Latest / Locatora Radio [A Radiophonic Novela] / Capitulo 011: Ropa icónica.

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Capitulo 011: Ropa icónica. · Locatora Radio [A Radiophonic Novela]

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Speaker 1: Radio Radio Radio Commies, a myth and Bullshit, a radio
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Speaker 1: phonic novella Look Radio hosted by malamun Welcome back to
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Speaker 1: Look at a Radio. This is the FM and this
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Speaker 1: is Malamunos. Welcome back, Loki Basso, Lucky Texas. Look at
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Speaker 1: that our radios where we celebrate the brilliance and legacies
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Speaker 1: of women and fems of color. Thank you for tuning
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Speaker 1: into Bronco our once again, once again our radio phonic novella.
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Speaker 1: We're really excited about. We're always excited about every new
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Speaker 1: couple people like, we're constantly but today is gonna be
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Speaker 1: really special, incredibly cute. We have a special guest. Yes,
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Speaker 1: we have a amazing woman from another podcast from the
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Speaker 1: East Coast, so I'm gonna let her introduce herself, So
1:02
Speaker 1: take it away. Love. Hey guys, Uh, this is Joy.
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Speaker 1: I'm from the Unwrappled podcast. It's a fashion podcast. We're
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Speaker 1: based out of New York City and I'm like really
1:11
Speaker 1: privileged to be here. And then you're cute set up
1:14
Speaker 1: with your smiling faces. Yes, shout out once again to
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Speaker 1: a Spasso et nine. Again we're recording from We're recording
1:23
Speaker 1: from Spasso and Boil Heights. They have a community radio
1:26
Speaker 1: program here, they have books, they have art. So thank
1:29
Speaker 1: you to Myra and Nico for for having us here
1:32
Speaker 1: and helping us with our setup and our technical difficulty.
1:35
Speaker 1: Always yes, so would we do without y'all? The sound
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Speaker 1: plotty is just at a hundred at this point, so
1:40
Speaker 1: I'll shout out to y'all. So that's where we're at.
1:43
Speaker 1: We're so happy to have you here. Thank you for
1:45
Speaker 1: having me. Yes, do you want to tell us a
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Speaker 1: little bit about your fashion podcast for our listeners? So
1:51
Speaker 1: it was it was started by Jasmine and Dana who
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Speaker 1: are a co host with and we really do discuss
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Speaker 1: everything from fashion and paul Tics to kind of the
2:00
Speaker 1: social political issues around fashion, to history of women in pants.
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Speaker 1: So we really do cover everything and we enjoy every
2:07
Speaker 1: moment of it, even the grueling hours of research. If
2:10
Speaker 1: we do um and it really pays off and our
2:13
Speaker 1: our fan base is growing, which is really exciting, and
2:16
Speaker 1: we're hoping to do our first meetup. We're doing any
2:20
Speaker 1: conjunction with the Fashion Studies Journal, so that's very exciting
2:24
Speaker 1: of you. Our first meetup, So this is happening April
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Speaker 1: one in New York. Hopefully if we get big enough,
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Speaker 1: we'll come to the West coast. Will be very exciting. Yes,
2:36
Speaker 1: most loves you know. Um, you gotta you gotta check
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Speaker 1: out that event if Yeah, so let's just should we
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Speaker 1: just get into it. We are prepared. Yeah. Joy has
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Speaker 1: an amazing, amazing done some amazing research for our today,
2:50
Speaker 1: so we're just gonna get into it. We're going to
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Speaker 1: be discussing the wardrobes of two of our favorite divas.
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Speaker 1: One of them you all already know about, and the
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Speaker 1: other hopefully you do already know about her, but in
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Speaker 1: case you don't, you will learn about her today. Yeah,
3:03
Speaker 1: we're talking about Ema Sumac and La Lupe. Uh. And
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Speaker 1: I just created a little power point for myself to
3:08
Speaker 1: keep me on track of the conversation. Uh. And I
3:11
Speaker 1: was inspired because it was we were talking about ways
3:13
Speaker 1: to collaborate. Um and you guys said that you did
3:16
Speaker 1: a history podcast when Ema Sumac, and I was like, WHOA,
3:19
Speaker 1: I haven't heard that name in so long, Like my
3:21
Speaker 1: dad had some albums, So it's kind of come full
3:25
Speaker 1: circle in a very strange way. I love it. So
3:29
Speaker 1: that's really exciting. Um. So Ema Sumach, I mean you
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Speaker 1: guys have already known because you you listened to the
3:34
Speaker 1: other podcast, but I wanted to talk about her wardrobe
3:37
Speaker 1: because that's my background. Uh yeah, I went to school
3:40
Speaker 1: for fashion studies. So one of the things that really
3:45
Speaker 1: attracted me to looking at this subject even further was
3:49
Speaker 1: her her embracing of her Peruvian roots. Um and in
3:55
Speaker 1: doing that in the dress, because oftentimes people who come
3:58
Speaker 1: it doesn't matter what culture they come from, they when
4:01
Speaker 1: they're doing something that's culture centric in their music, they
4:04
Speaker 1: often try to saturate the market with a more popular image. Um.
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Speaker 1: And she tried to balance that in her dress, especially
4:11
Speaker 1: on stage, and I think that's really impressive because a
4:14
Speaker 1: lot of people just abandon it so they can get more,
4:17
Speaker 1: you know, more butts than the seats, as they say.
4:19
Speaker 1: UM So, I really enjoy her jewelry first and foremost
4:23
Speaker 1: because it kind of reflected I think Incan symbolism, but
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Speaker 1: also the symbolism of her just her her her community,
4:32
Speaker 1: her immediate local community. UM. I don't know what attracted
4:36
Speaker 1: you to kind of her style. Yeah, I mean for me,
4:40
Speaker 1: I think it's all the jewelry that she wears, Like
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Speaker 1: you said, all the gold, all the silver, the headpieces,
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Speaker 1: the feathers, everything is just you know, complete adornment. And
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Speaker 1: I think that there's something really powerful in the way
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Speaker 1: she represents herself on stage. And it is a performance.
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Speaker 1: You know, whether or not she was um as one
4:58
Speaker 1: of our listeners said, maybe she was can hold into
5:00
Speaker 1: this type of performance, we don't really know. She's not
5:04
Speaker 1: here to like really speak for herself and to give
5:06
Speaker 1: herself agency. But I think like our job, as you know,
5:10
Speaker 1: as a podcast podcast hosts, like we want to give
5:14
Speaker 1: her agency in that, you know, That's what I think,
5:17
Speaker 1: because I think she had um, she had the fortunate UM,
5:22
Speaker 1: I guess privilege in a way to um take control
5:26
Speaker 1: of what she looked like a little bit more than
5:27
Speaker 1: a lot of other artists at the time, a lot
5:29
Speaker 1: of other Latina artists of the time. UM. And we're
5:33
Speaker 1: talking about La Loupe and how it's kind of we'll
5:36
Speaker 1: see how she went, maybe pushed it further or not. UM.
5:40
Speaker 1: So I mean it is, yeah, like you said, you
5:41
Speaker 1: don't really have ways to give her agency. I know.
5:44
Speaker 1: One of the things that I looked at in research
5:46
Speaker 1: for this was a Smithsonian like short video of these
5:51
Speaker 1: two vintage dealers going to her if you want to
5:55
Speaker 1: call it her archive UM. It looked like it was
5:59
Speaker 1: an apartment potentially inhabited by the person that is in
6:03
Speaker 1: charge of the estate, the makeup artist UM, which was
6:06
Speaker 1: a very strange thing in and of itself, but he
6:09
Speaker 1: highlighted so much of her jewelry, like we were talking
6:11
Speaker 1: about and UM kind of how it survived. You kind
6:14
Speaker 1: of see how much she really put into the how
6:19
Speaker 1: much she put into UM not only like looking the part,
6:22
Speaker 1: but representing her people like it was important to her.
6:26
Speaker 1: I agree. I mean one of the pieces that he
6:28
Speaker 1: shows us is I think it's a brooch and it's
6:30
Speaker 1: of a sun, and it's a gold and silver So
6:33
Speaker 1: I think, like, if you know anything about Pru, like
6:35
Speaker 1: you know how gold and silver really plays into everything
6:39
Speaker 1: you know as a part of the culture. And then
6:40
Speaker 1: also like Inca's are you know people of the sun
6:44
Speaker 1: of the sun. So I think that that's the really
6:46
Speaker 1: beautiful way that she paid tribute to her ancestry in
6:49
Speaker 1: that performance exactly. One of the other pieces that stood
6:52
Speaker 1: out to me was a feather like mini skirt and
6:56
Speaker 1: it was heavily embellished, So I always think about like
6:59
Speaker 1: the person wearing it, UM, And of course this is
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Speaker 1: another you know, tying feathers in with heavy embellishment is
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Speaker 1: kind of a modern I think, a modern approach to again,
7:10
Speaker 1: UM representing her people, which I think is just so
7:14
Speaker 1: interesting how people maneuver between UM a modern or contemporary
7:18
Speaker 1: look like adding these embellishments that aren't necessarily traditional with this,
7:22
Speaker 1: like feather represented represented where it's today, UM representing UM,
7:29
Speaker 1: you know, Incoan culture. So that's one of the pieces
7:32
Speaker 1: that really stood out to me. But they didn't spend
7:33
Speaker 1: a whole lot of time on in the short video,
7:36
Speaker 1: and it comes out at the end, I believe exactly.
7:39
Speaker 1: And she she wore feathers quite a bit too. UM.
7:42
Speaker 1: So I think it's an important to note that feathers
7:44
Speaker 1: were very important to her and also just you know,
7:48
Speaker 1: to practically speaking, it's extremely expensive and luxurious to have
7:53
Speaker 1: feather pieces made for you UM. Let alone all the
7:56
Speaker 1: embellishment that went into that skirt. UM. Was there an
8:00
Speaker 1: anthing else that stood out to you? UM? I mean,
8:04
Speaker 1: I think we touched everything. I wish that the video
8:07
Speaker 1: was longer. Yeah, I wish there was. I think there
8:11
Speaker 1: was there was a lot, but I would love to
8:13
Speaker 1: see like these pieces we were talking about UM in
8:16
Speaker 1: a museum. Yeah, some type of space, you know, where
8:22
Speaker 1: folks could actually you know, learn about the pieces and
8:25
Speaker 1: there'll be like sort of history of when she was
8:28
Speaker 1: wearing it, what performance she was wearing it for, what
8:31
Speaker 1: it's inspired by, I think, and then of a narrative
8:34
Speaker 1: about it because the Smithsonian thing we'll talk about it
8:37
Speaker 1: later with they also is about like what kind of
8:40
Speaker 1: what is their legacy through dress but also through just
8:44
Speaker 1: like items there, everyday items and how important it is
8:47
Speaker 1: to creating a narrative that is easy for people to
8:49
Speaker 1: understand because it's hard to kind of just like probe
8:52
Speaker 1: the psychology of a person looking at their stuff is
8:56
Speaker 1: a is a fun way and like a more democratic
8:59
Speaker 1: way to do to do that to learn about the person.
9:01
Speaker 1: So hopefully, um, yeah, maybe some stuff will surface in
9:05
Speaker 1: a museum. Yeah, yeah, one of the one of the
9:11
Speaker 1: other photos that kind of stood out to me. Um,
9:13
Speaker 1: there's several, but she had a spread in nineteen fifty
9:16
Speaker 1: Life Magazine, which is American publication, which is I think
9:21
Speaker 1: she had now breached over into the US market at
9:23
Speaker 1: this point in nineteen fifty, I believe, yes, Um, And
9:26
Speaker 1: just for reference, she was born in nineteen twenty two,
9:29
Speaker 1: so um. In nineteen fifty she was in the Life
9:32
Speaker 1: magazine cover shoot. Uh, and she looked so glamorous. Everything
9:37
Speaker 1: was in black and white, which is unfortunate so you
9:39
Speaker 1: can't really see, but the silhouette she wore were very structured. Um.
9:45
Speaker 1: She liked to show her arms as is traditional and
9:47
Speaker 1: for most oppera singers is to kind of like show
9:50
Speaker 1: the decollage as you will is a word as a
9:53
Speaker 1: French word. Um, but yeah, that it was interesting how
9:57
Speaker 1: regal she came across, and they tried to also make
9:59
Speaker 1: her looked like she was in her everyday life. Um.
10:03
Speaker 1: That was fascinating to me in that approach because we
10:06
Speaker 1: don't really get to see how things are made the
10:08
Speaker 1: black and white photos. Still you still get to see
10:10
Speaker 1: fit and kind of how she moved throughout her day
10:13
Speaker 1: and her I guess, like her persona with her family
10:17
Speaker 1: or like she's cooking and like I don't know if
10:20
Speaker 1: you saw the photo, but she had trapping onions in
10:23
Speaker 1: this like obviously down I think she is. I think
10:27
Speaker 1: it's onions. It's oh no, this meat. Now it is
10:31
Speaker 1: a piece of meat. It's actually like a deer head
10:34
Speaker 1: and she's cutting into it. But she's wearing Like, yeah,
10:37
Speaker 1: for sure, she's wearing I just don't even I don't
10:39
Speaker 1: even know. Like it's like it's a head called the
10:43
Speaker 1: carcass of an animal. Yeah, I think she's like de
10:45
Speaker 1: eying it. She's like harvesting it essentially in this cautore
10:48
Speaker 1: dress or at least like a well made dress. You
10:51
Speaker 1: can really tell. And maybe we'll come up with some
10:55
Speaker 1: way to share this with people because these images like
10:57
Speaker 1: stood out to me because this is like a very
11:00
Speaker 1: powerful image. Is this woman who is seen as like
11:03
Speaker 1: luxurious um and she's just in her home, but she's
11:06
Speaker 1: also in contour cutting at me, it's like this very
11:09
Speaker 1: weird I don't know what I'm supposed to think of
11:11
Speaker 1: her now as an artist. I love it because she
11:16
Speaker 1: it's a very it's it's a really powerful photo and
11:19
Speaker 1: it's also very simple in the in that she's not
11:21
Speaker 1: wearing any jewelry. Her hair is down, but it's curled,
11:24
Speaker 1: you know, and just it looks so natural, like it
11:27
Speaker 1: looks like a photo of like one of my primas
11:30
Speaker 1: or like one of my thea's like from back in
11:32
Speaker 1: the day, like you know. So I really like it
11:34
Speaker 1: because it's it's really relatable to me in that way. M.
11:37
Speaker 1: That's nice. Yeah, it's it's very interesting because I have
11:41
Speaker 1: more questions now than answers by looking at that image,
11:44
Speaker 1: and just because there's just so much power in a
11:46
Speaker 1: woman like cooking for herself but wearing core and like
11:49
Speaker 1: basically slaying the opera scene of her time in her kitchen. Yeah,
11:55
Speaker 1: I love it. Yes, thank you so much for bringing
11:57
Speaker 1: this photo. Amazing things that you're pointing out. Really, this
12:01
Speaker 1: is what I do. Yes, I love it. I'm still
12:04
Speaker 1: gad that we can capture that here on this podcast today. UM,
12:07
Speaker 1: do you want to move on to the next caries
12:10
Speaker 1: um or the next Actually, before we moved to La Loupe,
12:13
Speaker 1: I want to talk about the feather dress that you brought.
12:16
Speaker 1: Oh yeah, so the feather dress. UM, it's so fascinating
12:22
Speaker 1: because she woren't to perform in more than once. I
12:25
Speaker 1: do know that, UM, and this is like very cursory. Again,
12:28
Speaker 1: we're going to talk about again about the lack of information, um,
12:31
Speaker 1: in concrete places about their costume or about each character's costume.
12:36
Speaker 1: But she wore on more than one occasion. And UM,
12:39
Speaker 1: I'm looking at a black and white photo in a
12:41
Speaker 1: color photo and you again with you know, black and
12:44
Speaker 1: white photography, which was very prevalent at the time she
12:47
Speaker 1: was popular, you don't get to see that it's you know,
12:49
Speaker 1: made of like pink purple fuchia and like white feathers,
12:55
Speaker 1: and the bodice is this like white, like it's that
12:59
Speaker 1: if you were just with sweetheart neckline. Like it's just
13:03
Speaker 1: I'm thinking that I may want to recreate this exact dress,
13:08
Speaker 1: I think after taking and I think I absolutely have to,
13:12
Speaker 1: and also the I um again, hopefully we'll be able
13:16
Speaker 1: to post these photos. But it's just so fascinating how
13:19
Speaker 1: structured all of her items are. Um and I think
13:23
Speaker 1: of like a Charles James for instance, and a lot
13:27
Speaker 1: of her clothes look like kind of a muted Charles James.
13:29
Speaker 1: So it's still very structured. Like this dress, looking at it,
13:32
Speaker 1: even though it's only held up by feathers, it looks
13:34
Speaker 1: like it could sit like if you just dropped it,
13:37
Speaker 1: it just could sit upright. Absolutely, it absolutely does. And
13:39
Speaker 1: I think that if you think about the time, I
13:42
Speaker 1: feel like that was the style, like it really structured,
13:45
Speaker 1: like silhouette type of dresses or that type of wear.
13:49
Speaker 1: But what's so fascinating between this and why I compare
13:51
Speaker 1: it to some of what she were to Charles James,
13:53
Speaker 1: is because I think she was used to wearing um,
13:55
Speaker 1: like a thicker, more constructed garment than I guess the
13:59
Speaker 1: average woman of the time that could afford address to
14:01
Speaker 1: begin with like this. UM, So I think she really
14:04
Speaker 1: wanted more structure than other people would. UM. There were
14:08
Speaker 1: I mean people at this time. There wasn't course, of course,
14:11
Speaker 1: but there were girdles like people wore them constantly. UM.
14:14
Speaker 1: In an episode we did on Unravel, we talked about
14:17
Speaker 1: UM hidden figures and how the actresses actually had to
14:20
Speaker 1: wear girdles. And this is roughly the same time whereas
14:24
Speaker 1: it we'll say, like a ten year difference. But then
14:26
Speaker 1: you know, the thirties through the fifties, women were wearing girdles, UM,
14:29
Speaker 1: and it was required for you to wear a girdle
14:32
Speaker 1: that was like the thing you wore. So just thinking
14:34
Speaker 1: about the inside and how uncomfortable that might have been. Absolutely,
14:40
Speaker 1: can you tell me where you found this? Um? This
14:43
Speaker 1: because someone bought this piece, right, someone bought So I
14:48
Speaker 1: just went on a Google search and I did UM
14:51
Speaker 1: because I sort of got frustrated. I looked at primary
14:54
Speaker 1: not primary sources. Sorry, I looked at secondary sources. First
14:57
Speaker 1: thing I would find like at least a couple of books,
14:59
Speaker 1: but they're really isn't like a lot. So then I
15:02
Speaker 1: went to blogs, which is like not the greatest. I
15:04
Speaker 1: couldn't write a paper, um, but just to look at
15:08
Speaker 1: what is available. Um. Going back to the Smithsonian video,
15:12
Speaker 1: So the makeup artist that you see in that video, UM,
15:16
Speaker 1: I believe is selling some of her items on first DIBs,
15:20
Speaker 1: which is like an auction site. It's a um where
15:23
Speaker 1: people sell everything and it's usually a hot pretty high
15:25
Speaker 1: price points. So this one was sold and I don't
15:27
Speaker 1: know who it was sold too, because the most auction
15:29
Speaker 1: site is anonymous usually UM, so I don't know who
15:34
Speaker 1: it wound up with, Like who wound up with the dress? Interesting,
15:38
Speaker 1: but a lot of her stuff has gotten sold in
15:41
Speaker 1: that way. And you know we were talking earlier that
15:44
Speaker 1: we and I agree with you that like there should
15:47
Speaker 1: be this should be sacred, some of the stuff should
15:49
Speaker 1: be saying, I don't think we should worship items. But
15:51
Speaker 1: going back to again what I said earlier, it's so
15:53
Speaker 1: much easier to communicate. It's the reason why people felt
15:57
Speaker 1: that paintings conveyed a message to you people that were illiterate,
16:02
Speaker 1: uh in the sixteenth and seventeenth century because the people
16:07
Speaker 1: think differently, uh and just explaining it verbally doesn't always
16:11
Speaker 1: get to the point of graphs. Yeah, I agree, and
16:13
Speaker 1: I think you know, something also we were talking about
16:15
Speaker 1: is that you know, there isn't at least in my opinion,
16:19
Speaker 1: in what I've seen, what I've researched, you know, museums
16:21
Speaker 1: that I go to living in l A, there's not
16:23
Speaker 1: very much content about Peruvians that have immigrated here, let
16:26
Speaker 1: alone proving artists. Right, So I think have been able
16:30
Speaker 1: to see this in the type of museum or it's
16:32
Speaker 1: just something like even like an online archive right of
16:36
Speaker 1: photos would even be accessible, you know. So I think
16:39
Speaker 1: having that, I think would be really important. Um. And
16:41
Speaker 1: then in the research that I did for our last capiculo,
16:45
Speaker 1: the first one we did on her um Dita Vontes
16:47
Speaker 1: owns address strapless heart, you know, heart shaped black dress,
16:53
Speaker 1: and it's of course beautiful on Da Vontees. But that's
16:57
Speaker 1: that's kind of weird, you know that it's you know,
16:59
Speaker 1: her A lot of people literally it's just like out there, um,
17:06
Speaker 1: which is fascinating because it depends on what we as
17:09
Speaker 1: a culture, and it could be any culture prioritize. That's
17:13
Speaker 1: really what it comes down to, because if people prioritized
17:16
Speaker 1: her items, it wasn't like she she just fell off
17:20
Speaker 1: the phase of the map. She was performing almost up
17:21
Speaker 1: until you know, ten years before she passed. So it's
17:25
Speaker 1: interesting that people didn't prioritize her collection. It's unfortunate. Yeah,
17:28
Speaker 1: I agree. I agree. Um, is there anything else you
17:32
Speaker 1: want to touch on? Just look at the Life magazine shoot.
17:40
Speaker 1: We should find we should maybe post that link in
17:42
Speaker 1: the description it's or something. But yeah, that's it's fascinating
17:46
Speaker 1: because it shows womanhood in a very different way than
17:49
Speaker 1: what you would expect of an opera singer from the
17:52
Speaker 1: forties and fifties. I agree, Yeah, Um, so should we
17:57
Speaker 1: go on a song break? Yeah? Yeah, let's do it. Okay,
18:00
Speaker 1: good intro. Yeah, let's do a song break and then
18:03
Speaker 1: we can talk about lap afterwards, which I'm really excited.
18:10
Speaker 1: Or Cara Belly ros and and and friends and and
18:17
Speaker 1: and and spend and and and and spends and and
18:24
Speaker 1: and and sends and and and spends Delly roads and
18:32
Speaker 1: spend the bell rang patents and and spends bell rang
18:37
Speaker 1: paends and and spends um from from from from from
18:46
Speaker 1: from from from from of it and no ship. Hello everybody,
18:57
Speaker 1: and welcome back. UM to look at our radio, welcome
19:00
Speaker 1: back to Brown Girl our and I'm jumping in. You
19:03
Speaker 1: might have noticed I was quiet. I was absent for
19:05
Speaker 1: a little bit. I had to take a crisis call.
19:07
Speaker 1: I'm on call right now, um as we record, because
19:11
Speaker 1: the crisis line never sleeps seven. So we are now
19:16
Speaker 1: going to jump into our conversation about La Loupe, which
19:20
Speaker 1: so ready for Yes, I have been wanting to talk
19:23
Speaker 1: about La Loupe for months. I've been texting Mala like
19:28
Speaker 1: can we talk about Lupe? Can we talk about So
19:30
Speaker 1: I'm so happy that we're finally able to bring her
19:33
Speaker 1: into the conversation. Now is the time time, so joy
19:36
Speaker 1: take us away. Like with Imaupe is another record, like
19:42
Speaker 1: a couple of records from another country that I listened
19:45
Speaker 1: to when I was a kid, that my dad had,
19:47
Speaker 1: So this is like going back in time. These are
19:49
Speaker 1: the only these two artists like I wouldn't have found
19:52
Speaker 1: otherwise without my dad, So big ups, but like big
19:55
Speaker 1: est to my dad for introducing me to them. So
19:58
Speaker 1: Lupe is like a fierce character, and her costumes reflected that.
20:04
Speaker 1: So Ima Sumac was a Um, she was the opera diva,
20:09
Speaker 1: so it made sense that her clothes would be outlandish. Um.
20:14
Speaker 1: But La Lupi, on the other hand, you're she came
20:17
Speaker 1: from kind of a more traditional way you get into
20:20
Speaker 1: music and Cuba, which is doing like big bandy type
20:23
Speaker 1: of stuff. So her dresses were nice, she had them tailored.
20:27
Speaker 1: But when she broke out of that scene is when
20:29
Speaker 1: it got super crazy and her performances got a little
20:32
Speaker 1: I mean, okay, crazy is a weird word. Controversy. One
20:35
Speaker 1: of her performances, which I'm sure you found in your research, Yeah,
20:39
Speaker 1: where she ripped other clothes off clothes during a performance
20:44
Speaker 1: and like the crowd. Yeah, the crowd like enjoyed it,
20:47
Speaker 1: it seems. However, I mean it was broadcast now, like
20:52
Speaker 1: part of it was broadcast, so that was the I
20:54
Speaker 1: think that was the issue. Um, what was that? Like,
20:57
Speaker 1: you know, it was like national tele what year around
21:00
Speaker 1: what year did this occur? I think it was the sixties. Yeah,
21:03
Speaker 1: wh she she was born in ninety nine, so she
21:06
Speaker 1: was born seventeen years after so that's important. I think
21:10
Speaker 1: It's interesting too, they existed at the same time that
21:13
Speaker 1: they rose to I guess their meteoric kite at different
21:17
Speaker 1: times and much different times. Yeah, what I love Aba
21:21
Speaker 1: Lupe is she's just like I feel like, the ultimate Mala,
21:24
Speaker 1: like the ultimate batty, Like she really gave no fox.
21:29
Speaker 1: And you can see that in her music, like her
21:32
Speaker 1: in her lyrics, like I have so many favorites of
21:36
Speaker 1: La Lupe, you know, but in her lyrics and her performances,
21:38
Speaker 1: you can just tell like she owned everything that she did.
21:42
Speaker 1: She didn't have a fuck when it got her exiled
21:44
Speaker 1: to Mexico, so you know, she was it was serious.
21:48
Speaker 1: It wasn't just like I'm I don't know. Some oftentimes
21:51
Speaker 1: it's like, you know, I have the privilege, so therefore
21:53
Speaker 1: I can just stand on my VI. But she didn't
21:54
Speaker 1: really have the privilege to speak, and she spoke. You know,
21:58
Speaker 1: she's she was a feminist when it was not cool,
22:01
Speaker 1: you know what I mean, like when you got exiled
22:04
Speaker 1: from your country, you know. So that's I mean, that's
22:07
Speaker 1: important note. And I'm sure her performances did not help
22:09
Speaker 1: with that, because you know we were talking earlier's based
22:12
Speaker 1: on you know, Centuria culture. Some of her the way
22:15
Speaker 1: she performed, um, and she she was very devout. And
22:18
Speaker 1: then later I read in an article she converted to
22:21
Speaker 1: Christian and which is very fascinating. She and then she
22:24
Speaker 1: started singing at like churches and so she would say
22:27
Speaker 1: church music. This was like basically at the end of
22:29
Speaker 1: her career. She Yeah, she totally made like the switch,
22:33
Speaker 1: which I think is really interesting because I don't know, Joy,
22:36
Speaker 1: if you've watched Grus, Lola is supposed to be La Lupe. Oh,
22:44
Speaker 1: I didn't know that, which I think is really upsetting
22:46
Speaker 1: to me because Lola is just this very like white guana,
22:50
Speaker 1: and they like try to base her off of La Loupe,
22:53
Speaker 1: and I just it doesn't really do La Loupe any justice.
22:56
Speaker 1: You know. In a lot of the narrative people um
23:00
Speaker 1: and this is totally not fashion related, but anywhere people
23:04
Speaker 1: people really like to see her fail. A lot of
23:07
Speaker 1: the articles that I see kind of like relished in
23:09
Speaker 1: the fact that she wasn't doing very well, especially later
23:11
Speaker 1: in her life, which is very bizarre because she was
23:14
Speaker 1: still popular. Um maybe I don't know the beef I
23:17
Speaker 1: didn't do. You know, a mountainous amount of research to
23:20
Speaker 1: see if her and Cela Cruz were in like some
23:22
Speaker 1: huge rivalry. I have a lot to say, okay, because
23:25
Speaker 1: like I don't, I don't understand. I think that's where
23:28
Speaker 1: the turn happened, because she was so she was you know,
23:31
Speaker 1: she used to be better than Celia. She was she
23:34
Speaker 1: was recording with which he was lying that the little
23:38
Speaker 1: of the time for Fania, and like the Sala scene
23:41
Speaker 1: like he was it and he was working with La Loupe.
23:44
Speaker 1: So I actually don't know if they actually had a
23:47
Speaker 1: rivalry from what I've read, they actually didn't really know
23:50
Speaker 1: each other, or they just a relationship. But I think
23:52
Speaker 1: that because of the time, Fania couldn't have two badass
23:57
Speaker 1: women performing and dark skinned women's exactly to Afro latinas
24:02
Speaker 1: dealing all the shine, dealing all the shine, and they
24:04
Speaker 1: couldn't like apoyard or support or uplift both of them
24:07
Speaker 1: and had to be one of the others. So we're
24:09
Speaker 1: going to put them in competition, of course, and history
24:11
Speaker 1: I feel puts them into competition when they work from
24:14
Speaker 1: completely different genres like Queen of La right and Lupe
24:21
Speaker 1: is queen of soul for the most part, like Latin jazz. Yeah,
24:25
Speaker 1: and she was also she was poised to kind of
24:27
Speaker 1: take Latin jazz out of just Latino culture and Latino
24:31
Speaker 1: culture and make it huge. Um, and I don't really know.
24:36
Speaker 1: I think because she struggled after you know, leaving Cuba
24:40
Speaker 1: to go to Mexico, and it just kind of not
24:43
Speaker 1: a downward spiral even though it's you know, people say
24:46
Speaker 1: that she had a drug It was painted that she
24:49
Speaker 1: had a drug issue. But like, which artist hasn't had
24:51
Speaker 1: a drug issue? Um? I mean they're coping mechanism, right right, Um,
24:56
Speaker 1: Like Ray Charles is like a great singer, but he
24:58
Speaker 1: had some some drug issu us, you know, just right,
25:02
Speaker 1: And she's kind of uplifted as a person that is
25:05
Speaker 1: damaged but tried to pull through it, and you know,
25:07
Speaker 1: tried to. So it's interesting that they paint her, however,
25:09
Speaker 1: like she was like a crazy affil Latino woman. But
25:14
Speaker 1: right exactly, Um, should we get to the Let's get
25:18
Speaker 1: to the even though gossip is so yeah exactly. Um.
25:24
Speaker 1: So I have a promo photo of her. I think
25:28
Speaker 1: it's one of a kind. Yeah, one of a kind.
25:30
Speaker 1: And what stood out to me when I saw this
25:32
Speaker 1: was she looks exactly like Rihanna. I was thinking the
25:34
Speaker 1: same thing Rihanna. Yes, especially in the picture with the hat. Yes,
25:40
Speaker 1: the actual what made it to the album cover um,
25:43
Speaker 1: which then brought me to like what she was wearing
25:45
Speaker 1: and like it wasn't just the look because she looks
25:47
Speaker 1: like Rihanna, but there it's the puffy sleeves and kind
25:50
Speaker 1: of like this, like the short wig and their skin
25:55
Speaker 1: tone is the same. And it's so interesting how she
25:58
Speaker 1: in almost every single look I've seen of her, even
26:00
Speaker 1: perform performing like you know YouTube videos. She was so
26:03
Speaker 1: ahead of the time. UM. And I don't mean that
26:07
Speaker 1: in like a quippy way, like you know, she was
26:09
Speaker 1: so ahead of her time, but she really was. There
26:11
Speaker 1: was no one dressing like her and performing like her. UM.
26:14
Speaker 1: I know that she gets comparisons to a few um
26:18
Speaker 1: African American artists at the time, but they weren't they
26:21
Speaker 1: had a traditional look because they were moving through traditional
26:24
Speaker 1: record labels. UM. So yeah, she I don't know, I
26:29
Speaker 1: just don't know. She looks like she's coming out of
26:31
Speaker 1: the eighties here and she's like fifteen years ahead, So
26:35
Speaker 1: I don't know what to make of that. UM. I
26:37
Speaker 1: love how she and Rihanna both can play with like
26:41
Speaker 1: big oversized baggy pieces, but they're still sexy and tailored somehow,
26:46
Speaker 1: you know, like it's baggy with a purpose and it's
26:50
Speaker 1: still sensual. And I'm also looking there's a lot of
26:53
Speaker 1: like ties happening, Like in the promo photo she's wearing
26:56
Speaker 1: these like pleather leather pants that are tied up at
26:59
Speaker 1: like from knee to the ankle. What. I don't even know.
27:03
Speaker 1: There's not a lot of people, you know, wearing things
27:05
Speaker 1: like that, even if it's for I mean share maybe,
27:09
Speaker 1: but she did. She did a good jumpsuit. She stayed
27:12
Speaker 1: pretty traditional to the jumpsuit and just maneuvered around that,
27:15
Speaker 1: but nothing like a big, puffy but tailored stinch like
27:18
Speaker 1: it looks like Yoshi Yamamoto forgat's sake. So it's just
27:22
Speaker 1: so fascinating that she was doing things and creating concepts
27:28
Speaker 1: well ahead of her time where her people were, because
27:30
Speaker 1: I'm not exactly sure who was in control of what
27:33
Speaker 1: she looked like either, they probably both were. I don't
27:38
Speaker 1: know that they had that they had their boat like
27:41
Speaker 1: they I'm sure they have teams because they all do.
27:43
Speaker 1: But I'm sure she had a lot to say, I
27:46
Speaker 1: think in control and how she performed because she broke
27:51
Speaker 1: away from I guess it would be like, I don't know,
27:57
Speaker 1: she broke away from the scene like the all that
28:00
Speaker 1: Big band, but that's not really accurate. But she broke
28:02
Speaker 1: away from that scene, and I would say, all hell
28:05
Speaker 1: broke loose in a good way, and again an empowering
28:09
Speaker 1: representation of like what a woman could be in an
28:11
Speaker 1: afric Latina and an African American woman could be. Um
28:16
Speaker 1: really breaking that mold because we're talking about a time
28:18
Speaker 1: frame that's sixties seventies, which you know, there's liberation, but
28:22
Speaker 1: like you know, as we know today, we haven't still
28:25
Speaker 1: really gotten that far as far as rights and social
28:29
Speaker 1: understanding of one another. And she really was breaking those barriers. So, yeah,
28:33
Speaker 1: the sixties were hot. They were a hot time racially,
28:37
Speaker 1: and I mean in Cuba that wasn't too far after
28:41
Speaker 1: the I mean that's in the midst of the revolution
28:43
Speaker 1: and all that crazy right that was going on that
28:45
Speaker 1: was all occurring at the same time, which is again
28:47
Speaker 1: you know, going back to her being exiled to Mexico,
28:50
Speaker 1: um and that I think it was a pretty big
28:52
Speaker 1: blow to her career and how she manufactured herself for
28:56
Speaker 1: the public. You know, when you do these promos, and
28:58
Speaker 1: we were talking about like lack resources. A lot of
29:01
Speaker 1: the photos I saw that were clear good images of
29:03
Speaker 1: her garments were one album covers, which is a good resource.
29:07
Speaker 1: But I wish we had more photos. I wish she
29:09
Speaker 1: had a life magazine. I wish there was more information
29:15
Speaker 1: on like what she wore and kind of like where
29:17
Speaker 1: it was, because a lot of the photos were just
29:18
Speaker 1: kind of photos you don't know where they came from,
29:20
Speaker 1: like when they were taken. You didn't see necessarily a
29:23
Speaker 1: lot of like editorial shoots with her because she it
29:26
Speaker 1: was hard for her to market herself I think UM.
29:29
Speaker 1: But she refused to kind of be other than herself,
29:32
Speaker 1: which is also important thing to note that she kind
29:35
Speaker 1: of didn't care. Can I curse thee here? I don't
29:38
Speaker 1: want to. Yeah, yeah, she didn't give a fuck. She didn't.
29:41
Speaker 1: I mean, she wanted to be successful up until she died.
29:44
Speaker 1: She wanted to be successful and performed, but she wanted
29:46
Speaker 1: to be herself. And that comes across Oh, there's two
29:50
Speaker 1: photo photo albums photobus albums, record albums for Definitely and
29:56
Speaker 1: for the Queen. And she's wearing kind of a I
29:59
Speaker 1: think like a been off of UM in my opinion,
30:03
Speaker 1: is like a stereotype of what Santeria. You know, performers
30:07
Speaker 1: were performers, but um, you know Santana, thank you my ignorance.
30:14
Speaker 1: So I mean I think it's, you know, from what
30:17
Speaker 1: I've seen in my own own time, I think that
30:20
Speaker 1: it's kind of like a spinoff of that. And I
30:23
Speaker 1: don't know if that contributed to how Americans look at
30:28
Speaker 1: that culture at all. Um, But I don't know if
30:31
Speaker 1: she's helping. So, but it's there. We're just dresses, definitely,
30:37
Speaker 1: We're just just as she looks. She she looks powerful
30:39
Speaker 1: and strong, but I don't know what message that gives
30:42
Speaker 1: to her community. Um. In the same way of an
30:45
Speaker 1: Ema Sumac, which we you know, discussed that there was
30:48
Speaker 1: mixed reviews about how she presented herself to you know, again,
30:52
Speaker 1: both of these women when they presented themselves to an
30:54
Speaker 1: American and European audience, right, so like critiques from their
30:58
Speaker 1: own community folks within. Yeah, yeah, I think that we
31:02
Speaker 1: tend to see like one of one of two things, right,
31:05
Speaker 1: Either like the home community is like excited that there's
31:10
Speaker 1: representation and that they're doing the damn thing, or they
31:14
Speaker 1: feel like why is this traditional style or this traditional
31:18
Speaker 1: religion being like commercialized or is it on the cover
31:22
Speaker 1: of a CD to be I wonder, yeah, exactly, I
31:25
Speaker 1: wonder which of the two or other receptions you know,
31:29
Speaker 1: she was they were having for her. And I think
31:32
Speaker 1: I think also about now and how we yearn for
31:34
Speaker 1: any representation of ourselves and things. So it's this really
31:38
Speaker 1: weird conflict of like what we experience now and like
31:43
Speaker 1: to to you know, the two thousands versus then and
31:45
Speaker 1: how it's perceived. Because I think if someone came out
31:47
Speaker 1: with an album any of her album covers now and
31:50
Speaker 1: we're very proud of who they were, Um, either we
31:53
Speaker 1: get drowned out because that's kind of like I'm a
31:54
Speaker 1: Fierce Woman is now a you know, kind of like
31:57
Speaker 1: a product line item to like sell to people. Or
32:00
Speaker 1: maybe people would be inspired now and there wouldn't be
32:03
Speaker 1: as much a critique because it's just not available and
32:05
Speaker 1: like people aren't doing it anymore in the same way
32:07
Speaker 1: you see that like with like a Baby. They're from
32:11
Speaker 1: Kuba as well, and like they're the Yoruba culture like
32:15
Speaker 1: definitely plays in so their their entire music, their music. Yeah,
32:20
Speaker 1: and it'll be interesting to see how far they get
32:22
Speaker 1: because they you know, with the image that they have
32:25
Speaker 1: because often people change, you know, they change, people change anyway,
32:30
Speaker 1: but you know, to try to either get more album sales,
32:32
Speaker 1: get more attention, or if they'll you know, they'll stay
32:35
Speaker 1: true to themselves and just you know, slay the way
32:37
Speaker 1: they want to slay. Yeah, I hope they can just
32:41
Speaker 1: doing it like how they are because they're double. Yeah.
32:45
Speaker 1: I love what they love what they do. We haven't
32:47
Speaker 1: talked about them. We should should actually next time their
32:51
Speaker 1: hair alone, I could spend oh speaking of hair, La
32:54
Speaker 1: Loupe has an amazing wig game. I have to say,
32:57
Speaker 1: like she was the short wigs, like she's like she
33:01
Speaker 1: wore these cute bob wigs were not her real hair
33:05
Speaker 1: because the way that they were like out to hear,
33:07
Speaker 1: there's no way your hair does that. Well, you can't
33:09
Speaker 1: see this, but her hair was like, you know, two
33:11
Speaker 1: inches from her head, there's hair doesn't do that. But
33:17
Speaker 1: but there's one footage of her and this is like
33:20
Speaker 1: later in her career, and she definitely looks like she's
33:22
Speaker 1: on drugs. It's unfortunate, but it's also makes for a
33:25
Speaker 1: very entertaining performance. Um she has hair like down to
33:29
Speaker 1: her butt, and it's these huge, like tight curls, and
33:31
Speaker 1: she's she used she didn't use like European hair if
33:34
Speaker 1: you want straight hair. So it's very interesting. Like her
33:37
Speaker 1: her wig game is amazing. I love that. And I
33:41
Speaker 1: did you notice any type of like when she used
33:44
Speaker 1: which types of wigs for what styles? Did she have
33:48
Speaker 1: any type of like a pattern, a tendency to like
33:51
Speaker 1: match short wigs with a certain type of look or
33:53
Speaker 1: long wigs with a different type of look. So it
33:56
Speaker 1: seems like when the less clothes she wore, the longer
33:59
Speaker 1: her hair was. But that's the closest I would get
34:02
Speaker 1: the shorter like bob style that she had or like
34:06
Speaker 1: pixie bob. I don't know what to call it. And
34:08
Speaker 1: it was kind of um. She wore traditions like that,
34:11
Speaker 1: She wore that more often. We also talked talked about
34:14
Speaker 1: her taking off her clothes at one performance. Traditionally she
34:17
Speaker 1: would take off her shoes before a performance, or she
34:21
Speaker 1: would take off her wrap and tight around the microphone
34:23
Speaker 1: or like do some weird thing, whether she would do
34:25
Speaker 1: like a reveal. So her taking her clothes off, while
34:28
Speaker 1: again we're talking about drug use might have been attributed
34:31
Speaker 1: to that it's also her performance style was like her
34:33
Speaker 1: kind of release her ritual. Yeah, and you saw her
34:37
Speaker 1: you saw like not to use sexual terms too much,
34:39
Speaker 1: but she saw kind of like this release of expression
34:42
Speaker 1: at a certain moment in her performances. Um, which again
34:45
Speaker 1: I think you know ed unravel we talk about all
34:47
Speaker 1: the time, is how the person wears the clothes is
34:50
Speaker 1: just as indicative of the clothes themselves, where they came from,
34:54
Speaker 1: how she purchased them. It kind of works together, um
34:57
Speaker 1: to create more of a narrative. And we were talking
34:59
Speaker 1: about earlier about how it's easier for people to digest
35:03
Speaker 1: that information when it's visual, um and you can really see,
35:06
Speaker 1: like we were talking about girdles and like you know,
35:09
Speaker 1: that's like we don't have to really think about that anymore.
35:12
Speaker 1: I mean, we have shapewear, but we're talking about a
35:13
Speaker 1: whole another level of shapewear and preparation and getting into
35:17
Speaker 1: your clothes and just right it's strapped in and it's
35:22
Speaker 1: it's easier to visually see that instead of kind of
35:25
Speaker 1: explain it. Yeah. Absolutely, wow, And so like how did
35:31
Speaker 1: you see her style changing Like as she got older,
35:34
Speaker 1: As she got older, she just I don't it's weird
35:38
Speaker 1: because so she stopped performing. Um with any footage she
35:43
Speaker 1: stopped performing in like this I think the early eighties. Um,
35:47
Speaker 1: so you didn't really she started to cover up more
35:50
Speaker 1: as she aged. But she kind of when she stopped performing.
35:54
Speaker 1: Her from a very like one of these articles where
35:57
Speaker 1: they like to see her fail. They were like, oh,
35:59
Speaker 1: she gained weight and now she's not wearing you know,
36:03
Speaker 1: And this was I think this article was done in
36:05
Speaker 1: the late eighties so rude. Beyond it was so disrespectful. Um,
36:10
Speaker 1: But that's that's where you get your information. Sometimes we're
36:13
Speaker 1: giving your consuming resources for it to do to do
36:17
Speaker 1: a podcast or to write a paper, you have to
36:19
Speaker 1: read some really unpleasant stuff. Um. But again it helps
36:23
Speaker 1: to build the narrative about like where these people come from,
36:26
Speaker 1: how they were received, things like that. But I think
36:29
Speaker 1: that she kind of she didn't care anymore. She converted
36:32
Speaker 1: to because she anity she wanted to live her life.
36:34
Speaker 1: Um Like, she realized that music wasn't working for her.
36:37
Speaker 1: And so I don't think we should judge her for
36:40
Speaker 1: I don't think she was even wearing a movement. I
36:41
Speaker 1: think she was just wearing like I couldn't tell you
36:44
Speaker 1: there's no photographic evidence that I could tell. But yeah,
36:47
Speaker 1: I mean, but she did she wore because the documentary.
36:51
Speaker 1: I saw clips from the documentary. Um, she looked fine
36:54
Speaker 1: to me. She wasn't wearing anything spectacular, but you know,
36:57
Speaker 1: she still had her confidence. But I just don't think
37:00
Speaker 1: she wasn't performing anymore. R Right. It's always interesting to me,
37:03
Speaker 1: like when we do see celebrities that stick around for
37:06
Speaker 1: a long time and when they age and how their
37:08
Speaker 1: style I changes and matures along with them, or when
37:13
Speaker 1: it kind of their look is their look, and their
37:15
Speaker 1: look is their look until they die, you know what
37:17
Speaker 1: I mean, Like, no matter what. Diana Ross is a
37:20
Speaker 1: good example of that. Elizabeth Taylor, Yeah, she's in her
37:24
Speaker 1: diamonds and in her you know, luxurious clothes always, but
37:29
Speaker 1: I think her style mature. It's with Diana Ross. She's
37:32
Speaker 1: still wearing like she'll still wear like a slinky I mean,
37:35
Speaker 1: and she's she's stayed in shape. I understand, Like this
37:37
Speaker 1: is the un show if your body you're like pushing
37:40
Speaker 1: seventy like and you've had like kids, like you've lived
37:42
Speaker 1: your life like you want to show it off. I'm
37:44
Speaker 1: not saying like she shouldn't wear it, but like she
37:47
Speaker 1: she definitely has stuck to her. Her and Tina Turner
37:50
Speaker 1: also because Tina Turner is still wearing like skinny, like
37:55
Speaker 1: skinny leather leggings with her like a little craps like
37:59
Speaker 1: she's still doing that. So um, I love it, like
38:02
Speaker 1: some people can pull it off. And I think again,
38:04
Speaker 1: it comes to the attitude, and I think La Loupe
38:06
Speaker 1: had the attitude of until the time she realized that
38:08
Speaker 1: she know she just wasn't going to be what she
38:11
Speaker 1: wanted to be. Unfortunately, she's so unfortunate because she has
38:14
Speaker 1: such had such a powerful voice and such an amazing
38:18
Speaker 1: look and a huge personality, huge personality, she just had
38:22
Speaker 1: so much to give. I feel, and I just it
38:25
Speaker 1: makes me really sad, you know. Like I was just
38:28
Speaker 1: I don't know, I was on Twitter or something the
38:30
Speaker 1: other day and another star who probably could have had
38:35
Speaker 1: a lot more success, but for whatever reasons, like different factors, stunted,
38:39
Speaker 1: you know, the growth of her career. I was seeing
38:42
Speaker 1: this little video that was put out about Dorothy Dandridge,
38:46
Speaker 1: another one like fem queen, like singer, dancer, actress, super talented.
38:51
Speaker 1: She was in Carmen Jones. She was she was nominated
38:54
Speaker 1: for what was it um an Oscar alongside you know,
38:58
Speaker 1: Grace Kelly and Audrey Hepburn and these and white women,
39:01
Speaker 1: and she was nominated that she didn't win, and then
39:03
Speaker 1: after that you saw her career become very stagnant. Yeah.
39:08
Speaker 1: I mean, she's interesting because she's when I look back
39:10
Speaker 1: into like my my culture as an African American woman,
39:14
Speaker 1: she was very prominent, but as far as like having
39:17
Speaker 1: national acclaim, she didn't get it in the same way, right.
39:21
Speaker 1: And it's the same with La Loupe because she was
39:24
Speaker 1: just as popular. At a certain point, her and sailor
39:26
Speaker 1: crews were the same popularity, and it was quite they
39:29
Speaker 1: were quite popular, but she just kind of dropped off somehow.
39:33
Speaker 1: People didn't she wasn't as commercial. That's usually what happens,
39:37
Speaker 1: and I think that's what also happened with Dorothy Dandridge
39:40
Speaker 1: is because she looked like in some ways people felt
39:43
Speaker 1: she was like a carbon copy of a Grace Kelly,
39:45
Speaker 1: but in the same token, she was pushing her own
39:47
Speaker 1: personality and like what she stood for, and so it
39:50
Speaker 1: just wasn't enough, I guess, to push her over the edge,
39:53
Speaker 1: like to put her in the history books. In the
39:55
Speaker 1: same way because she was just as important, just like
39:57
Speaker 1: La Loupe is just as important. But a and it's
40:00
Speaker 1: like what we decided to pry word test and it's
40:03
Speaker 1: it's also like there's like you're saying, I think it's
40:06
Speaker 1: important to talk about their success on this sort of
40:09
Speaker 1: like Grammy level, Oscar level, institutional level, and then there's
40:14
Speaker 1: success within your people group, right, and what your people
40:19
Speaker 1: really admire and notice and acknowledge and value versus what
40:23
Speaker 1: goes unnoticed and unacknowledged, right exactly. Wow, So Joy, I
40:30
Speaker 1: want to tell us any like final words, any exciting
40:33
Speaker 1: announcements or things to look out for from unravel Yeah,
40:37
Speaker 1: there's a luck going on at Unraveled headquarters. So we're
40:40
Speaker 1: going to have a meet up to launch our website
40:43
Speaker 1: ravel podcast dot com, which is really exciting. So if
40:46
Speaker 1: you're in the New York area, if you're in Connecticut,
40:48
Speaker 1: if you're on the Eastern Seaboard as they call it,
40:51
Speaker 1: we'd love to see you there more. I'll give you
40:54
Speaker 1: guys the info and the times of it. Only April one,
40:58
Speaker 1: So we have a new website and we're having a
41:00
Speaker 1: meet up and you can check us out at Unraveled
41:03
Speaker 1: podcast on Facebook, Instagram, the whole thing. Twitter. We're on
41:07
Speaker 1: Twitter now, which is exciting. Yeah, tag and link y'all
41:11
Speaker 1: of course on our Instagram and all our our social
41:14
Speaker 1: media feeds. Oh and one more thing that we're doing.
41:17
Speaker 1: We're doing a fundraiser. So we're doing a fundraiser to
41:19
Speaker 1: bring ourselves to the Costumes uh Costumes Society of America,
41:22
Speaker 1: which is kind of a meeting of fashion nerds. So
41:24
Speaker 1: if you enjoyed this podcast and you want like some
41:28
Speaker 1: real deep, we go real deep some of our discussion.
41:33
Speaker 1: It gets really nerdy. So we're going to be able
41:36
Speaker 1: to go there, and we're raising quite a bit of money.
41:38
Speaker 1: We're like a third of the way to our goal,
41:40
Speaker 1: which is really exciting as as we're recording. Um, so yeah,
41:44
Speaker 1: if you want to do that, just look up bring
41:47
Speaker 1: Unraveled to c s A on go fund me. Okay, awesome.
41:51
Speaker 1: We will also share that. Yes, oh my god, thank you,
41:55
Speaker 1: say thank you for having me like you're making us
41:57
Speaker 1: by Coastals. So I can't I can't be like I'm
42:00
Speaker 1: more excited. Yeah yeah, yeah, we will be having a
42:07
Speaker 1: mini capitulo mini episode with Unraveled as well. I can't
42:11
Speaker 1: wait now we're all warmed up. Yes, yes, well, thank
42:15
Speaker 1: you so much for listening. As always, Yes, this has
42:19
Speaker 1: been your latest installment of Brown Girl, Hour of our
42:23
Speaker 1: radio phonic novella. Thank you so much for tuning in,
42:26
Speaker 1: and we'll see you next time. Than