Oh my God Becky… do you remember Sir Mix-a- Lot’s 90’s video, "Baby Got Back?" Today’s guest, Mexican-American filmmaker Jeannette Godoy, was the choreographer behind that iconic video and has since worked behind the scenes on dozens of projects in the TV and Film industry.
In this episode, Jeannette tells us how she jumped from ballerina to working on projects with big stars including Selena Quintanilla. Follow Jeannette on Instagram @jygodoydirector and check out her website https://www.jeannettegodoydirector.com.
Naibe Reynoso is the Host and Executive Producer of Latinas Take the Lead.
Production Assistant is Anna Sophia Monzon.
Follow Latinas Take the Lead on Instagram
If you loved this episode please follow us, subscribe and leave a review!
See omnystudio.com/listener for privacy information.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:06):
Selena was the opening act and she was just, I mean,
just everything that you imagine that she's going to be.
Just the star power, the magnetism, the charisma, the talent,
everything is just there times a thousand, but also just
so nice, so nice and just down to earth and
just like a friend, like so cool. It was. I mean,
(00:29):
it's just a huge honor that I got to do
that project.
Speaker 2 (00:33):
Welcome to Latina's take the lead. You just heard Mexican
American filmmaker Jennet Goldoy talking about an experience she had
while working with Selena. Yes, the Selena. Janet has been
working in the TV and film industry for over three decades.
But before we dive into what it was like to
work with the queen of Techano music, we will talk
(00:56):
about another project she worked on that is also sketched,
the Memories of Music History. Today's guest is Janet Godoi.
She is a Mexican American filmmaker and choreographer and creative
all around. Thank you so much for being here, Janette,
thank you.
Speaker 1 (01:15):
For having me. I'm really excited to talk to you today.
Speaker 2 (01:18):
I'm excited to talk to you. It's always amazing to
find other Latinas that are in the industry because we're
so rare.
Speaker 1 (01:25):
Right, I mean, I've been doing it. I've been in
the business for about thirty years now, and yes, it's
so exciting to see more of us popping up here
and there. But I mean there were many many years
where not only were there very few women on set,
but definitely no Latinas. So it's very exciting that we're
(01:46):
you know, we're making strides finally.
Speaker 2 (01:48):
And the topic is Latinas taking the lead behind the lens,
and we know why it's so important. But I do
have to ask you about the thing that you are
most widely known for. I mean, this is kind of
an word segue, but you knew it was coming. You're
most widely known for having choreographed the iconic music video
for Baby Got Back by certain mix lots. So how
(02:11):
the heck did that happen? And how old were you
when you got hired to choreograph that video.
Speaker 1 (02:16):
I you know, I was in my early twenties when
I got that opportunity. I had choreographed another music video
for actually a house music artist who was very famous
at the time. His name was Frankie Knuckles, and the
producer from that video brought me in to meet with
a director for Baby Got Back, and I just thought
(02:38):
the song was hilarious.
Speaker 2 (02:42):
The song was hilarious, but it was also iconic and
in my opinion, groundbreaking and lots and lots of fun,
especially if you were a teenager in the eighties. Take
a listen on how some women of my generation connected
so much with Baby Got Tell me what year you
(03:02):
were born nineteen eighty four? Did you ever hear the
song Baby Got bat by Sir Mixilla.
Speaker 3 (03:08):
Yes, I have.
Speaker 2 (03:08):
When you hear that, what's the first thing that comes
to mind, like right off the top of your head.
Speaker 3 (03:13):
Just friends dancing irun and just enjoying life.
Speaker 2 (03:16):
Did you know that a Mexican American choreographed that video?
My gosh, well that makes sense.
Speaker 3 (03:22):
That's why I feel like dancing because as a latinos
is like we just hear someone like working on something
making noise, and you already want to start dancing. But
that one in a specific just like literally make you
move your hips And that makes totally sense though.
Speaker 2 (03:34):
Awesome.
Speaker 1 (03:36):
What year were you born nineteen seventy seven?
Speaker 2 (03:39):
Oh, you're my generation, so you probably heard when you
were in high school the song Baby Got Back, Yes
I did. Did you know a Latina choreographed that music video?
Speaker 1 (03:50):
Oh?
Speaker 4 (03:50):
I did not know that.
Speaker 2 (03:52):
How do you feel knowing that there was a Mexican
American behind the camera choreographing such an iconic video. That's awesome.
Speaker 4 (03:59):
I had no idea that that was a fact. You know.
I think many times there's Latinos involved in the background
and we just don't find out about it, and that's
not good. I think we need to know that Latinos
are doing these things because that way, you know, children
can look up to that and maybe continue that legacy.
Speaker 2 (04:18):
We got the moves right now, Baby, Let's get back
to our guest.
Speaker 1 (04:26):
I loved that it was glorifying another point of view,
albeit you know, still you know, the female body. But
it was interesting because when we had the auditions for
the dancers for the music video, you know, the dancers
that came in, you know all you know, all black girls,
and they loved it. They were so about this song
(04:50):
that was celebrating them and their body types and they
were they were so into it, and so it ended
up being like a very kind of empowering. I know,
it sounds crazy to say that but I mean I
think women can take ownership of their sexuality and their bodies.
And I loved that the song was portraying something other
than that really thin perfectly you know, white girl body
(05:14):
that a lot of us women of color, we're not that,
you know, trust me. When my dad saw the video
for the first time, oh my.
Speaker 2 (05:22):
Gosh, what was his reaction? And he's from Mexico directly
was yeah, part of Mexico.
Speaker 1 (05:28):
My father's from Monsanillo, Monsania.
Speaker 2 (05:30):
So what did he say? And I'm surprised you actually
showed it to him?
Speaker 1 (05:33):
Well, yeah he was, so his reaction was, you know, shocked.
I mean, my dad was pretty conservative too, so as
you can imagine, and he said, miha, all the years
of ballet training, I don't understand. And I go, Dad, I,
first of all, I have the funk, like I've always
had the funk, like even thothough I was a ballerina.
(05:56):
And secondly, like you have to do what the song required.
You know, you get hired onto these projects and you
sort of go with the concept. Obviously that had been
written by the director and had been approved by Sir
mix a lot. And yeah, it was I have to
say it was a blast doing that video. Sir mix
a Lot was super cool. He introduced me to tons
(06:18):
of people in the record business and I got tons
of work off of that video. I mean, it really
launched my choreography career into another level.
Speaker 2 (06:26):
And I agree with you that it is a music
video that embrace your curves, embrace your ethnicity, embrace what
God gave you. Was there anything funny that happened at
the Baby Got back in video?
Speaker 1 (06:41):
Well? Really, the craziest thing was the first day that
I met Sir mix a Lot was on a rehearsal
day and all the whole set was there, and that
morning one of my contact lenses tour okay, and so
I couldn't wear my contact lenses that day. So I
had to wear my glasses and I have really bad visions.
(07:01):
I have, like coke bottle glasses. Okay, they're not cute.
And so I show up on set and Sir mix
a Lot is walking up with his whole posse and
here it comes, you know, little Janetta Dooy with her
big coke bottle nerdy glasses, and I was really embarrassed,
and he just looked at me. They all looked at me, like, okay,
(07:21):
what she's the choreographer.
Speaker 2 (07:23):
How is that?
Speaker 1 (07:24):
Like, what can this be? Right? Obviously judging judging the
book by her glasses. But then I started doing the choreography.
I started showing them with the dancers the choreography. And
his name is Anthony, And Anthony was like, you got
the moves like paula duel. You know, he was like,
all right, I see you. Like it was funny because
(07:44):
I came up lurking like this total nerd.
Speaker 2 (07:47):
That is hilarious. You said something earlier that your dad
said all those years of ballet, et cetera. Is that
how you first started? And it's kind of interesting because
ballet is not that common in our community at all.
We do folklorico dancing, right, we do those kinds of things.
But how did you get like inspired to go into
(08:08):
ballet or exposed to ballet?
Speaker 1 (08:11):
You know, I was kind of a little tomboyish when
I was a little kid, and I but I always
love to dance. I mean I was a dancer from
the minute, you know, I could walk. And so a
friend of mine that I went to school with elementary school,
she took ballet classes, and you know, she was telling
(08:34):
me about it and she would show me things, and
you know, we didn't have a lot of money, but
you know, I just begged my parents could I please
try this? Because I never really was like a sporty,
spice type of person, Like I wasn't into sports, but
I loved to dance. And there wasn't any folklodigo groups
(08:54):
near where I lived in Riverside, and they were there
for sure, but not sort of in my like walk distance,
because I was one of those kids that you know,
walked everywhere, like we just walked to school, walked to ballet,
walked home. And the ballet studio was kind of in
the middle between my elementary school and my home. So
my parents said, okay, you know, let's try this and
(09:16):
see if you like it. There probably aren't going to
be you know, any little Latina kids in there, but
let's just see how you feel. And I loved it,
like I fell in love with it. So yeah, that's
how it went. And I did it all through up
through high school. I mean, I really wanted to be
a professional ballet dancer. That was my dream, but one
(09:39):
I really wasn't good enough. And then also, I mean
my father was just adamantly against me pursuing a dance career.
Speaker 2 (09:46):
Wow, And then you slapped him back with baby up back.
Speaker 1 (09:52):
You know, I worked at a law firm while I
went to school at UCLA, and that was really what
my dad wanted me to do, me to become a lawyer.
And I'm the first child born in the US in
my family, so it was a big deal him that I,
you know, the American dream and something professional and that
kind of thing, which I completely understood, stand especially now
(10:13):
as a parent. And the lawyers though, the lawyers at
this big law firm that I worked at, they kept saying,
you know, if this is not your passion, you shouldn't
do it. Like you got to follow your passion. And
if your passion is becoming a dancer, and you should
pursue that while you're young.
Speaker 2 (10:28):
But see that also kind of ties into media and stereotypes,
et cetera. So like when we're young and we don't
see ourselves as dancers, we don't see people that look
like us that are dancers or doctors or lawyers, then
we may think that's not for us. Right, So that's
(10:50):
why media is so important. So we could show our
community that we can be choreographers and I think Jlo
was probably someone that broke that barrier for a lot
of Latina. I mean, I think Paula Abdul was a
first choreographer that I saw that was not white, you know,
or not a male.
Speaker 1 (11:09):
Debbie Allen obviously is a choreographer who was infamous and
I auditioned for her so many times and never got
those jobs, and they were the most harsh and brutal
auditions known to mankind. But she was just such a
you know, such a queen of choreography. But I did
started assisting a woman who danced with Paula Abduel for
(11:31):
a long time, and she brought me on as a
choreography assistant, and I sort of started learning from her
and doing jobs with her. And honestly, I had always
been a choreographer sort of my whole life. So even
in elementary school, people would come to me and go, hey,
we want to do this skate routine for our talent show,
(11:54):
Like would you can you make it up for us?
Like we didn't know what was called choreography at the time,
can you make up my routine the play? Like I
would always make up all the dance for the school plays.
Then I was on dance team when I was in
middle school and I was the captain, so that meant
I made up all the dance routines, and then same
thing in high school. So I had already been doing
(12:14):
it my whole life. Even when I was at UCLA.
One of my best friends was trying out to be
a UCLA cheerleader, which you know is like a huge deal,
and I choreographed her audition routine. So I had already
been doing it and I knew that it was a
space I felt like myself and you know, I felt like, Okay,
(12:34):
I can do this. I wasn't the greatest at dance jobs.
I have to be honest with you, Like I love
to dance. It's my favorite thing in the world. But
the auditioning was so hard and so brutal that I
just was like, I felt so dejected all the time,
and it's just so competitive, and I just thought, you
(12:55):
know what, I want to pursue this choreography thing, Like
I think this is the space I feel comfortable in.
So I did. I just I started putting the word
out there. I did a bunch of free jobs, you know,
new bands that were getting started that you know, we're
doing some music video, I would choreograph it for free,
meet with producers, you know, Oh, we only have a
(13:15):
couple hundred dollars, Will you do the choreography? And like,
That's what I would do, so I could build my
choreography real But.
Speaker 2 (13:22):
You definitely have been around a lot of star power, yes,
and you also choreographed that. They had no music awards,
darring Selena.
Speaker 1 (13:31):
I know, amazing, right, So how was that? That was
so exciting? I mean I had been making some headway
into the Latin market, which was super important to me.
I wanted to. I mean, I love Latin music. So
I had been working with a few different Latino artists.
And then I was also a judge on Star Search.
(13:52):
If that makes any crazy sense to you.
Speaker 2 (13:55):
Yeah, of course Star Search. I loved it, didn't Britney
Spears and Christina Guilera and all of them start there.
Speaker 1 (14:01):
Yeah, a lot of them did a lot. So just
so many stars, you know, came from Star Search. Pretty wild,
but those so I had. I was a judge on
Star Search for several episodes, and they were somehow involved
with the producers of the the Hono Music Awards, and
they recommended me to those producers to go to San
(14:23):
Antonio and choreograph the show. So it was actually one
of the best experiences of my life. First of all,
I love san Antonio. I mean the people. I had
never been in a space where the Spanglish was so
just every day like either my family are either speaking
Spanish or speaking English right right, But in San Antonio
(14:44):
it is just like this mix of it all, and
I thought that was so exciting. I was like, Okay,
we're here and we're in both worlds, like and it's
all happening simultaneously. I love this. But then you know,
learning about the Hono music and getting to do that
show with Pete Ostulillo, who was still working with Selena
at the time, and then Selena was the opening act
(15:06):
and she was just, I mean just everything that you
imagine that she's going to be. Just the star power,
the magnetism, the charisma, the talent, everything is just there
times a thousand, but also just so nice, so nice
and just down to earth and just like a friend,
like so cool. It was right. I mean, it's just
(15:27):
a huge honor that I got to do that project.
Speaker 2 (15:30):
So you got to talk to her in essence kind
of choreograph her as well, and what give her basically
what you were giving her directions on what were to
stand on the stage or what kind of choreography did
you do.
Speaker 1 (15:44):
Yeah, because for the opening montage of the the Hanol
Music Awards, it was a montage of several different artists
and then Selena was the third artist to come out
and just you know, basically like explode the show open.
So there was choreography, there was dancing. I actually danced
in it myself and we danced with a couple of
different artists, and then you know, it was the blocking
(16:08):
of at this specific time, when Selena's song in the
medley came on, she would come to the front of
the stage seeing her bit like I would. You know,
it's mostly blocking for her because she was singing go
and then, but she was doing it in the in
the balance version, so there's not a lot of you know,
there's not a lot of choreography around that. But she
was wonderful to work with.
Speaker 2 (16:26):
You're one of the few that really got to meet
her before her unfortunate passing. But we have to keep
moving the needle forward with their legacy as part of
that history that we take on to the next generation.
And you're doing that with amazing grace and professionalism and
everything that you're doing because you are I'm not sure
(16:51):
if you completely left choreography aside, but now you're you're
directing TV and film. Right, Yes, we'll be right back.
Now back to the show. There's a statistic that says
(17:11):
that Latinos, even though we're more than eighteen percent of
the population, we only are about five point three percent
of the share of broadcast TV roles. This according to
the twenty twenty UCLA Hollywood Diversity Report, and big screen
representation is similarly bleak. At states that Latinos accounted for
only four point six percent of movie roles in twenty nineteen.
(17:31):
According to the same report. What do you think that
Why is that happening?
Speaker 1 (17:35):
I think it's a variety of things. I mean, I
think it's access, right. I think there was nothing in
my family's worldview for me to go into the entertainment business.
I mean that we just we had no connection whatsoever.
I had no idea how to do it. No one
in my family knew how to do it. You know,
(17:55):
As I said, my father was worried that I wouldn't
be able to make a living. We come with this,
you know, my father, being an immigrant, comes to this
country with the mentality like we have to succeed, we
need to do the jobs that succeed. So I don't
think those jobs are ones that as just mentioned earlier,
are ones that we look at in our in our
(18:16):
realm and go, okay, yeah, we yes. I want my
daughter to try to become a composer or an artist
or you know, an actress. I mean, it's it's hard
when you come like my family did, which is from nothing,
from like abject poverty, you know. So that's one thing.
I mean, for many many years on sets, I have
been the only Latina on the set. I'm talking many many.
Speaker 2 (18:42):
Years, all the way from like craft services up into
the executive producer, all across the board.
Speaker 1 (18:48):
Correct. I mean, it's just just not out there, and
you know, and then of course of women. I mean,
if you look at some of those studies, I feel
like the UCLA study they showed how I think three
years ago it was maybe four Latina directors had done
a feature film in that year. Four.
Speaker 2 (19:09):
Well, thank you for changing those statistics. So you've choreographed
a bunch of stuff. A bunch of music videos and commercials,
et cetera. And now you directed your first feature film.
We know that you've directed TV shows. Correct, I direct?
Speaker 1 (19:25):
So last year I had a banner year. I directed
my first episode of TV, which was the Garcias for
HBO Max, and then literally three months later I was
directing my first feature film.
Speaker 2 (19:39):
With the latina lead. He's a romantic comedy called Diamond
in the Rough.
Speaker 1 (19:45):
So Diamond the Rof is a very fun rom com,
mature rom com by the way. It is rated R.
And it is you know, they like to say, it's
you know, happy Gilmore meets mean girl. You know, it's
like me and girls at a country club where Arianna Alvarez,
who is kind of in a messy, chaotic time of
(20:07):
her life doesn't really have a direction, is forced to
join her Dio Jores bougie country club to help her
get her act together. When she gets there, she's not welcome.
And you know it's not just because they're so she's
a Latina. It's because you know, she's dressed wrong, she's
(20:28):
you know, she's coming not in the BMW. And and
you know it's it's a funny take on you know,
the fish out of water kind of idea that you know,
you don't belong here kind of thing. It was just
fun to do a story that has a Latina lead
and has Theojore in there, and little aspects of our
(20:49):
culture sprinkled throughout the movie. But it's just really about
this gen z young woman's kind of messy, chaotic life
and trying to find her way. And that's the thing
I really love about it, you know. I mean I've
been pitching on movies this year or last year, and
you know, some of them had Latino themes and some
(21:09):
of them were great, but there were moments where I
was like, you know, I would love to see the
mom not be you know, a cleaning lady. Is there
any way we can change that character? And that's not
to say that cleaning ladies aren't valid and important in
all those things, but we see that so much. Can
we make her you know, can she be a teacher
or can she be a business owner? I mean, so
(21:31):
this was fun for me was that it wasn't a
stereotype that was you know, that was really great and fun.
And plus it's a comedy, so we could we could
play on that a bit.
Speaker 2 (21:42):
I've heard that there is a lot more pressure for
studios and for companies to hire more diverse creatives right
behind the camera, in front of the camera, et cetera.
Is that translating. Do you see that you are getting
more opportunities because of this pressure or is it all
just talk.
Speaker 1 (21:59):
Well, I'm getting a lot of meetings, am I You know,
are people willing to take the risk?
Speaker 2 (22:07):
Not yet?
Speaker 1 (22:08):
I mean I am up for another movie which is great.
I'm very excited about it. Can't say what it is.
And that's based off of this movie and how hard
I worked on this movie and how hard I work
to elevate this indie movie to look like something amazing, right, Like,
that's what you have to do, is you have to
take every opportunity because there are so few of them,
(22:31):
and you have to really just elevate to the highest degreement.
Just push the producers like please I need this location, please,
please please, it's going to make our movie look amazing.
So I think that the sentiment is there. But look,
I just had a meeting a week ago with some
executives at a TV company and they've seen my episode
(22:55):
of the Garcias, they saw my movie. They know I've
been in the industry for thirty years. I've done every
kind of imaginable project, and they still say, well, but
you know, you probably should still shadow on some shows
first before we can give you a shot to direct
another episode. And it's like, okay, I understand the fear factor,
(23:18):
and any new show I would have an opportunity to direct,
I would want to shadow anyway, because I don't know
if you know what shadowing is, but it's just it's
when you go and you follow the director of another
episode and see how they work. And I think that's
great research. I think that's great prep. I would want
to do that anyway on any opportunity I had. But
(23:39):
to say I still don't have the experience to just
be hired on a TV episode like that is frustrating.
Speaker 2 (23:47):
And then you have to wonder, like if I looked different,
would they question my abilities?
Speaker 1 (23:52):
Well, you start to feel like some of the initiatives
are performative, right, Like it's great that there are all
saying we want to do this, but in the end,
you know, it is a lot of money that's on
the line. It's you know, it's time, it's you don't
want to go into overtime It's all so many different
aspects of it, and so I understand the fear factor,
(24:16):
but I'm not saying as many Latina's getting the opportunity
to get in the door as I would hope.
Speaker 2 (24:24):
At this point, Well, we just have to keep pushing forward. Okay. So,
if someone's listening to us right now and they want
to break into the business, what is your advice.
Speaker 1 (24:34):
Well, I would say there are so many resources online
that you could start with while you figure out what
it is that you want to do. You know, do
you want to be a writer, do you want to
be a director, do you want to be an actor?
You want to work in be a grip, work in
production design? And there are a lot of online, you know,
(24:56):
websites that can help you, Like No Film School is
one that's really terrific and talks about all different aspects
of filmmaking. If you're you know, again, if you want
to be a creative. The Sun Dance Collab is another
online masterclasses kind of things that are free that you can,
(25:17):
you know, get resources and just start to explore what
what area of the industry do you want to work in,
and then you know, reach out to people, follow people
on Instagram. Let them know, Hey, if you have a project,
I would love to help you as a PA, as
an assistant. Could I read scripts, Like if you go
(25:39):
on writer Twitter and you're interested in writing, you know,
I would love to read people's scripts just to see
and people will share them with you. I mean, I
have to say the creative community is really pretty collaborative,
and especially I mean I think the Latino Latino creative
community are really supportive of each other and try to
help each other out. So, you know, reach out. I
(26:00):
had a friend that I went to high school with.
Her daughter is trying to figure out what she wants
to do. Maybe she wants to be an editor. So
I kind of said, you know, reach out to editing companies,
ask them if they need a receptionist and assistant, someone
to make coffee at first, because that's how a lot
of us have to get started in this business. And
that's also the learning ground. That's where you watch and
(26:20):
listen and see how people operate with each other and
what your role would be. So you have to really
search out these different entities that can help you. And
the good thing is that they're out there now. You know,
Latino organizations like Nalip. You know, you can get involved
with Naalip. You can go to their film festivals and
(26:41):
you can start hearing, you know, when people come in
and talk about how they got into the industry. You
can meet people that way. Women in Film is another organization.
They have lots of panels and things like that. So
there are ways to get connected, much easier now than
when I was younger, when we didn't have the end,
but it's it's still tough, so it's still going to
(27:03):
take a lot of leg work. I mean, I'm still
doing the leg work.
Speaker 2 (27:07):
What is something you are reading, listening to, or using
that you love or want to recommend?
Speaker 1 (27:13):
I am I'll just say right now, I've been listening
to an audiobook on on audible, the version of Anna Karenina,
you know, by Tolstoy, which was one of my favorite
books as a young person. But it's it's it's narrated
by Maggie Chillenhall, and it's actually fantastic. It's so good
(27:35):
and so well done. It just helps me focus on
another aspect of storytelling and literature, to just kind of
let my creative mind expand out in another way. And
so that's what I've been listening to.
Speaker 2 (27:48):
What is a little known talent or passion you have.
Speaker 1 (27:51):
I'm very into plants, and this has even happened before
the pandemic. I've my Maya Wilita has a green thumb.
And when I tell you that, her little house in
Pomona is like a jungle, and she grows every kind
of fruit tree, chi les domtes, like just every every
time you go over there, she's giving you something fresh.
(28:13):
And so I've always loved plants and they remind me
of her, and so I've really loved gardening. I really
really love gardening.
Speaker 2 (28:23):
And the name of this show is Latina's Take the Lead.
How are you taking the lead in your life?
Speaker 1 (28:29):
Well, I am a mother of twin girls who are
going to be seniors in college and two step sons
who are in their late twenties. And I am still
pushing out there, pushing forward to bring our stories to light,
you know, as a Latina director and writer. And that's
how I'm taking the lead. I am continuing to evolve
(28:52):
as a creative woman, and I think that's important. We
can still evolve no matter how old we are, no
matter how long we've been in our industry. We can
still move in another direction and be successful at that.
Speaker 2 (29:05):
So where can people find you?
Speaker 1 (29:07):
I'm on Instagram and Twitter as jay y Godoy director.
You can find me.
Speaker 2 (29:14):
There and then online on your website in case they
want to hire you for their next big movie.
Speaker 1 (29:19):
Yes please Marvel movie. I'm janetteadoydirector dot com.
Speaker 2 (29:25):
Well, Janette, I enjoyed talking to you so much. You're
an inspiration and keep doing all these amazing projects. I
can't wait to see more of your work.
Speaker 1 (29:36):
Thank you so much for having me. You're You're an
inspiration and I really appreciate you having me on your show.
I'm honored.
Speaker 2 (29:41):
Thank you muchas Gracias and Latinas. Let's keep taking the Lead.
Thank you so much for listening. Please subscribe and give
us a review. Tell your friends and go madds about
our podcast and hope you join us next week. Latinus
Take the Lead is executive produced by Hodston Reinoso Media Group,
(30:04):
LLC and hosted by me Naive reino So. Production assistant
is Anna Sophia Munson. Latinus Take the Lead is a
production of the Seneca Women Podcast Network and iHeartRadio. For
more podcasts from iHeartRadio, check out the iHeartRadio app, podcasts,
or wherever you listen to your favorite shows. Asta la
(30:24):
Proxima
Selena was the opening act and she was just, I mean,
just everything that you imagine that she's going to be.
Just the star power, the magnetism, the charisma, the talent,
everything is just there times a thousand, but also just
so nice, so nice and just down to earth and
just like a friend, like so cool. It was. I mean,
(00:29):
it's just a huge honor that I got to do
that project.
Speaker 2 (00:33):
Welcome to Latina's take the lead. You just heard Mexican
American filmmaker Jennet Goldoy talking about an experience she had
while working with Selena. Yes, the Selena. Janet has been
working in the TV and film industry for over three decades.
But before we dive into what it was like to
work with the queen of Techano music, we will talk
(00:56):
about another project she worked on that is also sketched,
the Memories of Music History. Today's guest is Janet Godoi.
She is a Mexican American filmmaker and choreographer and creative
all around. Thank you so much for being here, Janette,
thank you.
Speaker 1 (01:15):
For having me. I'm really excited to talk to you today.
Speaker 2 (01:18):
I'm excited to talk to you. It's always amazing to
find other Latinas that are in the industry because we're
so rare.
Speaker 1 (01:25):
Right, I mean, I've been doing it. I've been in
the business for about thirty years now, and yes, it's
so exciting to see more of us popping up here
and there. But I mean there were many many years
where not only were there very few women on set,
but definitely no Latinas. So it's very exciting that we're
(01:46):
you know, we're making strides finally.
Speaker 2 (01:48):
And the topic is Latinas taking the lead behind the lens,
and we know why it's so important. But I do
have to ask you about the thing that you are
most widely known for. I mean, this is kind of
an word segue, but you knew it was coming. You're
most widely known for having choreographed the iconic music video
for Baby Got Back by certain mix lots. So how
(02:11):
the heck did that happen? And how old were you
when you got hired to choreograph that video.
Speaker 1 (02:16):
I you know, I was in my early twenties when
I got that opportunity. I had choreographed another music video
for actually a house music artist who was very famous
at the time. His name was Frankie Knuckles, and the
producer from that video brought me in to meet with
a director for Baby Got Back, and I just thought
(02:38):
the song was hilarious.
Speaker 2 (02:42):
The song was hilarious, but it was also iconic and
in my opinion, groundbreaking and lots and lots of fun,
especially if you were a teenager in the eighties. Take
a listen on how some women of my generation connected
so much with Baby Got Tell me what year you
(03:02):
were born nineteen eighty four? Did you ever hear the
song Baby Got bat by Sir Mixilla.
Speaker 3 (03:08):
Yes, I have.
Speaker 2 (03:08):
When you hear that, what's the first thing that comes
to mind, like right off the top of your head.
Speaker 3 (03:13):
Just friends dancing irun and just enjoying life.
Speaker 2 (03:16):
Did you know that a Mexican American choreographed that video?
My gosh, well that makes sense.
Speaker 3 (03:22):
That's why I feel like dancing because as a latinos
is like we just hear someone like working on something
making noise, and you already want to start dancing. But
that one in a specific just like literally make you
move your hips And that makes totally sense though.
Speaker 2 (03:34):
Awesome.
Speaker 1 (03:36):
What year were you born nineteen seventy seven?
Speaker 2 (03:39):
Oh, you're my generation, so you probably heard when you
were in high school the song Baby Got Back, Yes
I did. Did you know a Latina choreographed that music video?
Speaker 1 (03:50):
Oh?
Speaker 4 (03:50):
I did not know that.
Speaker 2 (03:52):
How do you feel knowing that there was a Mexican
American behind the camera choreographing such an iconic video. That's awesome.
Speaker 4 (03:59):
I had no idea that that was a fact. You know.
I think many times there's Latinos involved in the background
and we just don't find out about it, and that's
not good. I think we need to know that Latinos
are doing these things because that way, you know, children
can look up to that and maybe continue that legacy.
Speaker 2 (04:18):
We got the moves right now, Baby, Let's get back
to our guest.
Speaker 1 (04:26):
I loved that it was glorifying another point of view,
albeit you know, still you know, the female body. But
it was interesting because when we had the auditions for
the dancers for the music video, you know, the dancers
that came in, you know all you know, all black girls,
and they loved it. They were so about this song
(04:50):
that was celebrating them and their body types and they
were they were so into it, and so it ended
up being like a very kind of empowering. I know,
it sounds crazy to say that but I mean I
think women can take ownership of their sexuality and their bodies.
And I loved that the song was portraying something other
than that really thin perfectly you know, white girl body
(05:14):
that a lot of us women of color, we're not that,
you know, trust me. When my dad saw the video
for the first time, oh my.
Speaker 2 (05:22):
Gosh, what was his reaction? And he's from Mexico directly
was yeah, part of Mexico.
Speaker 1 (05:28):
My father's from Monsanillo, Monsania.
Speaker 2 (05:30):
So what did he say? And I'm surprised you actually
showed it to him?
Speaker 1 (05:33):
Well, yeah he was, so his reaction was, you know, shocked.
I mean, my dad was pretty conservative too, so as
you can imagine, and he said, miha, all the years
of ballet training, I don't understand. And I go, Dad, I,
first of all, I have the funk, like I've always
had the funk, like even thothough I was a ballerina.
(05:56):
And secondly, like you have to do what the song required.
You know, you get hired onto these projects and you
sort of go with the concept. Obviously that had been
written by the director and had been approved by Sir
mix a lot. And yeah, it was I have to
say it was a blast doing that video. Sir mix
a Lot was super cool. He introduced me to tons
(06:18):
of people in the record business and I got tons
of work off of that video. I mean, it really
launched my choreography career into another level.
Speaker 2 (06:26):
And I agree with you that it is a music
video that embrace your curves, embrace your ethnicity, embrace what
God gave you. Was there anything funny that happened at
the Baby Got back in video?
Speaker 1 (06:41):
Well? Really, the craziest thing was the first day that
I met Sir mix a Lot was on a rehearsal
day and all the whole set was there, and that
morning one of my contact lenses tour okay, and so
I couldn't wear my contact lenses that day. So I
had to wear my glasses and I have really bad visions.
(07:01):
I have, like coke bottle glasses. Okay, they're not cute.
And so I show up on set and Sir mix
a Lot is walking up with his whole posse and
here it comes, you know, little Janetta Dooy with her
big coke bottle nerdy glasses, and I was really embarrassed,
and he just looked at me. They all looked at me, like, okay,
(07:21):
what she's the choreographer.
Speaker 2 (07:23):
How is that?
Speaker 1 (07:24):
Like, what can this be? Right? Obviously judging judging the
book by her glasses. But then I started doing the choreography.
I started showing them with the dancers the choreography. And
his name is Anthony, And Anthony was like, you got
the moves like paula duel. You know, he was like,
all right, I see you. Like it was funny because
(07:44):
I came up lurking like this total nerd.
Speaker 2 (07:47):
That is hilarious. You said something earlier that your dad
said all those years of ballet, et cetera. Is that
how you first started? And it's kind of interesting because
ballet is not that common in our community at all.
We do folklorico dancing, right, we do those kinds of things.
But how did you get like inspired to go into
(08:08):
ballet or exposed to ballet?
Speaker 1 (08:11):
You know, I was kind of a little tomboyish when
I was a little kid, and I but I always
love to dance. I mean I was a dancer from
the minute, you know, I could walk. And so a
friend of mine that I went to school with elementary school,
she took ballet classes, and you know, she was telling
(08:34):
me about it and she would show me things, and
you know, we didn't have a lot of money, but
you know, I just begged my parents could I please
try this? Because I never really was like a sporty,
spice type of person, Like I wasn't into sports, but
I loved to dance. And there wasn't any folklodigo groups
(08:54):
near where I lived in Riverside, and they were there
for sure, but not sort of in my like walk distance,
because I was one of those kids that you know,
walked everywhere, like we just walked to school, walked to ballet,
walked home. And the ballet studio was kind of in
the middle between my elementary school and my home. So
my parents said, okay, you know, let's try this and
(09:16):
see if you like it. There probably aren't going to
be you know, any little Latina kids in there, but
let's just see how you feel. And I loved it,
like I fell in love with it. So yeah, that's
how it went. And I did it all through up
through high school. I mean, I really wanted to be
a professional ballet dancer. That was my dream, but one
(09:39):
I really wasn't good enough. And then also, I mean
my father was just adamantly against me pursuing a dance career.
Speaker 2 (09:46):
Wow, And then you slapped him back with baby up back.
Speaker 1 (09:52):
You know, I worked at a law firm while I
went to school at UCLA, and that was really what
my dad wanted me to do, me to become a lawyer.
And I'm the first child born in the US in
my family, so it was a big deal him that I,
you know, the American dream and something professional and that
kind of thing, which I completely understood, stand especially now
(10:13):
as a parent. And the lawyers though, the lawyers at
this big law firm that I worked at, they kept saying,
you know, if this is not your passion, you shouldn't
do it. Like you got to follow your passion. And
if your passion is becoming a dancer, and you should
pursue that while you're young.
Speaker 2 (10:28):
But see that also kind of ties into media and stereotypes,
et cetera. So like when we're young and we don't
see ourselves as dancers, we don't see people that look
like us that are dancers or doctors or lawyers, then
we may think that's not for us. Right, So that's
(10:50):
why media is so important. So we could show our
community that we can be choreographers and I think Jlo
was probably someone that broke that barrier for a lot
of Latina. I mean, I think Paula Abdul was a
first choreographer that I saw that was not white, you know,
or not a male.
Speaker 1 (11:09):
Debbie Allen obviously is a choreographer who was infamous and
I auditioned for her so many times and never got
those jobs, and they were the most harsh and brutal
auditions known to mankind. But she was just such a
you know, such a queen of choreography. But I did
started assisting a woman who danced with Paula Abduel for
(11:31):
a long time, and she brought me on as a
choreography assistant, and I sort of started learning from her
and doing jobs with her. And honestly, I had always
been a choreographer sort of my whole life. So even
in elementary school, people would come to me and go, hey,
we want to do this skate routine for our talent show,
(11:54):
Like would you can you make it up for us?
Like we didn't know what was called choreography at the time,
can you make up my routine the play? Like I
would always make up all the dance for the school plays.
Then I was on dance team when I was in
middle school and I was the captain, so that meant
I made up all the dance routines, and then same
thing in high school. So I had already been doing
(12:14):
it my whole life. Even when I was at UCLA.
One of my best friends was trying out to be
a UCLA cheerleader, which you know is like a huge deal,
and I choreographed her audition routine. So I had already
been doing it and I knew that it was a
space I felt like myself and you know, I felt like, Okay,
(12:34):
I can do this. I wasn't the greatest at dance jobs.
I have to be honest with you, Like I love
to dance. It's my favorite thing in the world. But
the auditioning was so hard and so brutal that I
just was like, I felt so dejected all the time,
and it's just so competitive, and I just thought, you
(12:55):
know what, I want to pursue this choreography thing, Like
I think this is the space I feel comfortable in.
So I did. I just I started putting the word
out there. I did a bunch of free jobs, you know,
new bands that were getting started that you know, we're
doing some music video, I would choreograph it for free,
meet with producers, you know, Oh, we only have a
(13:15):
couple hundred dollars, Will you do the choreography? And like,
That's what I would do, so I could build my
choreography real But.
Speaker 2 (13:22):
You definitely have been around a lot of star power, yes,
and you also choreographed that. They had no music awards,
darring Selena.
Speaker 1 (13:31):
I know, amazing, right, So how was that? That was
so exciting? I mean I had been making some headway
into the Latin market, which was super important to me.
I wanted to. I mean, I love Latin music. So
I had been working with a few different Latino artists.
And then I was also a judge on Star Search.
(13:52):
If that makes any crazy sense to you.
Speaker 2 (13:55):
Yeah, of course Star Search. I loved it, didn't Britney
Spears and Christina Guilera and all of them start there.
Speaker 1 (14:01):
Yeah, a lot of them did a lot. So just
so many stars, you know, came from Star Search. Pretty wild,
but those so I had. I was a judge on
Star Search for several episodes, and they were somehow involved
with the producers of the the Hono Music Awards, and
they recommended me to those producers to go to San
(14:23):
Antonio and choreograph the show. So it was actually one
of the best experiences of my life. First of all,
I love san Antonio. I mean the people. I had
never been in a space where the Spanglish was so
just every day like either my family are either speaking
Spanish or speaking English right right, But in San Antonio
(14:44):
it is just like this mix of it all, and
I thought that was so exciting. I was like, Okay,
we're here and we're in both worlds, like and it's
all happening simultaneously. I love this. But then you know,
learning about the Hono music and getting to do that
show with Pete Ostulillo, who was still working with Selena
at the time, and then Selena was the opening act
(15:06):
and she was just, I mean just everything that you
imagine that she's going to be. Just the star power,
the magnetism, the charisma, the talent, everything is just there
times a thousand, but also just so nice, so nice
and just down to earth and just like a friend,
like so cool. It was right. I mean, it's just
(15:27):
a huge honor that I got to do that project.
Speaker 2 (15:30):
So you got to talk to her in essence kind
of choreograph her as well, and what give her basically
what you were giving her directions on what were to
stand on the stage or what kind of choreography did
you do.
Speaker 1 (15:44):
Yeah, because for the opening montage of the the Hanol
Music Awards, it was a montage of several different artists
and then Selena was the third artist to come out
and just you know, basically like explode the show open.
So there was choreography, there was dancing. I actually danced
in it myself and we danced with a couple of
different artists, and then you know, it was the blocking
(16:08):
of at this specific time, when Selena's song in the
medley came on, she would come to the front of
the stage seeing her bit like I would. You know,
it's mostly blocking for her because she was singing go
and then, but she was doing it in the in
the balance version, so there's not a lot of you know,
there's not a lot of choreography around that. But she
was wonderful to work with.
Speaker 2 (16:26):
You're one of the few that really got to meet
her before her unfortunate passing. But we have to keep
moving the needle forward with their legacy as part of
that history that we take on to the next generation.
And you're doing that with amazing grace and professionalism and
everything that you're doing because you are I'm not sure
(16:51):
if you completely left choreography aside, but now you're you're
directing TV and film. Right, Yes, we'll be right back.
Now back to the show. There's a statistic that says
(17:11):
that Latinos, even though we're more than eighteen percent of
the population, we only are about five point three percent
of the share of broadcast TV roles. This according to
the twenty twenty UCLA Hollywood Diversity Report, and big screen
representation is similarly bleak. At states that Latinos accounted for
only four point six percent of movie roles in twenty nineteen.
(17:31):
According to the same report. What do you think that
Why is that happening?
Speaker 1 (17:35):
I think it's a variety of things. I mean, I
think it's access, right. I think there was nothing in
my family's worldview for me to go into the entertainment business.
I mean that we just we had no connection whatsoever.
I had no idea how to do it. No one
in my family knew how to do it. You know,
(17:55):
As I said, my father was worried that I wouldn't
be able to make a living. We come with this,
you know, my father, being an immigrant, comes to this
country with the mentality like we have to succeed, we
need to do the jobs that succeed. So I don't
think those jobs are ones that as just mentioned earlier,
are ones that we look at in our in our
(18:16):
realm and go, okay, yeah, we yes. I want my
daughter to try to become a composer or an artist
or you know, an actress. I mean, it's it's hard
when you come like my family did, which is from nothing,
from like abject poverty, you know. So that's one thing.
I mean, for many many years on sets, I have
been the only Latina on the set. I'm talking many many.
Speaker 2 (18:42):
Years, all the way from like craft services up into
the executive producer, all across the board.
Speaker 1 (18:48):
Correct. I mean, it's just just not out there, and
you know, and then of course of women. I mean,
if you look at some of those studies, I feel
like the UCLA study they showed how I think three
years ago it was maybe four Latina directors had done
a feature film in that year. Four.
Speaker 2 (19:09):
Well, thank you for changing those statistics. So you've choreographed
a bunch of stuff. A bunch of music videos and commercials,
et cetera. And now you directed your first feature film.
We know that you've directed TV shows. Correct, I direct?
Speaker 1 (19:25):
So last year I had a banner year. I directed
my first episode of TV, which was the Garcias for
HBO Max, and then literally three months later I was
directing my first feature film.
Speaker 2 (19:39):
With the latina lead. He's a romantic comedy called Diamond
in the Rough.
Speaker 1 (19:45):
So Diamond the Rof is a very fun rom com,
mature rom com by the way. It is rated R.
And it is you know, they like to say, it's
you know, happy Gilmore meets mean girl. You know, it's
like me and girls at a country club where Arianna Alvarez,
who is kind of in a messy, chaotic time of
(20:07):
her life doesn't really have a direction, is forced to
join her Dio Jores bougie country club to help her
get her act together. When she gets there, she's not welcome.
And you know it's not just because they're so she's
a Latina. It's because you know, she's dressed wrong, she's
(20:28):
you know, she's coming not in the BMW. And and
you know it's it's a funny take on you know,
the fish out of water kind of idea that you know,
you don't belong here kind of thing. It was just
fun to do a story that has a Latina lead
and has Theojore in there, and little aspects of our
(20:49):
culture sprinkled throughout the movie. But it's just really about
this gen z young woman's kind of messy, chaotic life
and trying to find her way. And that's the thing
I really love about it, you know. I mean I've
been pitching on movies this year or last year, and
you know, some of them had Latino themes and some
(21:09):
of them were great, but there were moments where I
was like, you know, I would love to see the
mom not be you know, a cleaning lady. Is there
any way we can change that character? And that's not
to say that cleaning ladies aren't valid and important in
all those things, but we see that so much. Can
we make her you know, can she be a teacher
or can she be a business owner? I mean, so
(21:31):
this was fun for me was that it wasn't a
stereotype that was you know, that was really great and fun.
And plus it's a comedy, so we could we could
play on that a bit.
Speaker 2 (21:42):
I've heard that there is a lot more pressure for
studios and for companies to hire more diverse creatives right
behind the camera, in front of the camera, et cetera.
Is that translating. Do you see that you are getting
more opportunities because of this pressure or is it all
just talk.
Speaker 1 (21:59):
Well, I'm getting a lot of meetings, am I You know,
are people willing to take the risk?
Speaker 2 (22:07):
Not yet?
Speaker 1 (22:08):
I mean I am up for another movie which is great.
I'm very excited about it. Can't say what it is.
And that's based off of this movie and how hard
I worked on this movie and how hard I work
to elevate this indie movie to look like something amazing, right, Like,
that's what you have to do, is you have to
take every opportunity because there are so few of them,
(22:31):
and you have to really just elevate to the highest degreement.
Just push the producers like please I need this location, please,
please please, it's going to make our movie look amazing.
So I think that the sentiment is there. But look,
I just had a meeting a week ago with some
executives at a TV company and they've seen my episode
(22:55):
of the Garcias, they saw my movie. They know I've
been in the industry for thirty years. I've done every
kind of imaginable project, and they still say, well, but
you know, you probably should still shadow on some shows
first before we can give you a shot to direct
another episode. And it's like, okay, I understand the fear factor,
(23:18):
and any new show I would have an opportunity to direct,
I would want to shadow anyway, because I don't know
if you know what shadowing is, but it's just it's
when you go and you follow the director of another
episode and see how they work. And I think that's
great research. I think that's great prep. I would want
to do that anyway on any opportunity I had. But
(23:39):
to say I still don't have the experience to just
be hired on a TV episode like that is frustrating.
Speaker 2 (23:47):
And then you have to wonder, like if I looked different,
would they question my abilities?
Speaker 1 (23:52):
Well, you start to feel like some of the initiatives
are performative, right, Like it's great that there are all
saying we want to do this, but in the end,
you know, it is a lot of money that's on
the line. It's you know, it's time, it's you don't
want to go into overtime It's all so many different
aspects of it, and so I understand the fear factor,
(24:16):
but I'm not saying as many Latina's getting the opportunity
to get in the door as I would hope.
Speaker 2 (24:24):
At this point, Well, we just have to keep pushing forward. Okay. So,
if someone's listening to us right now and they want
to break into the business, what is your advice.
Speaker 1 (24:34):
Well, I would say there are so many resources online
that you could start with while you figure out what
it is that you want to do. You know, do
you want to be a writer, do you want to
be a director, do you want to be an actor?
You want to work in be a grip, work in
production design? And there are a lot of online, you know,
(24:56):
websites that can help you, Like No Film School is
one that's really terrific and talks about all different aspects
of filmmaking. If you're you know, again, if you want
to be a creative. The Sun Dance Collab is another
online masterclasses kind of things that are free that you can,
(25:17):
you know, get resources and just start to explore what
what area of the industry do you want to work in,
and then you know, reach out to people, follow people
on Instagram. Let them know, Hey, if you have a project,
I would love to help you as a PA, as
an assistant. Could I read scripts, Like if you go
(25:39):
on writer Twitter and you're interested in writing, you know,
I would love to read people's scripts just to see
and people will share them with you. I mean, I
have to say the creative community is really pretty collaborative,
and especially I mean I think the Latino Latino creative
community are really supportive of each other and try to
help each other out. So, you know, reach out. I
(26:00):
had a friend that I went to high school with.
Her daughter is trying to figure out what she wants
to do. Maybe she wants to be an editor. So
I kind of said, you know, reach out to editing companies,
ask them if they need a receptionist and assistant, someone
to make coffee at first, because that's how a lot
of us have to get started in this business. And
that's also the learning ground. That's where you watch and
(26:20):
listen and see how people operate with each other and
what your role would be. So you have to really
search out these different entities that can help you. And
the good thing is that they're out there now. You know,
Latino organizations like Nalip. You know, you can get involved
with Naalip. You can go to their film festivals and
(26:41):
you can start hearing, you know, when people come in
and talk about how they got into the industry. You
can meet people that way. Women in Film is another organization.
They have lots of panels and things like that. So
there are ways to get connected, much easier now than
when I was younger, when we didn't have the end,
but it's it's still tough, so it's still going to
(27:03):
take a lot of leg work. I mean, I'm still
doing the leg work.
Speaker 2 (27:07):
What is something you are reading, listening to, or using
that you love or want to recommend?
Speaker 1 (27:13):
I am I'll just say right now, I've been listening
to an audiobook on on audible, the version of Anna Karenina,
you know, by Tolstoy, which was one of my favorite
books as a young person. But it's it's it's narrated
by Maggie Chillenhall, and it's actually fantastic. It's so good
(27:35):
and so well done. It just helps me focus on
another aspect of storytelling and literature, to just kind of
let my creative mind expand out in another way. And
so that's what I've been listening to.
Speaker 2 (27:48):
What is a little known talent or passion you have.
Speaker 1 (27:51):
I'm very into plants, and this has even happened before
the pandemic. I've my Maya Wilita has a green thumb.
And when I tell you that, her little house in
Pomona is like a jungle, and she grows every kind
of fruit tree, chi les domtes, like just every every
time you go over there, she's giving you something fresh.
(28:13):
And so I've always loved plants and they remind me
of her, and so I've really loved gardening. I really
really love gardening.
Speaker 2 (28:23):
And the name of this show is Latina's Take the Lead.
How are you taking the lead in your life?
Speaker 1 (28:29):
Well, I am a mother of twin girls who are
going to be seniors in college and two step sons
who are in their late twenties. And I am still
pushing out there, pushing forward to bring our stories to light,
you know, as a Latina director and writer. And that's
how I'm taking the lead. I am continuing to evolve
(28:52):
as a creative woman, and I think that's important. We
can still evolve no matter how old we are, no
matter how long we've been in our industry. We can
still move in another direction and be successful at that.
Speaker 2 (29:05):
So where can people find you?
Speaker 1 (29:07):
I'm on Instagram and Twitter as jay y Godoy director.
You can find me.
Speaker 2 (29:14):
There and then online on your website in case they
want to hire you for their next big movie.
Speaker 1 (29:19):
Yes please Marvel movie. I'm janetteadoydirector dot com.
Speaker 2 (29:25):
Well, Janette, I enjoyed talking to you so much. You're
an inspiration and keep doing all these amazing projects. I
can't wait to see more of your work.
Speaker 1 (29:36):
Thank you so much for having me. You're You're an
inspiration and I really appreciate you having me on your show.
I'm honored.
Speaker 2 (29:41):
Thank you muchas Gracias and Latinas. Let's keep taking the Lead.
Thank you so much for listening. Please subscribe and give
us a review. Tell your friends and go madds about
our podcast and hope you join us next week. Latinus
Take the Lead is executive produced by Hodston Reinoso Media Group,
(30:04):
LLC and hosted by me Naive reino So. Production assistant
is Anna Sophia Munson. Latinus Take the Lead is a
production of the Seneca Women Podcast Network and iHeartRadio. For
more podcasts from iHeartRadio, check out the iHeartRadio app, podcasts,
or wherever you listen to your favorite shows. Asta la
(30:24):
Proxima
Popular Podcasts
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com
On Purpose with Jay Shetty
I’m Jay Shetty host of On Purpose the worlds #1 Mental Health podcast and I’m so grateful you found us. I started this podcast 5 years ago to invite you into conversations and workshops that are designed to help make you happier, healthier and more healed. I believe that when you (yes you) feel seen, heard and understood you’re able to deal with relationship struggles, work challenges and life’s ups and downs with more ease and grace. I interview experts, celebrities, thought leaders and athletes so that we can grow our mindset, build better habits and uncover a side of them we’ve never seen before. New episodes every Monday and Friday. Your support means the world to me and I don’t take it for granted — click the follow button and leave a review to help us spread the love with On Purpose. I can’t wait for you to listen to your first or 500th episode!