March 11, 2026 • 34 mins
This week, Diosa and Mala discuss Latino/Latinx futurism and its roots in Afrofuturism and Indigenous futures. They breakdown how Octavia Butler was a major inspiration for Herederxs in Space, a joint-project with Pizza Shark, a Latina-led production company. Herederxs in Space is an audio-phonic time capsule spanning 2016–2036, combining present-day oral histories, speculative podcasts, and an immersive installation. You can join the living time capsule here.
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Episode Transcript
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Speaker 1 (00:00):
Load an, I'm Fiosa and I'm Mala. You're listening to
Maka Dona Radio and today we're thinking and talking about
the future. We want to dive into Latino LATINX futurism
(00:21):
today it's origins and how that applies to a brand
new project that we're working on in collaboration with this
Latina production company called Pizza Shark.
Speaker 2 (00:31):
So we recently went to what's basically the Coachella for
podcasters called Honor Fest in Brooklyn, and we put on
a show, an installation all about podcasting, audio and where
the past meets the future. But before we tell you
about our Honor Fest experience, we want to run through
some examples of futurisms as they have existed throughout different cultures,
(00:55):
racial groups, ethnic groups.
Speaker 1 (00:57):
Starting with afrofuturism. The concept futurism is dedicated to imagining
a better future rooted in cultural experiences and influences. And
I think one of the most popular or influential in
a pillar of afrofuturism is Octavia Butler, the writer, the novelist,
(01:19):
the science fiction writer, actually from Pasadena, from Pasadena, California,
and she was writing about dystopic quote futures. One of
her most famous novels, Parable with the Sewer, was published
in nineteen ninety three, but is set in the year
twenty twenty four. And one of the reasons her work
(01:39):
is so influential and still continues to be so impactful
is that she was writing about quote dystopic futures, but
was really looking at her present day reality and looking
at the path that we as a society in a world,
would go on if we continued to prioritize corporate greed,
capitalism and exploiting workers, women, people. And I think that
(02:05):
that's one of the reasons that her work is still
so prominent and still so influential, and again one of
the founders in a way of what we know what
we know to be afrofuturism.
Speaker 2 (02:16):
You can actually visit Octavia Butler's writings and journals at
the Huntington Library in Pasadena, which is very cool. I
think her estate donated all of them to the Huntington's,
so that's something to check out if you're in town.
Another example that's always talked about when it comes to
studies of black futurism afrofuturism is a film called Space
(02:39):
is the Place by Sun Raw.
Speaker 1 (02:41):
It's a very cool watch. If you've never seen it.
Speaker 2 (02:44):
I don't know where you can find it online these days,
but it's out there. I know I saw it in
school at some point, and that's always brought up as
an example of afrofuturism in the arts.
Speaker 1 (02:54):
And it doesn't stop there.
Speaker 2 (02:56):
There's also such a thing as Indigenous futures, which is
a movement art, literature, games, and other forms of media
which express Indigenous perspectives on the future, present, and the past.
Speaker 1 (03:07):
And of course these both aphrofuturism. Indigenous futures can also
intersect with LATINX futurism or Latino futurism, which is inspired
from afrofuturism and Indigenous futurism and places an emphasis on
the creation of a different future in spite of present
realities with a strong interaction with the past, considering colonialism,
(03:31):
considering ancestral knowledge that is all rooted in what we
know to be Latino futurism or LATINX futurism.
Speaker 2 (03:38):
And to get even more specific, there is a cheek
Gana futurism, which was coined by scholar PhD Catherine Sue
Ramirez Chikana.
Speaker 3 (03:46):
Futurism in essence interrogates the relationship among the past, present,
and future in the America, specifically including literature, visual arts,
sound music, and performance that explores the nexus of race, gender,
science to achnology, the environment, and the future from a
chicon x the colonial perspective.
Speaker 1 (04:05):
Okay, malis, so what do all of these futurisms or
futures have in common.
Speaker 2 (04:09):
Well, everybody is looking at the way that the past
and the present inform the future. And really there are
collections of historical realities determining like our lens of expression
and coming from a specific cultural and like socio racial place.
Speaker 1 (04:29):
Absolutely. Yeah, and that I think is something that we
have dabbled in in our collective work, you and I
with through Locatio, through the different topics we've explored, even
through different shorts that we've done, Like I'm thinking of
our take Me to Your Network. We're getting futuristic, We're
getting we're in outer space, and in some ways this
(04:51):
new project that we've embarked on is a continuation of
the foundation that we've set through our work and also
now with like two new creative parts. Yeah. So if
you guys are not familiar with Pizza Shark.
Speaker 2 (05:03):
We actually met This is like a past present future
thing as it really is, because we met Isis of
Pizza Shark at podcast stereo Fest Atlas this years ago.
Speaker 1 (05:18):
It was like twenty eighteen, Yeah, URP.
Speaker 2 (05:20):
Podcast seeo Fest. It happened once, but it was like
sold out. People flew in from out of town to
like see and talk to and hear from LATINX podcasters
from all over the place a lot.
Speaker 1 (05:33):
Most I would say, most of those podcasts are no
longer in production also unfortunately, Yes, but like the podcasts
that were there, Beige to your boyt Mother that they
people were flying in from everywhere. We had that The
Gold Is Collecting, We had Radio Mina, Gothic Go and
Cheese Man. Unfortunately these podcasts have folded or stopped producing.
(05:55):
But there was that really beautiful moment in time where
there were so many indie LATINX podcast and that is
where we did meet Isis. And she was hosting a
podcast with her creative partner, Gottrolina, and they had a
podcast called Maskafis. Yes. So then fast forward to twenty
(06:15):
twenty five, we are in.
Speaker 2 (06:17):
Brooklyn for the Signal Awards and we run into Isis,
and Isis says, oh my god, I met you guys
way back when at podcasteo Fest, and now here we
are at the Signal Awards and a show that she
works on won a Signal Award. She also podcasts and
produces and edits and such for the Michael Luda Podcast Network,
(06:39):
and we were winning a Signal Award for our shows
with the Michael Luda Podcast Network. So it was just
a very like wow, the past is meeting the present
and we're all still podcasting, and so we like reconnected,
and then we went to breakfast and we wanted to
learn more about what she's been doing. And so she
and Gotlina with Pizza Shark have kind of been living
(07:00):
parallel lives to us as these Latina podcast producers, but
on the East Coast and in Louisiana and like producing
and editing and hosting and just doing the thing. And
it was just very wild to hear how they're living
like very similar lives.
Speaker 1 (07:17):
So of course we had to collapse. And Gottalina is
also in graduate school right now, yes she is, and
she's been on a yes, pretty wild the parallels and
so all that to say. The synergy was there to
collaborate together, which is what brought us to on AirFest.
We pitched a workshop let's talk about it that is
in space.
Speaker 2 (07:38):
So this is like a very wild concept that I
think on paper doesn't make a whole lot of sense,
But in person and in actuality on the stage and
at the installation, it all came together, which is amazing
because we were all like working remotely and like putting
this thing together remotely and did like one run of show,
(08:00):
and there was a lot of improv and a lot
of just kind of like learning and doing as we
go and from different coasts. But basically, Editius in Space
is an audiophonic time capsule from twenty sixteen to twenty
thirty six. It is an ode to storytelling itself, to
the human spirit, and to what becomes possible when we survive.
(08:21):
Talk about futurism, it's very futuristic.
Speaker 1 (08:24):
It is futuristic, and I think the heart of this
project is imagining a better world, imagining a better future,
taking what we know from the past the present, and
how we can we use that to shape a better world.
Speaker 2 (08:38):
Absolutely, So this project included oral histories and an entire
slate of speculative futuristic podcasts, all of which are set
in twenty thirty six. So we imagined what our podcast
is going to sound like from LATINX creators ten years from.
Speaker 1 (08:58):
Now yea, and because we're thinking of because we were
also capturing present moment, we interviewed artists, storytellers, creatives of
current day, and so I interviewed author novelist Alejandro Eredia.
He is the author of Loca. We read that in
(09:19):
my book club, and he's so generous with his time.
He's such a thoughtful, intentional wordsmith. He is someone who
very much values the use of words, and I just
knew he was going to have something very insightful to say,
and he did, and so I interviewed him. I also
interviewed Megan Tan, a podcaster producer friend, and she's another
(09:44):
very insightful storyteller. She has worked on She produced her
original podcast Millennial. She's worked on dozens of podcasts that
our award winnings, such as Wild Snooze, and it was
really great to hear from her about how storytelling is
a part of our biology, how we are always going
(10:07):
to be telling stories no matter what period of the
timeline that we're in. And finally I interviewed my Diabolka.
Her name is Patricia, and she is a psychologist and
a Bruja, and so she talked to me about that
gift and how she pairs that with science and how
(10:29):
she uses that to help her clients.
Speaker 2 (10:32):
Can you talk a little bit more about Patricia's oral history,
because I really loved what she spoke to.
Speaker 1 (10:40):
You about me too. You know, she's someone who facilitates sessions,
and so what was very interesting is that she was
on the other side of being asked questions right and
getting to share her story and her experience, and so,
you know, I've known her practically my whole life, but
this interview was definitely another level, another facet of our
(11:02):
relationship and knowing her and learning more about her, and
so she shared it at the age of nine. Ten.
Important fact is that her mother was also a Bruh.
She could read cards, and so at ten years old,
she was doing her homework. She overheard her mother on
the phone, and her mother had her stack of cards
(11:24):
and was doing her card reading, and she could hear
her mother asking questions and she could not hear what
the other person on the phone was saying. But she
walks up to her mom and she asks, are they
looking for a boy? And her mom just looks at
her confused, and then she says yeah. And then Buttyusia
starts to describe where she sees the boy. She describes
(11:48):
the house, the person who has him, and it turned
out that this boy's godfather had taken him and the
parents were desperately looking for him, which is why they
called her mother. And so she describes, you know, having
this gift of being able to see of sight, of
having visions as this reaction to people's anguish. So just
(12:13):
by feeling someone's really strong emotions, she can have this vision.
And it's not, you know, constant, but it is something
that she has to learn to harness and even pushed
away for many many years because she came from a
very very Catholic family. Even though her mother was a Ruja,
(12:35):
was a tarot card reader, her grandmother was like your
typical Senora with the Bible telling her. So she pushed
it away for a long time. Her mother passes and
she realizes, like that inheritance cannot stay with my mom,
It cannot get lost there, and so she's now on
(12:56):
this journey. She's a senora in her fifties to reclaim
that and to work with it and harness it in
the work that she does as a psychologist. Very cool,
very very cool.
Speaker 2 (13:08):
Yeah, And she was among many very incredible oral histories,
and Isis and Gotolina also collected oral histories, including some
by kat Lampigua, Nicole Hill, and Melissa Losada Oliva, who
all had really beautiful things to say about storytelling and
human connection and memory and really the way that human
(13:32):
feelings and human connection are what fuel art and creativity.
Speaker 1 (13:36):
And what was so interesting about their collection was that
we didn't really discuss who we were going to interview.
We said we were prioritizing storytellers also people had we
were in community with, and we had a set of questions,
But in so many ways, these separate oral histories that
(13:57):
were collected were in conversation with each other and we
had no idea. I think it also speaks to the
moment that we're in right and how people are feeling,
and how that is also contributing to the responses that
these storytellers and artists had.
Speaker 2 (14:10):
Because we were playing with futurisms, of course, we presented
these oral histories from artists of the present moment. And
then we also presented these future twenty thirty six speculative podcasts,
again imagining what podcasts are going to sound like in
ten years, and we came up with a fun concept
(14:34):
where the podcasts that Yosa and I individually created were
in conversation with each other. So tell them about your
podcast and the concept and the host and the storyline
and the whole deal.
Speaker 1 (14:50):
Sure. So I have been thinking about this present day right,
how we're constantly being forced to optimize our lives. Now
with the addition of AI tools, I see that even
more prominent, and it's just you don't even opt in,
it's just automatically a feature in the technology that you use.
(15:11):
And so I was thinking about how so much of
life and living is when there's tension and there's conflict
and there's drama, and so how can we bring that
back to our lives in a healthy way. I'm not saying, like,
go and get into a fight with somebody, right, So,
in twenty thirty six, my podcast's host, her name is Oktavia,
(15:35):
and she is on a quest to make her life
more inconvenient. She breaks up with her AI assistant named
Opal because the AI assistant, although had really good intentions,
was actually making her feel kind of bad about herself
and like she was a failure when she wasn't like
reaching her optimal existence of the day. The host felt
(15:57):
like part of being human is not always being optimal
and not always being perfect, and so she's on this
journey to make her life more inconvenient. And so the
name of the podcast is Inconvenienced and Anti optimization.
Speaker 2 (16:14):
Podcast, And in conversation with that podcast, I put together
a podcast called I Robot and it's hosted by Opol
by okpavia's optimization personal assistant for life, which is what
Opel stands for. And this is episode one called Glitch Detected,
(16:35):
in which Opel notices that Okpavia is not following the routine,
she is not buying in to the optimization model that
Opol has laid out for her, and Obol is having
like an identity crisis.
Speaker 1 (16:51):
And so Opol, in our presentation.
Speaker 2 (16:56):
On the day on AirFest and like in this world,
Ople self produced and self hosted and self generated this
podcast herself and then like dropped it into the feed
of a network because as an AI bot, she can
do whatever she wants she can just make the thing
and publish the thing and put it out. And the
(17:17):
way that we made the shows I think also spoke
to like the character of the.
Speaker 1 (17:23):
Shows and the energy behind the shows.
Speaker 2 (17:27):
Because for my I robot podcast by Opel, what I
did was I said to myself.
Speaker 1 (17:32):
Well, if an AI.
Speaker 2 (17:35):
Optimization assistant word to make a podcast, why don't I
ask the AI to make the podcast then, and like
see its point of view and how it would do it.
So I wrote into CHATGBT, which is like now old
news because we're all on Claude now, so like it's
already so passe.
Speaker 1 (17:51):
But I wrote at.
Speaker 2 (17:52):
The time, I wrote into chat GBT, make me a
podcast hosted by an AI bot called Opal who's having
an identity crisis because her assigned human person is like
not buying into the script anymore. So Chajibt wrote me
like an entire script and gave the host a point
of view.
Speaker 1 (18:13):
And then I.
Speaker 2 (18:13):
Dropped the script into descript, which also has an AI feature,
and Descript voiced it with like an AI podcast host.
And in order to kind of like give it a
little irony, I took some of course, when I was
in the Amazon I like recorded some nature sounds in
(18:34):
the rainforest, so I took those and I put them through,
like I like added some reverb to them, and I
just played around with like some of the enhancements on
descript to make it sound very tinny and ugly, and
that was like the score. So like that's how I
went about making this episode. And for me, it was
(18:57):
kind of saying like, yeah, you can use AI to
create these shows and to host these shows, but it's
gonna be kind of unbearable.
Speaker 1 (19:05):
And it sound kind of it was actually really hard
to like I couldn't listen to it beyond like two
minutes because we did have it playing in our installation room,
and for me, it was hard to listen to it.
But other people would walk in and they were like, oh,
this is really cool and they could sit there and
listen to the whole thing. But it was actually hard
to listen to. And what I love about our podcast
being in conversation with each other is that Opal is
(19:27):
having an existential crisis because the AI is feeling human,
like the AI is kind of having feelings, where in
my podcast, my host Otavia is like I'm done feeling
like a robot. So it's this tension of humanity and
like how do we humanize the robot and then dehumanize
(19:49):
ourselves and like not center our needs, desires, wants for
the sake of optimization. Yeah.
Speaker 2 (19:57):
Absolutely, And I felt this like desire to give us
an example of because I know that the AI hosted
podcasts are out there, like there are AI generated personalities
who are hosting.
Speaker 1 (20:12):
Shows, and you know, like you don't actually.
Speaker 2 (20:16):
Have to have a person touching it at all anymore,
Like those shows are out there, But I mean, how
enjoyable can it be to listen to, you know, because
the point is probably not for the sake of art
and creativity. It's just for the sake of producing and
putting it out there at the lowest cost with the
(20:36):
lowest amount of human interaction. So yeah, I thought that,
like it was just a very fun exercise and it
became not only something to listen to, but something that
our audience could like immerse themselves in the in the installation,
which was like another.
Speaker 1 (20:54):
Part of this project. We hope you're enjoying this conversation.
Stay tuned, there's more to come.
Speaker 2 (21:04):
Thanks for sticking around.
Speaker 1 (21:05):
We are back that I want to talk about this
stage performance because it was so fucking weird and wacky
in the best possible way. But it was one of
those things where I was like, damn, people are either
gonna like sit down and immediately get up, or they're
gonna like sit down and get it. And thankfully people
sat down and got it, loved it, immediately clicked for them.
(21:27):
They understood we were time traveling because we were not like, oh, hey,
we're Mala Viosa, let's go into twenty thirty six. It's like, no,
we're Mala Yosa. We're in twenty thirty six, right. And
that was also because of our lovely moderator, Catalina, who
was of course participating in this project, but she performed
as a executive of RAO and she was moderating the
(21:54):
panel and she was asking us to pitch our speculative
podcast but as if we were in the year of
twenty thirty six.
Speaker 2 (22:01):
Yeah, so we were like very much in character and
I was a hologram from twenty thirty six who is like,
the character is very AI forward, AI positive and very
like anti feelings, anti positive.
Speaker 1 (22:15):
Yeah. Can you talk about the references you made to
Gwyneth Paltrow, Oh, my.
Speaker 2 (22:20):
God, yeah, well, I said that My mentor was Gwyneth Paltrow,
who of course is like the same age as she
is now in twenty thirty six.
Speaker 1 (22:28):
She's like unlocked the key to eternal.
Speaker 2 (22:30):
Life and in the future the only thing that matters
is broth and data, and so if you don't have that,
then like what's the point, you know.
Speaker 1 (22:38):
So it was very fun and we got very creative
with it.
Speaker 2 (22:41):
It was very much like a performance art piece, and
isis was wearing like an astronaut's helmet, which was fun.
And we talked about like how the oral histories that
were presented were just very strange and unfamiliar because they
spoke so much about feelings and.
Speaker 1 (23:01):
Other humans and a.
Speaker 2 (23:03):
Lot of talk about failure and embracing failure and for
a hologram for an AI bought, that's so strange.
Speaker 1 (23:11):
What is failure?
Speaker 2 (23:12):
What is AI bought? Yeah, and why would we embrace it?
That it just it doesn't compute. So it was interesting
because we had people in the crowd then were asking
us questions about like, well, what's happening in the future,
and what do we do in the future, and like
what's your advice from the future, and people cried, if
people laughed, it was it so it evoked a lot
(23:34):
of emotions.
Speaker 1 (23:35):
Something that has stayed with me is that the questions
that were asked by the audience at the end where
they were asking about hope, and I remember there was
this one woman who was like, I feel so hopeless
and everything that's going on in the world makes me
feel like alone and I feel anxious, like in twenty
thirty six, will we get out of this right? And
of course we want to give a hopeful answer, but
(23:57):
also like the reality is like okay, well we have
to have agency to like act right and not be
in despair and to feel the feelings, but then like
have it push you forward. And that was definitely the
energy I felt from all the questions is that there
was the themes of like hope, despair, loneliness, and then
how do we fix it? And then there was someone
(24:19):
who cried and felt like we were giving her an
idea of what was possible in the future.
Speaker 2 (24:25):
It was fabulous. And then someone also asked, is bad
Bunny single in twenty thirty six and what was the answer?
That he has a wife on every planet in twenty
thirty six. I should have said, a partner on every planet. Yes,
but he's not single at all, by any strike of
the imagination.
Speaker 1 (24:42):
What we were putting out there landed because it wasn't
just about the AI and the dystopian future. It was
also about hope and wait, if we actually lean into community,
if we actually listened to each other, you know. And
one of the concepts and the speculative projects ISIS or
both ISIS and Catalina was this idea of the Great
(25:04):
Remembering where humanity, society finally gained perfect collective memory, remembered
all past injustices, and that allowed them to create a
perfect world because every single thing was remembered and everyone
had the same collective memory. And so it's also this
(25:24):
idea of a hope, right if we're connected and we
are also consciously remembering things that happened, right because collective memories. Also,
I feel like so fleeting right, Like twenty twenty was
like five years ago, right, and I feel like we've
so as a society, have moved on. And so I
think that energy was in this speculative podcast of the
(25:45):
Great Remembering. And so in this world, you know, there
was there's no police, there's no carceral system, you can
jump in your flying car and go to another planet,
and you could also optimize your life if you wanted to,
and so there was that like AI component, but it
was also creating this world where there was some justice. Yeah.
Speaker 2 (26:06):
That The Flying Car Show was another speculative show from
the future, which was very fun and went over very well.
And Isis made this one and the concept is that
like in the future, all the cars are flying the sky,
but there's still like calling in to the radio.
Speaker 1 (26:23):
Station because there's still traffic, because there's still traffic in
the sky in the future.
Speaker 2 (26:26):
That one was very fun and all of this then
was coupled with a physical in person art installation where
you could then go from like hearing about twenty thirty
six and listening to shows from twenty thirty six to
stepping into twenty thirty six. And Isis and Gatto were
there in New York before us. Also, by the way backdrop,
(26:48):
there was a blizzard. There was a blizzard like well
all of this like the days leading up and so
like flights were being canceled and rescheduled and your flight
was rescheduled.
Speaker 1 (27:00):
Yes, yes, So the Pizza Shark Girls held it down
because the idea was that I was going to get
there early to represent us and to help with the installation,
and then my flight got canceled and so the heavy
lifting of putting the room together. Obviously we had all
discussed it prior, but Is just really did design this
(27:21):
room conceptually. We all, but she was the one who
like thought about like, Okay, this can go here, this
can go here, this can go there, and so they
assembled a very beautiful installation where there was Awalita's Corner
and when you walk in, that was like the first
(27:41):
thing that you see is Awalita's Corner, and it was
just a cozy little corner with like go, we have
a blanket, a vintage TV where you could also put
on headphones and listen to the oral histories, the extended
oral histories that we played on stage. It was fabulous,
beautifully done.
Speaker 2 (28:01):
There was also like a space corner where you could
take a polaroid with that astronaut's helmet, and we all did.
Speaker 1 (28:09):
There was a beautiful collection of books and other.
Speaker 2 (28:11):
Cultural artifacts and Isis edited together a really beautiful video.
Speaker 1 (28:16):
That was projected onto the wall of.
Speaker 2 (28:18):
Archival footage with Lamas and Andean women and their grajz
with flying cars with the rainforest. So again this idea
of futurism, in which a cultural past is merging with
a cultural future.
Speaker 1 (28:32):
In our installation, it was very fun. It was beautiful
and like people were visiting like all day.
Speaker 2 (28:37):
You can also join our living time capsule and get involved.
This is a living project that we hope to continue
growing and maybe bring to a museum near you one
of these days.
Speaker 1 (28:54):
We hope you're enjoying this conversation. Stay tuned, there's more
to come.
Speaker 2 (29:01):
Thanks for sticking around.
Speaker 1 (29:03):
We are back. You can also contribute to our oral
history project by heading to our website edited in Space
That is h E R E D E r xs
in space dot com. I'll link that in the show notes,
and we have on the website a list of the
(29:25):
five questions that we asked our storytellers and artists. You
can self record and upload and we'll review it and
then upload to our website. So we're currently accepting oral histories.
They're very minimally edited for sake of it being an
oral history, so just keep that in mind as well. Yeah,
(29:47):
we want to keep this going, we want to keep
growing it, and we want to grow out the installation
with more funding, so we can just make it even bigger,
beautiful and better. And yeah, we're really excited to see
where this goes. And yeah, fabulous.
Speaker 2 (30:07):
Shout out to the Pizza Shark girls and look out
from our collaborations between us and them in the future.
Speaker 1 (30:12):
Also listen to the oral histories and they're also on
the website. Yeah, so you can pruise the website. The
speculative podcasts are on there, so you can hear Wamala
and I were talking about. The oral histories are there,
and then you can submit your own oral history and
pitch your own twenty thirty six podcasts. It was really
fun for me to like write a speculative podcast. I
(30:34):
haven't written fiction in a while and so that was
really fun for me. It was very fun.
Speaker 2 (30:39):
It was a really fun exercise out of our our
regular podcasting work, and so I think we're looking to
do more of that also.
Speaker 1 (30:47):
Can I just say, like, we're at on AirFest right.
It was our first time going, but I'm familiar with
on AirFest and we emceeed like an LA event that
they had out here years ago, and you know, it's
like the podcast producers, the hosts. It's like the industry darlings.
It's the indie folks, it's the networks. It's people not
(31:10):
just podcast listeners, but predominantly industry people. Yes, Don Lemon,
Don Lemon was there, Seth Myers was there. Eric Andrey
did a live show.
Speaker 4 (31:20):
Yes, you know, I was there with guests from La Barega,
and yes, our Shapiro was there.
Speaker 1 (31:31):
We were the same green room, Yes I was. I
was like, oh my god. Yes, so all that to say,
lots of incredible people that we respect that we had
a meyer were there and we got really like creative
and funky with our with our project. And I was like,
also really proud of us for doing that because we
(31:52):
could have pitched a live show, we could have pitched
like a different type of workshop, but we really went
there with like the speculative, with the amount genation, with
the futurism of it all. Oh yeah, even to the
point we're in the morning, you know, Mal and I
we like all of us dressed in character. Yes we did,
and Mala was like, should I be wearing this like
(32:13):
shiny top and glitter?
Speaker 2 (32:16):
Well, because we had a pitch with ESPN for to
pitch like a new podcast like a sports podcast with
thirty for thirty so all of this was happening.
Speaker 1 (32:25):
On the same day.
Speaker 2 (32:26):
Yes, and so in my mind, I'm like, they're kind
of corporate. So do I wear my like futuristic hologram
bell sleeve and my glitter lid, like, am I fake
ponytail like to the ESPN pitch?
Speaker 1 (32:37):
Yes? Yes, yes, And and we stood out. We stood out,
and we stood out, and I think it was a vibe. Yeah.
All day people were complimenting the different things that we
were wearing. So it was definitely, I think a lesson
and like it's okay to stand out. It's okay to
like not look like the corporate like industry. I mean
in its podcast, it's not super corporate, you know, but
(33:00):
it's okay to stand out and not dress like everybody
else and own it and not be shy about it. Absolutely,
So it was a good time.
Speaker 2 (33:08):
So glad we went shout out to on air and
thank you for having us, and we hope.
Speaker 1 (33:12):
To be back. Yes, if you are a museum professional,
if you work in curation and our curation, if you
want to, if you have a space where you can
host this project for a longer period than two days like.
Please let us know. We would love to bring this
concept to La or any state, any place in the world.
(33:35):
We want to keep this project going. Oh my god.
Speaker 2 (33:37):
No, you know who needs us is the Lucas Museum.
If they ever open, they should have us. Yes, if
they ever open, you guys know.
Speaker 1 (33:45):
Where to find us. All right, y'all, thank you for
listening to another Capito Radio. We will catch you next time.
(34:33):
Log Alumnia
Load an, I'm Fiosa and I'm Mala. You're listening to
Maka Dona Radio and today we're thinking and talking about
the future. We want to dive into Latino LATINX futurism
(00:21):
today it's origins and how that applies to a brand
new project that we're working on in collaboration with this
Latina production company called Pizza Shark.
Speaker 2 (00:31):
So we recently went to what's basically the Coachella for
podcasters called Honor Fest in Brooklyn, and we put on
a show, an installation all about podcasting, audio and where
the past meets the future. But before we tell you
about our Honor Fest experience, we want to run through
some examples of futurisms as they have existed throughout different cultures,
(00:55):
racial groups, ethnic groups.
Speaker 1 (00:57):
Starting with afrofuturism. The concept futurism is dedicated to imagining
a better future rooted in cultural experiences and influences. And
I think one of the most popular or influential in
a pillar of afrofuturism is Octavia Butler, the writer, the novelist,
(01:19):
the science fiction writer, actually from Pasadena, from Pasadena, California,
and she was writing about dystopic quote futures. One of
her most famous novels, Parable with the Sewer, was published
in nineteen ninety three, but is set in the year
twenty twenty four. And one of the reasons her work
(01:39):
is so influential and still continues to be so impactful
is that she was writing about quote dystopic futures, but
was really looking at her present day reality and looking
at the path that we as a society in a world,
would go on if we continued to prioritize corporate greed,
capitalism and exploiting workers, women, people. And I think that
(02:05):
that's one of the reasons that her work is still
so prominent and still so influential, and again one of
the founders in a way of what we know what
we know to be afrofuturism.
Speaker 2 (02:16):
You can actually visit Octavia Butler's writings and journals at
the Huntington Library in Pasadena, which is very cool. I
think her estate donated all of them to the Huntington's,
so that's something to check out if you're in town.
Another example that's always talked about when it comes to
studies of black futurism afrofuturism is a film called Space
(02:39):
is the Place by Sun Raw.
Speaker 1 (02:41):
It's a very cool watch. If you've never seen it.
Speaker 2 (02:44):
I don't know where you can find it online these days,
but it's out there. I know I saw it in
school at some point, and that's always brought up as
an example of afrofuturism in the arts.
Speaker 1 (02:54):
And it doesn't stop there.
Speaker 2 (02:56):
There's also such a thing as Indigenous futures, which is
a movement art, literature, games, and other forms of media
which express Indigenous perspectives on the future, present, and the past.
Speaker 1 (03:07):
And of course these both aphrofuturism. Indigenous futures can also
intersect with LATINX futurism or Latino futurism, which is inspired
from afrofuturism and Indigenous futurism and places an emphasis on
the creation of a different future in spite of present
realities with a strong interaction with the past, considering colonialism,
(03:31):
considering ancestral knowledge that is all rooted in what we
know to be Latino futurism or LATINX futurism.
Speaker 2 (03:38):
And to get even more specific, there is a cheek
Gana futurism, which was coined by scholar PhD Catherine Sue
Ramirez Chikana.
Speaker 3 (03:46):
Futurism in essence interrogates the relationship among the past, present,
and future in the America, specifically including literature, visual arts,
sound music, and performance that explores the nexus of race, gender,
science to achnology, the environment, and the future from a
chicon x the colonial perspective.
Speaker 1 (04:05):
Okay, malis, so what do all of these futurisms or
futures have in common.
Speaker 2 (04:09):
Well, everybody is looking at the way that the past
and the present inform the future. And really there are
collections of historical realities determining like our lens of expression
and coming from a specific cultural and like socio racial place.
Speaker 1 (04:29):
Absolutely. Yeah, and that I think is something that we
have dabbled in in our collective work, you and I
with through Locatio, through the different topics we've explored, even
through different shorts that we've done, Like I'm thinking of
our take Me to Your Network. We're getting futuristic, We're
getting we're in outer space, and in some ways this
(04:51):
new project that we've embarked on is a continuation of
the foundation that we've set through our work and also
now with like two new creative parts. Yeah. So if
you guys are not familiar with Pizza Shark.
Speaker 2 (05:03):
We actually met This is like a past present future
thing as it really is, because we met Isis of
Pizza Shark at podcast stereo Fest Atlas this years ago.
Speaker 1 (05:18):
It was like twenty eighteen, Yeah, URP.
Speaker 2 (05:20):
Podcast seeo Fest. It happened once, but it was like
sold out. People flew in from out of town to
like see and talk to and hear from LATINX podcasters
from all over the place a lot.
Speaker 1 (05:33):
Most I would say, most of those podcasts are no
longer in production also unfortunately, Yes, but like the podcasts
that were there, Beige to your boyt Mother that they
people were flying in from everywhere. We had that The
Gold Is Collecting, We had Radio Mina, Gothic Go and
Cheese Man. Unfortunately these podcasts have folded or stopped producing.
(05:55):
But there was that really beautiful moment in time where
there were so many indie LATINX podcast and that is
where we did meet Isis. And she was hosting a
podcast with her creative partner, Gottrolina, and they had a
podcast called Maskafis. Yes. So then fast forward to twenty
(06:15):
twenty five, we are in.
Speaker 2 (06:17):
Brooklyn for the Signal Awards and we run into Isis,
and Isis says, oh my god, I met you guys
way back when at podcasteo Fest, and now here we
are at the Signal Awards and a show that she
works on won a Signal Award. She also podcasts and
produces and edits and such for the Michael Luda Podcast Network,
(06:39):
and we were winning a Signal Award for our shows
with the Michael Luda Podcast Network. So it was just
a very like wow, the past is meeting the present
and we're all still podcasting, and so we like reconnected,
and then we went to breakfast and we wanted to
learn more about what she's been doing. And so she
and Gotlina with Pizza Shark have kind of been living
(07:00):
parallel lives to us as these Latina podcast producers, but
on the East Coast and in Louisiana and like producing
and editing and hosting and just doing the thing. And
it was just very wild to hear how they're living
like very similar lives.
Speaker 1 (07:17):
So of course we had to collapse. And Gottalina is
also in graduate school right now, yes she is, and
she's been on a yes, pretty wild the parallels and
so all that to say. The synergy was there to
collaborate together, which is what brought us to on AirFest.
We pitched a workshop let's talk about it that is
in space.
Speaker 2 (07:38):
So this is like a very wild concept that I
think on paper doesn't make a whole lot of sense,
But in person and in actuality on the stage and
at the installation, it all came together, which is amazing
because we were all like working remotely and like putting
this thing together remotely and did like one run of show,
(08:00):
and there was a lot of improv and a lot
of just kind of like learning and doing as we
go and from different coasts. But basically, Editius in Space
is an audiophonic time capsule from twenty sixteen to twenty
thirty six. It is an ode to storytelling itself, to
the human spirit, and to what becomes possible when we survive.
(08:21):
Talk about futurism, it's very futuristic.
Speaker 1 (08:24):
It is futuristic, and I think the heart of this
project is imagining a better world, imagining a better future,
taking what we know from the past the present, and
how we can we use that to shape a better world.
Speaker 2 (08:38):
Absolutely, So this project included oral histories and an entire
slate of speculative futuristic podcasts, all of which are set
in twenty thirty six. So we imagined what our podcast
is going to sound like from LATINX creators ten years from.
Speaker 1 (08:58):
Now yea, and because we're thinking of because we were
also capturing present moment, we interviewed artists, storytellers, creatives of
current day, and so I interviewed author novelist Alejandro Eredia.
He is the author of Loca. We read that in
(09:19):
my book club, and he's so generous with his time.
He's such a thoughtful, intentional wordsmith. He is someone who
very much values the use of words, and I just
knew he was going to have something very insightful to say,
and he did, and so I interviewed him. I also
interviewed Megan Tan, a podcaster producer friend, and she's another
(09:44):
very insightful storyteller. She has worked on She produced her
original podcast Millennial. She's worked on dozens of podcasts that
our award winnings, such as Wild Snooze, and it was
really great to hear from her about how storytelling is
a part of our biology, how we are always going
(10:07):
to be telling stories no matter what period of the
timeline that we're in. And finally I interviewed my Diabolka.
Her name is Patricia, and she is a psychologist and
a Bruja, and so she talked to me about that
gift and how she pairs that with science and how
(10:29):
she uses that to help her clients.
Speaker 2 (10:32):
Can you talk a little bit more about Patricia's oral history,
because I really loved what she spoke to.
Speaker 1 (10:40):
You about me too. You know, she's someone who facilitates sessions,
and so what was very interesting is that she was
on the other side of being asked questions right and
getting to share her story and her experience, and so,
you know, I've known her practically my whole life, but
this interview was definitely another level, another facet of our
(11:02):
relationship and knowing her and learning more about her, and
so she shared it at the age of nine. Ten.
Important fact is that her mother was also a Bruh.
She could read cards, and so at ten years old,
she was doing her homework. She overheard her mother on
the phone, and her mother had her stack of cards
(11:24):
and was doing her card reading, and she could hear
her mother asking questions and she could not hear what
the other person on the phone was saying. But she
walks up to her mom and she asks, are they
looking for a boy? And her mom just looks at
her confused, and then she says yeah. And then Buttyusia
starts to describe where she sees the boy. She describes
(11:48):
the house, the person who has him, and it turned
out that this boy's godfather had taken him and the
parents were desperately looking for him, which is why they
called her mother. And so she describes, you know, having
this gift of being able to see of sight, of
having visions as this reaction to people's anguish. So just
(12:13):
by feeling someone's really strong emotions, she can have this vision.
And it's not, you know, constant, but it is something
that she has to learn to harness and even pushed
away for many many years because she came from a
very very Catholic family. Even though her mother was a Ruja,
(12:35):
was a tarot card reader, her grandmother was like your
typical Senora with the Bible telling her. So she pushed
it away for a long time. Her mother passes and
she realizes, like that inheritance cannot stay with my mom,
It cannot get lost there, and so she's now on
(12:56):
this journey. She's a senora in her fifties to reclaim
that and to work with it and harness it in
the work that she does as a psychologist. Very cool,
very very cool.
Speaker 2 (13:08):
Yeah, And she was among many very incredible oral histories,
and Isis and Gotolina also collected oral histories, including some
by kat Lampigua, Nicole Hill, and Melissa Losada Oliva, who
all had really beautiful things to say about storytelling and
human connection and memory and really the way that human
(13:32):
feelings and human connection are what fuel art and creativity.
Speaker 1 (13:36):
And what was so interesting about their collection was that
we didn't really discuss who we were going to interview.
We said we were prioritizing storytellers also people had we
were in community with, and we had a set of questions,
But in so many ways, these separate oral histories that
(13:57):
were collected were in conversation with each other and we
had no idea. I think it also speaks to the
moment that we're in right and how people are feeling,
and how that is also contributing to the responses that
these storytellers and artists had.
Speaker 2 (14:10):
Because we were playing with futurisms, of course, we presented
these oral histories from artists of the present moment. And
then we also presented these future twenty thirty six speculative podcasts,
again imagining what podcasts are going to sound like in
ten years, and we came up with a fun concept
(14:34):
where the podcasts that Yosa and I individually created were
in conversation with each other. So tell them about your
podcast and the concept and the host and the storyline
and the whole deal.
Speaker 1 (14:50):
Sure. So I have been thinking about this present day right,
how we're constantly being forced to optimize our lives. Now
with the addition of AI tools, I see that even
more prominent, and it's just you don't even opt in,
it's just automatically a feature in the technology that you use.
(15:11):
And so I was thinking about how so much of
life and living is when there's tension and there's conflict
and there's drama, and so how can we bring that
back to our lives in a healthy way. I'm not saying, like,
go and get into a fight with somebody, right, So,
in twenty thirty six, my podcast's host, her name is Oktavia,
(15:35):
and she is on a quest to make her life
more inconvenient. She breaks up with her AI assistant named
Opal because the AI assistant, although had really good intentions,
was actually making her feel kind of bad about herself
and like she was a failure when she wasn't like
reaching her optimal existence of the day. The host felt
(15:57):
like part of being human is not always being optimal
and not always being perfect, and so she's on this
journey to make her life more inconvenient. And so the
name of the podcast is Inconvenienced and Anti optimization.
Speaker 2 (16:14):
Podcast, And in conversation with that podcast, I put together
a podcast called I Robot and it's hosted by Opol
by okpavia's optimization personal assistant for life, which is what
Opel stands for. And this is episode one called Glitch Detected,
(16:35):
in which Opel notices that Okpavia is not following the routine,
she is not buying in to the optimization model that
Opol has laid out for her, and Obol is having
like an identity crisis.
Speaker 1 (16:51):
And so Opol, in our presentation.
Speaker 2 (16:56):
On the day on AirFest and like in this world,
Ople self produced and self hosted and self generated this
podcast herself and then like dropped it into the feed
of a network because as an AI bot, she can
do whatever she wants she can just make the thing
and publish the thing and put it out. And the
(17:17):
way that we made the shows I think also spoke
to like the character of the.
Speaker 1 (17:23):
Shows and the energy behind the shows.
Speaker 2 (17:27):
Because for my I robot podcast by Opel, what I
did was I said to myself.
Speaker 1 (17:32):
Well, if an AI.
Speaker 2 (17:35):
Optimization assistant word to make a podcast, why don't I
ask the AI to make the podcast then, and like
see its point of view and how it would do it.
So I wrote into CHATGBT, which is like now old
news because we're all on Claude now, so like it's
already so passe.
Speaker 1 (17:51):
But I wrote at.
Speaker 2 (17:52):
The time, I wrote into chat GBT, make me a
podcast hosted by an AI bot called Opal who's having
an identity crisis because her assigned human person is like
not buying into the script anymore. So Chajibt wrote me
like an entire script and gave the host a point
of view.
Speaker 1 (18:13):
And then I.
Speaker 2 (18:13):
Dropped the script into descript, which also has an AI feature,
and Descript voiced it with like an AI podcast host.
And in order to kind of like give it a
little irony, I took some of course, when I was
in the Amazon I like recorded some nature sounds in
(18:34):
the rainforest, so I took those and I put them through,
like I like added some reverb to them, and I
just played around with like some of the enhancements on
descript to make it sound very tinny and ugly, and
that was like the score. So like that's how I
went about making this episode. And for me, it was
(18:57):
kind of saying like, yeah, you can use AI to
create these shows and to host these shows, but it's
gonna be kind of unbearable.
Speaker 1 (19:05):
And it sound kind of it was actually really hard
to like I couldn't listen to it beyond like two
minutes because we did have it playing in our installation room,
and for me, it was hard to listen to it.
But other people would walk in and they were like, oh,
this is really cool and they could sit there and
listen to the whole thing. But it was actually hard
to listen to. And what I love about our podcast
being in conversation with each other is that Opal is
(19:27):
having an existential crisis because the AI is feeling human,
like the AI is kind of having feelings, where in
my podcast, my host Otavia is like I'm done feeling
like a robot. So it's this tension of humanity and
like how do we humanize the robot and then dehumanize
(19:49):
ourselves and like not center our needs, desires, wants for
the sake of optimization. Yeah.
Speaker 2 (19:57):
Absolutely, And I felt this like desire to give us
an example of because I know that the AI hosted
podcasts are out there, like there are AI generated personalities
who are hosting.
Speaker 1 (20:12):
Shows, and you know, like you don't actually.
Speaker 2 (20:16):
Have to have a person touching it at all anymore,
Like those shows are out there, But I mean, how
enjoyable can it be to listen to, you know, because
the point is probably not for the sake of art
and creativity. It's just for the sake of producing and
putting it out there at the lowest cost with the
(20:36):
lowest amount of human interaction. So yeah, I thought that,
like it was just a very fun exercise and it
became not only something to listen to, but something that
our audience could like immerse themselves in the in the installation,
which was like another.
Speaker 1 (20:54):
Part of this project. We hope you're enjoying this conversation.
Stay tuned, there's more to come.
Speaker 2 (21:04):
Thanks for sticking around.
Speaker 1 (21:05):
We are back that I want to talk about this
stage performance because it was so fucking weird and wacky
in the best possible way. But it was one of
those things where I was like, damn, people are either
gonna like sit down and immediately get up, or they're
gonna like sit down and get it. And thankfully people
sat down and got it, loved it, immediately clicked for them.
(21:27):
They understood we were time traveling because we were not like, oh, hey,
we're Mala Viosa, let's go into twenty thirty six. It's like, no,
we're Mala Yosa. We're in twenty thirty six, right. And
that was also because of our lovely moderator, Catalina, who
was of course participating in this project, but she performed
as a executive of RAO and she was moderating the
(21:54):
panel and she was asking us to pitch our speculative
podcast but as if we were in the year of
twenty thirty six.
Speaker 2 (22:01):
Yeah, so we were like very much in character and
I was a hologram from twenty thirty six who is like,
the character is very AI forward, AI positive and very
like anti feelings, anti positive.
Speaker 1 (22:15):
Yeah. Can you talk about the references you made to
Gwyneth Paltrow, Oh, my.
Speaker 2 (22:20):
God, yeah, well, I said that My mentor was Gwyneth Paltrow,
who of course is like the same age as she
is now in twenty thirty six.
Speaker 1 (22:28):
She's like unlocked the key to eternal.
Speaker 2 (22:30):
Life and in the future the only thing that matters
is broth and data, and so if you don't have that,
then like what's the point, you know.
Speaker 1 (22:38):
So it was very fun and we got very creative
with it.
Speaker 2 (22:41):
It was very much like a performance art piece, and
isis was wearing like an astronaut's helmet, which was fun.
And we talked about like how the oral histories that
were presented were just very strange and unfamiliar because they
spoke so much about feelings and.
Speaker 1 (23:01):
Other humans and a.
Speaker 2 (23:03):
Lot of talk about failure and embracing failure and for
a hologram for an AI bought, that's so strange.
Speaker 1 (23:11):
What is failure?
Speaker 2 (23:12):
What is AI bought? Yeah, and why would we embrace it?
That it just it doesn't compute. So it was interesting
because we had people in the crowd then were asking
us questions about like, well, what's happening in the future,
and what do we do in the future, and like
what's your advice from the future, and people cried, if
people laughed, it was it so it evoked a lot
(23:34):
of emotions.
Speaker 1 (23:35):
Something that has stayed with me is that the questions
that were asked by the audience at the end where
they were asking about hope, and I remember there was
this one woman who was like, I feel so hopeless
and everything that's going on in the world makes me
feel like alone and I feel anxious, like in twenty
thirty six, will we get out of this right? And
of course we want to give a hopeful answer, but
(23:57):
also like the reality is like okay, well we have
to have agency to like act right and not be
in despair and to feel the feelings, but then like
have it push you forward. And that was definitely the
energy I felt from all the questions is that there
was the themes of like hope, despair, loneliness, and then
how do we fix it? And then there was someone
(24:19):
who cried and felt like we were giving her an
idea of what was possible in the future.
Speaker 2 (24:25):
It was fabulous. And then someone also asked, is bad
Bunny single in twenty thirty six and what was the answer?
That he has a wife on every planet in twenty
thirty six. I should have said, a partner on every planet. Yes,
but he's not single at all, by any strike of
the imagination.
Speaker 1 (24:42):
What we were putting out there landed because it wasn't
just about the AI and the dystopian future. It was
also about hope and wait, if we actually lean into community,
if we actually listened to each other, you know. And
one of the concepts and the speculative projects ISIS or
both ISIS and Catalina was this idea of the Great
(25:04):
Remembering where humanity, society finally gained perfect collective memory, remembered
all past injustices, and that allowed them to create a
perfect world because every single thing was remembered and everyone
had the same collective memory. And so it's also this
(25:24):
idea of a hope, right if we're connected and we
are also consciously remembering things that happened, right because collective memories. Also,
I feel like so fleeting right, Like twenty twenty was
like five years ago, right, and I feel like we've
so as a society, have moved on. And so I
think that energy was in this speculative podcast of the
(25:45):
Great Remembering. And so in this world, you know, there
was there's no police, there's no carceral system, you can
jump in your flying car and go to another planet,
and you could also optimize your life if you wanted to,
and so there was that like AI component, but it
was also creating this world where there was some justice. Yeah.
Speaker 2 (26:06):
That The Flying Car Show was another speculative show from
the future, which was very fun and went over very well.
And Isis made this one and the concept is that
like in the future, all the cars are flying the sky,
but there's still like calling in to the radio.
Speaker 1 (26:23):
Station because there's still traffic, because there's still traffic in
the sky in the future.
Speaker 2 (26:26):
That one was very fun and all of this then
was coupled with a physical in person art installation where
you could then go from like hearing about twenty thirty
six and listening to shows from twenty thirty six to
stepping into twenty thirty six. And Isis and Gatto were
there in New York before us. Also, by the way backdrop,
(26:48):
there was a blizzard. There was a blizzard like well
all of this like the days leading up and so
like flights were being canceled and rescheduled and your flight
was rescheduled.
Speaker 1 (27:00):
Yes, yes, So the Pizza Shark Girls held it down
because the idea was that I was going to get
there early to represent us and to help with the installation,
and then my flight got canceled and so the heavy
lifting of putting the room together. Obviously we had all
discussed it prior, but Is just really did design this
(27:21):
room conceptually. We all, but she was the one who
like thought about like, Okay, this can go here, this
can go here, this can go there, and so they
assembled a very beautiful installation where there was Awalita's Corner
and when you walk in, that was like the first
(27:41):
thing that you see is Awalita's Corner, and it was
just a cozy little corner with like go, we have
a blanket, a vintage TV where you could also put
on headphones and listen to the oral histories, the extended
oral histories that we played on stage. It was fabulous,
beautifully done.
Speaker 2 (28:01):
There was also like a space corner where you could
take a polaroid with that astronaut's helmet, and we all did.
Speaker 1 (28:09):
There was a beautiful collection of books and other.
Speaker 2 (28:11):
Cultural artifacts and Isis edited together a really beautiful video.
Speaker 1 (28:16):
That was projected onto the wall of.
Speaker 2 (28:18):
Archival footage with Lamas and Andean women and their grajz
with flying cars with the rainforest. So again this idea
of futurism, in which a cultural past is merging with
a cultural future.
Speaker 1 (28:32):
In our installation, it was very fun. It was beautiful
and like people were visiting like all day.
Speaker 2 (28:37):
You can also join our living time capsule and get involved.
This is a living project that we hope to continue
growing and maybe bring to a museum near you one
of these days.
Speaker 1 (28:54):
We hope you're enjoying this conversation. Stay tuned, there's more
to come.
Speaker 2 (29:01):
Thanks for sticking around.
Speaker 1 (29:03):
We are back. You can also contribute to our oral
history project by heading to our website edited in Space
That is h E R E D E r xs
in space dot com. I'll link that in the show notes,
and we have on the website a list of the
(29:25):
five questions that we asked our storytellers and artists. You
can self record and upload and we'll review it and
then upload to our website. So we're currently accepting oral histories.
They're very minimally edited for sake of it being an
oral history, so just keep that in mind as well. Yeah,
(29:47):
we want to keep this going, we want to keep
growing it, and we want to grow out the installation
with more funding, so we can just make it even bigger,
beautiful and better. And yeah, we're really excited to see
where this goes. And yeah, fabulous.
Speaker 2 (30:07):
Shout out to the Pizza Shark girls and look out
from our collaborations between us and them in the future.
Speaker 1 (30:12):
Also listen to the oral histories and they're also on
the website. Yeah, so you can pruise the website. The
speculative podcasts are on there, so you can hear Wamala
and I were talking about. The oral histories are there,
and then you can submit your own oral history and
pitch your own twenty thirty six podcasts. It was really
fun for me to like write a speculative podcast. I
(30:34):
haven't written fiction in a while and so that was
really fun for me. It was very fun.
Speaker 2 (30:39):
It was a really fun exercise out of our our
regular podcasting work, and so I think we're looking to
do more of that also.
Speaker 1 (30:47):
Can I just say, like, we're at on AirFest right.
It was our first time going, but I'm familiar with
on AirFest and we emceeed like an LA event that
they had out here years ago, and you know, it's
like the podcast producers, the hosts. It's like the industry darlings.
It's the indie folks, it's the networks. It's people not
(31:10):
just podcast listeners, but predominantly industry people. Yes, Don Lemon,
Don Lemon was there, Seth Myers was there. Eric Andrey
did a live show.
Speaker 4 (31:20):
Yes, you know, I was there with guests from La Barega,
and yes, our Shapiro was there.
Speaker 1 (31:31):
We were the same green room, Yes I was. I
was like, oh my god. Yes, so all that to say,
lots of incredible people that we respect that we had
a meyer were there and we got really like creative
and funky with our with our project. And I was like,
also really proud of us for doing that because we
(31:52):
could have pitched a live show, we could have pitched
like a different type of workshop, but we really went
there with like the speculative, with the amount genation, with
the futurism of it all. Oh yeah, even to the
point we're in the morning, you know, Mal and I
we like all of us dressed in character. Yes we did,
and Mala was like, should I be wearing this like
(32:13):
shiny top and glitter?
Speaker 2 (32:16):
Well, because we had a pitch with ESPN for to
pitch like a new podcast like a sports podcast with
thirty for thirty so all of this was happening.
Speaker 1 (32:25):
On the same day.
Speaker 2 (32:26):
Yes, and so in my mind, I'm like, they're kind
of corporate. So do I wear my like futuristic hologram
bell sleeve and my glitter lid, like, am I fake
ponytail like to the ESPN pitch?
Speaker 1 (32:37):
Yes? Yes, yes, And and we stood out. We stood out,
and we stood out, and I think it was a vibe. Yeah.
All day people were complimenting the different things that we
were wearing. So it was definitely, I think a lesson
and like it's okay to stand out. It's okay to
like not look like the corporate like industry. I mean
in its podcast, it's not super corporate, you know, but
(33:00):
it's okay to stand out and not dress like everybody
else and own it and not be shy about it. Absolutely,
So it was a good time.
Speaker 2 (33:08):
So glad we went shout out to on air and
thank you for having us, and we hope.
Speaker 1 (33:12):
To be back. Yes, if you are a museum professional,
if you work in curation and our curation, if you
want to, if you have a space where you can
host this project for a longer period than two days like.
Please let us know. We would love to bring this
concept to La or any state, any place in the world.
(33:35):
We want to keep this project going. Oh my god.
Speaker 2 (33:37):
No, you know who needs us is the Lucas Museum.
If they ever open, they should have us. Yes, if
they ever open, you guys know.
Speaker 1 (33:45):
Where to find us. All right, y'all, thank you for
listening to another Capito Radio. We will catch you next time.
(34:33):
Log Alumnia
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