaker 5 (29:13):
Said, Thank you. I appreciate that.
Speaker 4 (29:16):
No, I stand by what I wrote, and what I
said in the X of the review was that I
wish Besel had taken the extra step. I could see
him trying to combine like different sounds like EDM or
electronic music in goridles, but he would just like just
go back to what he knew. And he separated his
album too, so he had like eight songs that were
(29:37):
reggaeton or outside of the genre, and the rest of
the album was all corridos and Mexican music, but there
were elements of electronic music, elements of hip hop in
the other music that I wish had just.
Speaker 5 (29:48):
Been infused completely.
Speaker 4 (29:50):
But then for Rechi that dropped their most recent album
and they penned this term called Jersey Corridos. Not yeah,
like it's like it was basically like house music, but
with the gorrillo sound and the corrido lyricism, and in
my personal opinion, that album did not land at all.
(30:13):
But I really really commend for Khida for taking that
step and being like, you know what, fuck it, let's
just do something completely new and completely different and put
it all out there. And they did exactly that that
with this last album. It's probably gonna be one of
those albums that they're gonna look back and be like,
remember when we did this, you know. And there's one
(30:33):
or two songs that do stand out for me, but
overall it was too far of a stretch, Like for
Best Of was like, just do a little more, and
then fore was like, oho, you know. So I think
meeting it in the middle is going to be, in
my opinion, the future of the genre, finding ways to
incorporate it with other.
Speaker 5 (30:49):
Genres and also building on.
Speaker 4 (30:51):
That foundation that we already have, which I think is
already really really strong for sure.
Speaker 1 (31:05):
Let's talk about dream collaborations because you have such a
wealth of musical knowledge. I had learned so much from
you every time you were on the show with us.
So I want you to put your like you know,
future hat on and think five ten years down the road. Okay,
if you could have these artists collab with anybody in
(31:27):
the music industry, who would it be and why?
Speaker 2 (31:30):
Let's start with Bessel Pluma.
Speaker 5 (31:32):
Ooh oh my gosh.
Speaker 4 (31:34):
Beessill has already done really big collapse Carol g He's
done Kaalie Uccis as I mentioned, But I would have
liked to see him with like post Malone or somebody
along those lines, because you know how post Malone just
did his little country flair.
Speaker 5 (31:48):
So I would love to see post Malone.
Speaker 4 (31:50):
Step into like a musika meh Khana vibe, and I
feel like they would become good friends.
Speaker 1 (31:54):
Wow, I love that pairing. Let's make it happen. From
your lips to God's ears. Okay, what about nat Don
who is on the collab dream list?
Speaker 2 (32:02):
For him?
Speaker 4 (32:03):
This one's crazy, but one of his biggest songs is
called Madonna. I yes, and so I was I could
see Natan Nael tapping or madonna'ld be like, who is
this guy?
Speaker 5 (32:15):
You know, who is this guy? Let me do a collab?
Speaker 4 (32:18):
Like because she's cool like that she is exactly So
I could see that happening for Nathan I and.
Speaker 2 (32:23):
For for who is their dream collab in your eyes?
Speaker 4 (32:28):
So when I got to interview Jop, he kept bringing
up Little Baby.
Speaker 5 (32:32):
He's like, I love little Baby.
Speaker 4 (32:33):
Little Baby's an icon, Like that's somebody that I really
really admire. So I want to continue manifesting that for him,
and I hope he gets that dream collaboration because it's
out of the ordinary, but it is fusing that hip
hop and Mexican music feel that we were talking about earlier.
And I think he'd be down.
Speaker 2 (32:51):
I think he'd so, I mean, he'd be dumb not
to be down. I think it's what you said.
Speaker 1 (32:54):
It's the same thing that the record labels see, right,
Like I will say that Latino's generally over index and
it comes to consuming content on streaming channels, whether that's
your Netflix or Spotify or YouTube. We love it. We
love the content content the better. We're also really loyal.
So if you follow that money, you're following it to latinos.
(33:15):
And if you're really getting specific, like Mexikanos in this country,
like we're going to be the majority. So you want longevity,
you want cash, you want streaming numbers, like, come get it.
Speaker 2 (33:26):
We're here for you.
Speaker 1 (33:28):
Okay, guys, get out your pens and pencils or just
your notes app and your iPhone because this is one
of our favorite things to do with the Mass, because
this is truly going to change your next playlist.
Speaker 2 (33:40):
We like to play a game called sipe Gusta.
Speaker 1 (33:43):
So we're gonna give you some really popular songs by
some of the three different artists we talked about today,
and the MASS is gonna tell us who we would
like in that same space. Okay, So sipe Gusta, Tommy
and Pamela, it's Beecil Pluma featuring.
Speaker 5 (34:02):
Oh my God.
Speaker 4 (34:04):
Okay, I did prepare for today's episode the share I
will say for that song, I think Keenya Os is
somebody that we're just not paying attention to as much
as we should.
Speaker 5 (34:17):
So best of Pluma.
Speaker 4 (34:18):
Tapping her in Mexico she's massive, but in the US
she needs to have her moment.
Speaker 5 (34:23):
So listen to Os.
Speaker 4 (34:27):
But if we're going to choose a different artist. There's
also this other cunty girl. Her name is Yerimir right.
She's so she's so cute like that, she's very silly,
she's hilarious and she makes kind of like those tongue
in cheap, tongue in cheek kind of songs.
Speaker 1 (34:44):
Her song is yeah, exactly, great answer, I'm writing it down, okay,
see Gusta three hundred notes, which is not that I
don't off featuring Belinda.
Speaker 4 (34:58):
And this one's a classic. And she's been around for
a really long time. But her last album was so great.
I'm gonna say Dana formerly known as Dana, don't call
her more though.
Speaker 2 (35:08):
Oh my god, so we can't call her Anna Paula.
Speaker 5 (35:10):
No girl.
Speaker 4 (35:11):
She she put out the statement that she is gone.
It's not just Dana. But her latest album was really
really good. The album cover is beautiful. It's like her
above these like demon creatures like and the album is
called child Star about her experience like going through being
a child star and and and all of that. And
the album is really really good. That's why I would suggest,
(35:33):
especially if you like the Belinda side of that song.
Speaker 3 (35:36):
I did the cover of her makeup for El Mexico
by the way.
Speaker 5 (35:39):
Oh I saw that. Why do you think I mentioned
in MoMA there you go.
Speaker 2 (35:42):
It looks so good. She looks so good.
Speaker 1 (35:44):
She did look absolutely beautiful. You did such an amazing
job on that. What she was really really, really nice.
She was like singing we were listening to her album.
She had just come out with the album at the time.
Speaker 3 (35:56):
And they just weren't sure what to do with and
this guy had tattoos and so he put the photographer
was just kind of like, why don't you put your
hand on her face?
Speaker 2 (36:03):
It would it look like tattoos? And that was like
the shot. And she was just so sweet about everything.
She was like in hedgetuble garis or whatever. She's shak
She's done it. Get it chic chic shake. Okay. Last I.
Speaker 4 (36:22):
Mentioned hav earlier, and while he does have two songs
that are massive, I think we're still waiting for him
to break with that debut album. So if you're here now,
tap into the heavy hype now so when the album
comes out, you're ready to just embrace it.
Speaker 5 (36:38):
His voice is incredible.
Speaker 4 (36:40):
He reminds me of best of Pluma in a lot
of ways with the raspiness of his vocals, but he's
also a songwriter, and he's one of those artists that
I think I'm definitely eyeing for being the next best
of Plum.
Speaker 5 (36:51):
Did I say that? Oh?
Speaker 2 (36:53):
Whoa wait, I.
Speaker 1 (36:55):
Just I just wait, hold on, I just I just
posted that on Instagra, just tweeted that.
Speaker 2 (37:00):
And don't forget I also do.
Speaker 5 (37:03):
Yeah, turning my notifications off.
Speaker 1 (37:07):
I mean, this is why we love having you here.
I feel like you make me infinitely cooler just by
listening to what you have to say on what's happening
in the industry, what's coming in the industry, who to
listen to, why I should listen to them. I really
feel like you should have your own podcast. iHeart thank
you coming give it to him. He is, let's manifest
(37:33):
this for you. Speaking of what are you working on
right now, because rumor has it you are perhaps in
the talks to do some big interviews here in La.
Speaker 4 (37:42):
Oh my god, well, you know I love to be
around town that I'm talking about the Grammy Museum in
downtown La tonight. This will probably happen before this episode
comes out, but I'm doing an interview with Orville Peck,
who is an amazing gay country singer. So I've been
doing a lot of these live interviews with musicians and
having a conversation about the records, and we might have
(38:04):
one pretty cool with another artist that I enjoy, and
you both are invited.
Speaker 5 (38:09):
Joseph fly Down said.
Speaker 4 (38:11):
Don't start, because I will. I'll be there and we'll
go to Clube Temple together.
Speaker 3 (38:16):
Oh my god, no please. But also before you go,
what are where can we find you? Where are your
social handles?
Speaker 4 (38:21):
Yes, so I'm at Thomas Underscore meed on x and
Instagram and at Thomas Meed on TikTok, and then you
can read my stories at Rollingstone dot com.
Speaker 2 (38:31):
And your only fans. You forgot to leave the lank.
Speaker 5 (38:35):
My all is linked in my bio. My venno is at.
Speaker 1 (38:42):
I love it well, Thomas. As always, it is such
a pleasure talking with you. Thank you for sharing all
of your knowledge and your wisdom and your wittingness with us.
We are not worthy and we cannot wait to have
you back. Have a wonderful day. I can't wait to
see you on that stage at the Grammy Museum.
Speaker 5 (38:57):
Thank you. I love you, guys. I really appreciate joining
the show.
Speaker 1 (39:05):
On the next becoming an icon. It's time for the
season finale. Join us as we relive the best moments
from our second season.
Speaker 2 (39:15):
The tea will be typing hot Hanging.
Speaker 1 (39:22):
Becoming an Icon is presented by Sonoo and Iheart's Michael
Duda podcast Network. Listen to Becoming an Icon on the
iHeartRadio app, Apple podcast, or wherever you get your podcast
Hosts And Creators
Lilliana Vazquez
Joseph Carrillo
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