Ana Tijoux: On why it took 10 years to release her new album 'Vida' : Alt.Latino Vocalist Ana Tijoux has been a frequent guest on Alt.Latino. That's because ever since her US debut, 1977, was released in 2010, Tijoux had been at the forefront of Latin music that celebrates creative innovation, themes of social justice and fierce independence.
In this week's episode the Chilean musician talks to Felix Contreras and Anamaria Sayre about why that spirit of innovation has been more or less silent for the last 10 years, and how her new album, Vida, is not only a chance to catch up, but also a deeply moving look back.

Audio for this episode of Alt.Latino was edited and mixed by Joaquin Cotler, with production support from Suraya Mohamed and Isabella Gomez Sarmiento. Hazel Cills is the podcast editor and digital editor for Alt.Latino and our project manager is Grace Chung. Our VP of Music and Visuals is Keith Jenkins.

Ana Tijoux: On why it took 10 years to release her new album 'Vida'

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(Singing) These are the good old days. Have you heard that song?


Felix, we're not starting today's episode with you singing.

CONTRERAS: Carly Simon?

SAYRE: I'm sorry. It's not happening today.

CONTRERAS: (Singing) ...Is making me late...

SAYRE: I don't have it in me today.

CONTRERAS: (Imitates drums) Let's see. OK, here we go. Ready?

SAYRE: It's already happening, Felix. It's already started. The show started already. It's too late.

CONTRERAS: But I want to do the three, two, one.

SAYRE: Why three, two, one? No three, two, one.

CONTRERAS: Three, two, one.

SAYRE: From NPR Music, I'm Felix Contreras.

CONTRERAS: And I'm Anamaria Sayre. This week we chatted with one of the people - oh, that's you.

SAYRE: Yes (laughter).

CONTRERAS: OK, OK. From NPR Music, this is ALT.LATINO. I'm Felix Contreras.

SAYRE: And I'm Anamaria Sayre. Let the chisme begin.


SAYRE: So, Felix, this week we're talking to someone that I think is maybe - she's, like, up there on my list of people I have been maybe most excited to talk with on this show, just because the idea of getting to get, like, a little peek into her brain - I mean, she's brilliant. She's amazing. She's prolific - vocalist Ana Tijoux.

CONTRERAS: I have been a fan of hers since even before we started this show. She's one of the very first interviews I did in this world of Latin alternative - what we called Latin alternative back then. Like, God, it was like 2009 or so, right about the time she just...

SAYRE: I was born.

CONTRERAS: (Laughter) You were, like, 9 years old back then.

SAYRE: Could have been 10.

CONTRERAS: She's a major force and a major voice in Latin music.


CONTRERAS: For those that don't know, she got her start as a member of the hip-hop group Makiza in Chile, and she first made a name for herself here in the U.S. in 2010 with that second solo album she released. It was called "1977."


ANA TIJOUX: (Singing) Mil novecientos setenta y. Mil novecientos setenta y. Mil novecientos setenta y. Mil novecientos setenta y siete, no me diga no, que no lo presiente…

SAYRE: She's got so much to say. She's one of those people that, like, every single thing has been thought about and all of the music is, like, her channeling her, like, millions of heady ideas that she probably thinks about on a daily basis.

CONTRERAS: And when you think about the fact that she's been doing that for so long, going back to the earliest days of Latin alternative, and when she was out there with groups like Bomba Estéreo and Calle 13. You know, we once did a show with her and Calle 13 at a park in Brooklyn. There were people lined up outside to see both bands. She's long established herself as part of the music. And in a genre that's more than just music because back in the early days of Latin alternative, that alternative - it was more than just a description of music. It was a statement about identity and an alternative to the cultural and musical traditions and a way for fans to identify themselves. It was really, really a big deal to be alternative in a world where your parents grew up something completely different, right?

SAYRE: And that's so Ana.


SAYRE: She's so alternative. She's so punk. She's so cool. She's like the coolest, nerdiest kid ever. And there's so many things that make her unique. Like, it's not even just that. It's not just that she was a rapper. Because she's not just a rapper. That girl can sing. And her music always, always, always has a message. She was born in France to parents who actually had to leave Chile in exile during the Pinochet dictatorship. She returned to Chile as a teenager. And as the kid of activist parents, she made it her mission to sing protest into existence. She refused to be silent.

CONTRERAS: Ten years ago, she released her album "Vengo" and then nothing for 10 years - no new album. She dropped several singles here and there, including that great "Antifa Dance" from 2020.


TIJOUX: (Singing) Are you ready for this? Dance, dance, dance, dance, dance. Dance, dance, dance, dance, dance, dance...

CONTRERAS: But still, there was no new record for 10 years, which is why this new record, called "Vida," is such a big deal...


CONTRERAS: ...Not just for her, but for her fans and for the music scene in general, because it's a major, major statement.


TIJOUX: (Singing) …Miles de afecto', afortunada. 'Toy tapizada, una familia que siempre me abraza. Soy millonaria, tengo mi piño, mi casa, mi gata. 'Toy tapizada, unas amigas que siempre me apañan. Millo, millo, millo, millonaria. Millo, millo, millo, millonaria.

SAYRE: I know you've been really excited about this one, Felix. So much of her life story has been widely known, and even more so after she published an autobiography called "Sacar la voz" in 2023. And her new album - it covers even more personal ground. It was obviously time to catch up with her.

CONTRERAS: And catch up is a great word because like I said, I've been talking to her since 2009, and we've done interviews - different places, in Austin, on the show, different things over the years. So it was really a great opportunity to literally catch up. And Ana, you two hit it off before we even started the interview.

SAYRE: OK, I tried to explain this to you guys before she came. When I realized her name was Anamaria, with the Ana and the Maria together, no space, I was like, this is - I don't know if I've ever met someone in my life that has this name. And I swear there was something about that Anamaria energy - a lot of what she says about joy and protest and holding those two things together - it really resonated with me.

CONTRERAS: Anamaria energy - OK, I'm going to remember that, all right?

SAYRE: Keep that. File that away, Felix.

CONTRERAS: Keep it - right. OK. Check it out, everybody. Listen to how the interview started 'cause these guys became BFFs right from the start. Check it out.


TIJOUX: Wait. Your name is Anamaria Sayre?

SAYRE: Yes. We're both - we're two Anamarias, and mine is junto también. I was, like, so shocked.

TIJOUX: And really Anamaria with - in one word.

SAYRE: Yeah, yeah. No, I know. That's what I'm...

TIJOUX: We got to take a drink together.

SAYRE: (Laughter).

TIJOUX: That's great.

SAYRE: That's what I was telling them. I was like...

TIJOUX: You're the first one in the world that I know.

SAYRE: No, people - that's what I'm saying, is no one understands. I'm like, no, no, no, junto - it's, like, exactly the same...

TIJOUX: And why they...

SAYRE: ...And no one has that. I don't know.

TIJOUX: ...Put that together?

SAYRE: I don't know. Why did your parents do it?

TIJOUX: They was drunk, I guess, or they took drugs, or they want to make some difference.

SAYRE: I think that's exactly what happened. I'm like, you guys, why did you do this? This is not normal.

TIJOUX: Super bizarre, ¿verdad?

SAYRE: Yeah, it was my abuela. It was her idea. She's crazy, so I don't know.

TIJOUX: So one day we got to go to drink something.

SAYRE: Yeah, exactly. We're destined to be best friends. That's what it is.

TIJOUX: Please. You're my sister right now.

CONTRERAS: (Laughter) Thank you so much for taking time to do this, Ana. I know it's a big deal, and it's very, very...

TIJOUX: No, thank you, corazón.

CONTRERAS: It's good to see you again.

TIJOUX: Gracias.

SAYRE: I'm so excited. I'm so excited. Felix has gotten to talk to you a million times, but I'm like, oh, my God.

TIJOUX: My sister, of course, she's excited.

SAYRE: Yeah. It's like, of course.

TIJOUX: Family - it's a family thing.

SAYRE: My long-lost sister, we finally talk at last (laughter).

TIJOUX: Of course.

CONTRERAS: You guys are long-lost sisters. Ana, we've been doing this off and on over the - for going back to your first record in 1977, when your first album here in the U.S. came out. We've been doing this for a long time. And we catch up every now and then. We do interviews. We catch up 'cause things have been going on. This is your first album in 10 years, so we haven't talked in a while. Where have you been? What's been going on?

TIJOUX: Becoming older, I guess.


TIJOUX: I mean, yes, it's crazy because everybody - that's happened a lot of times where they tell me, it had been 10 years, 10 years. It's like, wow, time's going - it has been passing so fast that I didn't even realize how fast has been everything, but at the same time's come on. I didn't feel the time in the same way, I guess, come on. And when - and in my case, I feel I'm most slow, perhaps, in comparison with my other colleagues in music. And I wasn't in that time, so - and it was a lot of touring. I've been mother. I had a kid before, then I'm a mother once again, so it was a lot of information in my head in my personal life. So I was needing 10 years, I guess.

SAYRE: That's what I always find really fascinating, the language of how people talk about musicians taking breaks. Like, oh, what else could they possibly be doing besides making another record? And it's like, probably 5 million things.


SAYRE: Like, you're a person too, and you have been very active. Like, you've been playing shows. You wrote a book. I mean, you're such, like, a Renaissance woman, is how I would put it. You're an artist in so many different ways. And so I guess what - why come back to music...

TIJOUX: Thank you.

SAYRE: ...Is really what I want to know.

TIJOUX: I mean, music never leave us. We're - it's part of the routines, and it's part of the el cotidiano of what we do every day. Even if we don't produce, we listen music, or it's part of our intimacy and family and whatever. So and yes, there is about - and I think it's the velocity of the industry where you got to doing music faster and faster and more and more and more, and I don't know. I even didn't feel it was 10 years. For me, it was like yesterday. So that was the calling, I think in philosophy, like, el tiempo, the geometric time is sometimes - you know, when you have an amazing moment and you feel that it was super short - it was so fast. And then when you - there is pain, you feel that it's super long, and in reality, it was super short. So it is a conception about time, and - but I understand that there is also this pressure of the industry where some people say, oh, you have been disappear. Where you have been? Well, I've been here. I didn't disappear. Like, it's just that, I guess, that the industry need also, like, to be all super productive. And that's depend a lot of the personality of each artist. And some artists are very quick, or there are more slow, or they need more time. And, like, that is not a curb. It's like, it's natural to go up and down with the BPM per minutes of emotion and what we live in life, I guess.

SAYRE: Is music for you that slow period, or does it go by - like, just making music for you, is it that slow, painful, slow time process, or does it go by quickly?

TIJOUX: It depends a lot. It depend a lot. I've been - I've got friends of mine that really like the moment of the studio - you know, record and be there and the magic. In my case, what I prefer is perform. I prefer that than to be on the studio. It's not that I don't like it. It's just super - it's a very different energy. I love the imperfection. So I think that to be in live show, give you those possibility to live bizarre moments and moment that you never thought that was going to happen. In the studio in some way - not every time, of course - is more cuadriculado, more prepare.


TIJOUX: (Singing) A mí me late, por dentro fuerte. Esta corriente, que me remece. Que bombea, bombea así. Y este cora que tengo aquí, sueña y vuela. Vuela, vuela, vuela. Si tú palpitas, el mundo giras. Mis pies se agitan, y tú me invitas. A que baile, bailemos así. Que se pare el mundo aquí, sueña y vuela. Vuela, vuela, vuela, vuela. Que este cora que llevo tiene fuego. Pulsa que pulsa, vida en su centro. A ti te llevo.

CONTRERAS: It seems like as you've gotten older that you have made the industry fit into your life, as opposed to you fitting your life into the industry. And as a result, you know, there's this long break in between albums 'cause you just - maybe you just weren't ready to do it or it wasn't the time yet.

TIJOUX: Yes, I guess it was not the time. It was not the time. Like, and I think - I guess we're always trying to fit in some way, and I guess it's normal. But I always have been curious about people that doesn't fit anywhere. Even at school, I feel - you remember at school, like, the nerds were the most interesting people.

SAYRE: Do you identify with that though? Is that you?

TIJOUX: Of course, because I feel some - a lot of time, like, I fully identify because a lot of times, even today, I feel sometimes like I don't fit anywhere, even as a mother or talking with mothers. And sometimes I fit. Sometimes I don't fit at all. Or even when I was younger, I used to think, like, when I will be more than 40, I will have a certain kind of personality, and I will dress in some way. And now that I got 46, I say everything that I thought I was going to be is totally different. I feel that I didn't change so much. I dress almost the same. I listen to same music. I laugh about the same stupidities. So I think what's changed is, like, the - is other stuff, but the essence and the DNA is the same, is the same. And sometimes we live - a lot of us around the world, I feel we are - we feel sometimes immigrant everywhere, all the time. Like, we fit, but we don't fit. Sometimes we fit, and sometimes we don't fit. That's why we fit with other people that doesn't fit. And all the people doesn't fit, fit in another place, which is another place. And I think that's the magic of the music also.

CONTRERAS: How is that reflected in music, for example in this album? Like, how was that reflected, and what was that process for writing this record like?

TIJOUX: I mean, "Vida" is an album that I wanted to do because a lot of people that I appreciate so much passed away in a very short time. Like, a lot of people died one after other. It was like (vocalizing). So of course it's hard because we're never prepared to say goodbye. We're never prepared to lose people that we love. Even if they only knew that was going to happen, we're all going to die, that - my father always told me, like, you will never could escape from taxes and death, Ana, Anamaria. Say, OK, he's right about that, you know? And...

SAYRE: Taxes, maybe.

TIJOUX: Yes, I guess so. And I think this album, I wanted to make, like, for me, uno - an homage, un homenaje, for life and what's mean life? And it is just a moment. Perhaps I'm beginning to be super hippie, but that's the lesson that I learned after all those people passed away. But they are together in another place, in another different perspective of un plano. But - and I wanted to dance so much. I wanted to dance and laugh so much. Like, I was needing that energy about laughing. And I wanted to remember a lot of them, of those moments of joy and vitality, I guess, because I think there is not contradiction at all about these words that I really love, and I didn't invite it.

I didn't invite it, but that resuenan mucho en mí, that is, alegría” y “rebeldía." We are full of humanity, and humanity and to fight for the right doesn't mean that we get to be all the time, like, you know, in that energy of - and we need to continue to work and to continue to stand up to find that energy of joy. And I know it's hard. I know it's hard. And I'm talking for myself also because all the energy give - if you want to see what happened, really, because some people are living this fake joy that where everything is woo, but they don't want to see what happened in the world, which is not my case. I'm trying to be - to inform about what happened a little bit all around the world. I'm not - just by to know where I stand up in this planet Earth. But that doesn't mean that I don't want to dance and that I don't want to try to give that message with vitality. And I think vitality is one of the most beautiful stuff that we had as a human being. And I meet so many different people touring and traveling. And people that really, like, inspire me has been sometimes, like, older people full of vitality, vitality, fighting, fighting, standing up for what they think that is fair. It can be for ecology or the community. And they're full of joy, laughing a lot, all the time. Even when everything is is complex, you know, there is always that moment where we need that energy of this movement, this movement, you know?

And I think lucidity - la lucidez - is a big fight in those time, lucidity and calm in the middle of the chaos. So "Vida" is perhaps - I'm saying that right now because I'm - when you make an album, I don't know if it's so - I didn't think so. I think about it, but it was more energy. But now I feel, yes, I was - I go through so many sad moments. And I was needing to make something to dance and to think at the same time, for me at least, or what I consider to dance. Creo que para mí, ¿no?

CONTRERAS: We'll be back with this conversation with Ana Tijoux right after this.


SAYRE: And we're back to our conversation with Ana Tijoux.


TIJOUX: (Rapping) Mi piel es morena, mis ojos negro'. Negros y azabache, descendiente de mi abuelo. En mi tez madera que corre por mis venas. Y el cuero que te suena viene de mi tierra. Vine de tan lejos con solo lo puesto. Crucé tantas aguas, varios desierto'. Llevo en la boca parte de mi cielo. Por dónde camine, porto de mis duelo'. Mis pies cansado', pero llenos de sueño'. Acá los cortaron acusándome de quitar empleo. No quepo, no entro, mi cuerpo entero. Canta libertad, mientra' tú mata' a mi pueblo. Que limpie lo malo, que se apague el fallo. Agua. Que bote todo el odio, que lo limpie todo. Agua. Que llueva la vida, que lleve la ira.

CONTRERAS: Years ago, when I had a chance to interview you at South by Southwest, we did a live interview in front of an audience. And you had a baby in a stroller back then.

TIJOUX: She's so big. She's my baby - big baby.

CONTRERAS: I'm curious to know, as a parent, like, what your kids listen to musically. And then how does that impact you? Do you get ideas from them?

TIJOUX: It's super interesting. My older kid listen to a lot of bossa nova, Brazilian music. He's got 18 - 80, and he's into a lot of Cortex. What do you have - been listening to right now? Cortex and then Griselda. Classic, like, the most rap stuff - Griselda. He really like also Thundercat. And then other stuff that, I don't know, like, more - perhaps some trap stuff that I listen with him. He showed me Smino, and I fall in love with Smino instantly. And he showed me that. I was like, whoa, what is that? And my younger daughter - she's got her own playlist. So she listen to a lot of the James Brown, Nina Simone. And but then she love the African new pop artist. And I don't know the names, but she got her playlist. And now she likes Doja Cat. She's a fan of Doja Cat on this moment because there is this TikTok dance. So it's funny.

CONTRERAS: Does it take you back to when you were their age and then listening to the music that you liked? But then also - because I know you and I - we've talked about our love for jazz that you got from your parents. Does it take you - when you see them listening to their music, does it take you back to when you were their age?

TIJOUX: Yes because there is nothing - I think music had that magic. You get so many different, amazing artists that you can listen. It can be pianist, jazz artist. And I think my kids got also that sensibility. And they show me new music also. And I'm super open to listen. Sometimes, I say, yes, I like this one. Yes, more - less that one. Yes. So is a infinite universe to listen and to open your soul to so many songs, amazing songs that change your life.

SAYRE: It is interesting how as you're naming all these artists, I'm like, oh, I actually can hear a little bit of that in Vida and a little bit of that and, like, a little bit - just, like, little snippets of it. It's like there's this almost, like, R&B, hip-hop, trap - like, there's a lot of that present on the record. So I wonder if you're conscious of that influence in some ways.

TIJOUX: Well, perhaps now because I just made it. I was with the energy I need to dance. I need to dance. Like, but I think now perhaps that the album is end, right now I say, OK, that was the energy of the album.


SAYRE: So not too long ago, your project before this record was you worked on a book.


SAYRE: "Sacar la voz." And we're - we've been talking all about that because we're like, oh, Ana - she does everything. She's a writer. She's - she does all the things, but...

TIJOUX: I'm a writer. But I was needing to - yes, to write. But not a writer.

SAYRE: But the energy of "Sacar la voz" and "Vida" - like, those feel, like, a little bit like two distinct places for you. I mean...

TIJOUX: Very distinct.

SAYRE: ...You keep talking about "Vida" being in this headspace of just wanting to dance and be joyful. And "Sacar la voz" was - feels a lot more like there's an urgency there. What was that shift in expression for you? What was that shift in sentimiento? What was that like for you?

TIJOUX: Super interesting because to write that book for me was almost to understand a lot of and to expose, I guess, vulnerabilidad, vulnerability, and to not be ashamed about iy because I guess we all got that in some place. And I think when I made the book, I was relieved in some way. I was like, OK, I made it. I really - I was really - because I was very frustrated for a long time because I was not doing an album, the whole album. And then I was like feeling bad with myself. Like, I'm doing - I'm not producing. I'm being lazy. I'm being slow. I'm being - and all these goals that we all got, you know? And then I realized that it was made in the book, really, not that it's - not that I was not doing nothing. I was touring and making the book in the same times.

And to write a book, for me, it was almost to enter in the most deep and to have the possibility to open dark stuff. It was, wow, what I didn't make this before - it was liberator in all sense. And I invite everybody to write. And I think it's one of the most beautiful experience because it's very intimate. You are alone with yourself in silence. Or you can listen music, whatever. But it's a moment of go inside for me, which is very different from music. Even if with music, you go inside to find emotion. You always - like, even the fact that you're trying voices like (vocalizing). So there is outside. Writing is - there is no voice. It's an internal voice. And to enter in that dimension, wow. I was - wow, this is amazing. I really enjoyed it. And I cried a lot.

CONTRERAS: What did you discover about yourself by going deep inside like that?

TIJOUX: I begin to write a lot about me, myself, when I was a kid. And I said, this is super interesting to talk about. Anamaría niña. Like, how I used to see the world - and to travel through time, like, with that, how I used to see everything, how I used to to see people and how I used to go - I don't know - in the house of friends of my parents and see the table or the spoon, everything every day with a lot of details. So these travel through true memories, I think that was - give - make me learn a lot about myself in some way, I guess. Yes, I will say that.


SAYRE: You named it after your earlier record, obviously "Sacar la voz." But I'm so intrigued by that because I wonder, like, who is "Sacar la voz?" In this situation, is it different from what originally inspired you to write the record after the same name? Did it feel like external, internal? Like, what was calling you to speak?

TIJOUX: Because I guess there is also that voice, of course, that voice with what I'm listening right now. But there is also that internal voice, that voice that talk to you all the time. I don't know. And also balk at you and make you see stuff and think stuff that doesn't happen, really. But your brain - and between the brain and the voice, it was too interesting, that dialogue between brain and in the voice. What I think, what I see, what I feel, how I feel, what I want to feel, what I want to say, how I want to say. And I guess that, in some way, to write lyrics is super different because even if I don't know, I'm always trying to find the chorus or the pre-chorus and how to make the el enganche, you know? And with that, it was - I was not trying to find - never a chorus, just write. And we know destiny in some way.


SAYRE: Life doesn't have a chorus.


SAYRE: Just flows.

TIJOUX: There is a bunch of chorus in one life. So it's too much chorus. It's a bunch of chorus together.

SAYRE: Disjointed choruses.


CONTRERAS: What do your kids think of the record?

SAYRE: Emilia (ph) does all the time. And she'll always say, that's my song. Oh, no, no, that's my song. That's my song. That's my song. See, she's young. So she always, like - she's like those souls that always, like, contemplating and - ¿cómo se dice? Alucina, como - Asombro. ¿Cómo se dice asombro? Asombrada, ¿no? But with life. So she's always, I like that song. And yes, my mom - she begin to sing and she invested in the song. And Luciano (ph) is more calm. He's another age. So he support me, but it's more quiet. It's not that energy. They are very different. Like, Luciano is more look at me and say, mommy, I love you. Or I'm proud of you. That's it. Each other with the child that we all got in that box. You know, come on. Just the - I guess that's society. You need to forget about that kid and be adult and super interesting and talk with that voice. And my big success in life. You know, and I think what she says - oh, did you see that? No, that's happened. Yes. Woo. Like this. The velocity of el asombro. And I love that energy. I think it's magic. It's a magic flavor for life.

SAYRE: I love it. To me, it's like this is the ultimate - to be joyful, to be childlike, to be a little bit, like, unfiltered - that's like the most rebellious thing you can do.

TIJOUX: I had an amazing conversation with a friend of mine. Se llama Iván. He's a clown. And that clown make a lot of talleres. How you say talleres?

CONTRERAS: Workshop.

TIJOUX: Workshop, yes, in humanitarian places, in the refugees camp. And he - once he told me something that I was thinking a lot. He say, our best revenge against death is life. And I think in those moments, we need to rethink about what is life and what kind of life we want and how we want to work together for humanity. So perhaps that's the idea of what I wanted with that album, also - about life and the meaning of life.


CONTRERAS: It's always a great conversation talking to you.

TIJOUX: ¡Lindo!

CONTRERAS: Thank you so much for doing this.

TIJOUX: Thank you so much. And I'm so glad that I meet. And I know that Anamaria - she copy me. She's copying me.

CONTRERAS: (Laughter).

TIJOUX: I thought I was the only one.

SAYRE: I think that must be where they got it. I think they were like...

TIJOUX: I'm not so special anymore.

SAYRE: I mean...

TIJOUX: Anamaria, one day, we're going to take a drink and really - and we're going to chat because I've got a - I know what my - how - why my name is that, that they put me like that. But I will tell you personalmente.

SAYRE: Oh, you'll have to tell me.


SAYRE: Yeah, I'm excited.

TIJOUX: Thank you so much.


TIJOUX: (Singing) Tanto poder, tanto dinero. Tanta riqueza para ostentar. Dime tú dónde vamos a parar. Hola, ¿qué tal?

CONTRERAS: You have been listening to ALT.LATINO from NPR Music. Our producer for this episode is Joaquin Cotler, with production support from Isabella Gomez Sarmiento.

SAYRE: Our editor is Hazel Cills. And the woman who keeps us on track is Grace Chung.


TIJOUX: (Singing) Dicen que en cualquier momento se acaba este mundo.

CONTRERAS: Thank you to Suraya Mohamed for her wisdom and guidance.

SAYRE: And our jefe-in-chief, Keith Jenkins, VP of Music and Visuals.

CONTRERAS: I'm Felix Contreras.

SAYRE: And I'm Anamaria Sayre. Thank you for listening.


TIJOUX: (Singing) Que se secará la tierra. No habrá otoño, primavera.

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