LA MUSICA

Pajarería musical junto a La Musica. En este episodio hablamos de arte cuir, de musica, ritmo y hasta un chin de bugarrones.

Episode Transcript

(00:02):
Wullan a gay podcast. Who helloif you don' t know my name
is Suul Son Paulino and next toFernando Savedo, who is my partner for
fourteen years. I think it's fifteen. Jar is fifteen, it
' s already fifteen, fifteen yearsand an escort. Here in that Ricardo
suazo or music, we talk everyweek serious topic and many times they are
not serious, with the simple ideato entertain you and educate you at the

(00:23):
same time, if possible. Aswell known as music, because aq ah
they put it on me, sorryfriend, sorry half. The music is
artist, multidisciplinary, performance, painterand musician. Music, the music with
which pronoun you identify yourself. He' s perfect, but he talks a
little bit about you because you wantthem to tell you. Music music.

(00:46):
Or make yourself carda how we shouldrefer to you Well, if I said
I' m the music, I' m asking a question. For starters,
thank you for saying firm a dreamcha reality. I saw Wilf Firland
in England. I said I wantto go that way I' ll see
you in England, but I saidthe Only Fans, I don' t
dare. But I know that inOnly Fans I dare to tell you.

(01:07):
It' s true, fifty percentof the story dare. So music,
music is intentionally provocative and my pronouns, that process of pronouns, I lived
it and my pronouns are them.Or that, despite having a female expression
and a female pronoun, that isthe point that music, as an artistic
expression, really has no gender andthen it is in Spanish, because music

(01:33):
is called music, Music, toknow what I am Dominican Spanish. The
music, that' s the music, but who' s Ricardo Suazo,
the music dad. I' mRicardo Suazo. It is that question of
my identity and where the artist orperson begins. The character is something I

(01:55):
ask myself every day. Ricardo Suazois a forty- year- old Dominican
man who I saw where here,but boy who went to live outside,
looking for many things and has cometo him to return or bring what he
has learned through life different countries andexperiences and my growth. So music is

(02:19):
who Ricardo would have been if hehad grown up without any trauma, without
the trauma of homophobia, for example, without the trauma of racism, and
all those things that we carry,which may prevent us from expressing ourselves in
a complete and free way. Thenand I would have been born as in
a utopia queer youtupia the music ofRicardo At what age you came out of

(02:44):
here to venture into the world.I left with twenty- one, twenty
- one, and you came backjust now at forty. I mean,
I haven' t stopped coming.You went to venti one paragla tecata terri
in England and make a bar todo a master' s degree. Twenty
- one of a nineteen years old. Yeah, really, and he went
to do a master' s degree. I knew I wanted to stay like

(03:05):
so many people of my generation andI stayed and the years were like adding
up like that. I got thetaquilari was all the time. I lived
in Tokyo for a year, livedin Rio de Janeiro and lived in Lisbon
for how many months. But yes, my base microphone, my base har
England, then and what is lifethat in England. Well, for me,

(03:30):
I discovered it in England within isyoung. Also the movement, which
is relatively young. You have thatLGBT movement and the gay community, which
has gained a lot of visibility,both politically and economically, the Rainbow rainbow.

(03:50):
But what happened is that, ina way, the oppressed became oppressive
and a dynamic was created where theLGBT community represented only seven types of male
bodies, certain races, certain abilities. Then the term queer encompasses more,
encompasses more diversity of expression, genderdiversity and is relatively new in the sense

(04:12):
of perhaps. Seven or eight years. Okay, Te, I answer the
question. Yes, of course youare as an artist, because besides you
being a musician, you are alsothe visual artist. From what I see
is true you paint how you integrateall that, both music and your visual
art and your performance. Well,I started painting my education. I have

(04:39):
studied more than I should have studiedmarketing in England and worked in the corporate
world for several years, making ita secretive that no one knows. I
decided My second revolution in life wasto quit my career, give up my
job to go to fashion school okwhen it' s your lived in England,

(04:59):
when I saw you coming around Isaid cool. This is not what
I want to do with office etsac eta Corbata. These hours I leave
and quit the job without any insuranceand went to fashion school. I studied
at Centussam Martins and Londr College ofFashion. Back then. That' s

(05:19):
where I went to Japan to workwith a designer and I think I lost
the idea of the calm question,Dales, and that' s where you
went to work. I went towork in fashion and work in Tokyo,
it' s working twelve hours aday until the week and it was an
internship. I mean, it wasn' t paid for a wonderful experience.
What I learned to really sew,because fashion schools. Sometimes they don'

(05:43):
t teach those trying to be Ilearned to sew like things in Japan and
I realized that that wasn' treally the dream, because fashion gives you.
I wanted more, I wanted toexpress myself more, I wanted to
bring more. Then I went backto studying fine arts in England and there
I already know and I was definingcontemporary art, multidisciplinary art, if it

(06:05):
fills more my desire and my needfor expression. What I' m looking
for with art is to tell stories, whether through an abstract picture that opens
multiple interpretations or through a song thatresonates with you or a dance piece or,
something that you see then at thecenter of those manifestations is me and
my goal or my ambition, whichis when people listen to the music and

(06:29):
see the painting and see me sayis the same person and a little more
a I understand that a I likethen if I ask and by the way,
if you answered the question, ifI ask who is Ricardo You would
be a multidisciplinary artist, a multidisciplinaryartist, exactly a person who goes the

(06:50):
goal. Obviously, I do itfor myself for my satisfaction, because I
love everything I do. I lovenot to limit myself and say hey I
want to paint today I want tosing, but I sing and see in
how many ways I can expand.But the goal for the audience is to

(07:10):
say if he does, because Idon' t. You can paint and
sing and sing and dance and writea poem and play the piano and play
the bow And there' s nohierarchy of class, there' s no
hierarchy of gus or they' reartistic expressions that take life through me richard,
something that I don' t getconnected, that I don' t
understand. Where was the change Makesure that you had a very long life

(07:35):
with ties. There' s amess you' re talking about about that
crisis, because a lot of usgo through there, we don' t
all go and pick you out.Help me, help me how hot this
silver is. He gave me therebe, the rebil the ribir, because
I have a doubt if this veinof artist you had it as a child,

(07:57):
if this had it hidden and insecret, if you were an artist
of that child as pure and hard, but you decided to study with tie
sack. I know what happened whenit was the change. Where not,
no, no, sir, andthat' s what you' re born
with. I am an effeminate childof children who have a problem as a
child. Look at the kid,you have to read the babies, but

(08:18):
look at how he gets over it, like he splits, like, he
likes the doll, and in myhouse there wasn' t a little finger
on the table. You know thelittle things they used to say to her
that I didn' t put iton my head and if it was like
that, then I was forbidden everythingthat was a little stick, everything that
meant to look like hair. Andthere was a point that even the sweaters
in my house banned me because theyhad like a wig mode and you bons

(08:39):
beautiful you turn it over and it' s a fabulous model. Long,
skinny hair. Sure, then thekid was born that way there your soft
comb like me, or what youthink sole because I did beauty parades with
the you know. The child wasborn like this. The child was born
like this? And again, whenI talk about trauma, I talk about
social drama, how things look changed. But forty years ago a child with

(09:03):
a psychologist' s problem and youlearn as a way of survival to cover
yourself, to make yourself smaller.The bullying school was terrible and there were
lessons that I knew and I didn' t apply, because I knew that
the mockery that would come I didn' t want to endure. And that

(09:24):
' s where I was going andyou built yourself a box and a cage
of your own, bird cage anda cage of your own to survive,
to adapt, because you want tospend your day without aggression. Sure and
all that I took and you do. Look at this, yeah, I
' m fine, and this isme, and I introduced myself to the
world like this. Then I gota job in an international company and success

(09:48):
all you want and all of asudden like inside the body starts to do
to you. So you either listenand call and drive you crazy, or
you keep living your normal life.I' ve heard a call and we
' re here. I like it, I love it. You know it
resonates with me a lot, thatyou say about those guys that we suffered
at some point, because, forexample, I stopped running since I saw

(10:13):
myself in a video running like youran ay marco because one would par broning
font to aside and go precisely forno, because, luckily, it wasn
' t me that they bullied me, but one tried to edit that clear,
because one did perceive that the environmentwas going around. So it'

(10:35):
s good that you talk about it, because it' s very important,
because right now it' s notlike that. The boy with wings is
very lucky, very lucky to beable, A lot of them I know
how they are and I know howthey want to be in school and that

(10:56):
precisely what you are looking for isthat of the boys, because there are
many who say no, because thelgbtero community that wants how they gave up
is recruiting like, please, butlook, Fernando, you are talking about
that children who now have it abetter, revealing, a little better.
And but I want to ask youto music what it is like to live

(11:22):
in countries so developed, in thosequeer songs that London, that Toki or
Brazil does come here to this country, that it is not, despite what
Fernando says, that it is nowmuch better, it is not the place
more to go friendly, no moreopen or more wellness hall. How is
that change, OK, can solong, you in countries so free,

(11:46):
yes, you, what not,so much, Ok, they don'
t see diversity or sexual orientation assomething real. In a way, people
who live double lives and are likeaccepted so return to the Dominican Republic.
I mean, all the time Iwas out coming and what I felt was

(12:07):
that I was immediately stepping on theAmericas, I was doing this, I
was picking up and saying hello,good morning, tell me, yes,
it happens to me to be ableto remove. You understand, or outside
the country, you take it forgranted. You' re out like a
person and you' re holding handsand you' re fond of him or

(12:28):
you don' t think maybe,I' m not going to get into
that place because I' ve gota pueto area. Then you don'
t take it for granted and youdon' t perceive it. So much
you perceive it when you don't have it, when you get here
and you think twice about the clothesyou' re gonna put where you'
re going and if you walk veryclosely with someone, then I feel like
the difference is there. And leavingme, but never leaving, in a
way, means going back and mybrother told me. He' s a

(12:52):
brother I adore. I have manybrothers I adore, but my brother told
me once after, when he comesfrom Brazil three weeks and tells me but
what was you forget to put mein the closet. The cid told you
so. Put on your dress because, I mean, they' ve seen
me grow. I have immense luckhaving a family that loves me who love
me very much and have seen megrow and have seen me change. And

(13:15):
he saw me in Brasill giving itall in the Rio de Janeiro and I
cost myself on your Sunday and withoutthinking about it immediately is Rayita' s
shirt that I no longer have theboat that good, but there were the
shirts of rayitas there you know becauseit was by defon to him of a
survival vola, to fit. Thenthe welcome in the country was because I

(13:35):
see you without a striped shirt.I understand you' ve been positive.
It was yes, of course.Generationally things have changed a lot the discourse
about people fleeing this podcast. Itwas one of those I saw outside the
country and heard conversations are happening,there are spaces that are emerging. And

(13:56):
and I' ve never thought aboutcoming to live in the Dominican Republic until
last year and I said there's no change, there' s space,
there' s things that are changingand you can be part of that
change. But now I want usto talk about your music, those experiences,
those experiences, those changes are seenin your music. I think so.
Yeah. I think so. Thereare two themes, two videos that

(14:20):
are on YouTube. One is fashangWit alley and Fashion Witte alley came up
like this and says everyone has abird and nothing that doesn' t have
much discipline and goes for the femaleexpression. Everyone knows a happy woman who
is the soul of the party thatcomes out and when she gets to the
best of it, she' san aunt who comes to New York and

(14:41):
goes on and on and everybody knowsthat energy and many times, instead of
celebrating that energy, we say forthat figous woman. Ah but and there
is a resentment to the person whois free and to the person who is
happy, who dances with his handsin the air, free presenting himself living
his life, who comes out withoutany decore and sno comes the music and
mn in all the choirs. I' m promoting the song Yes, yes,

(15:03):
yes, yes, you love togo in everything I run and you
see it and the voice that Itry to emulate is the voice of the
neighbor who says cogna, but thatciga bases already travel it by aiding it
all, giving it Sister Dance,you or let the other dance then.
That' s part of the essenceof being queir, accepting that different forms
of expression, different ways of livingand allowing each other' s freedom and

(15:24):
searching for theirs, then it's a way in which it leaks.
It is my experience of watching inthe music fashon Te Callejón speaks of style,
I did it in capotillo in theforty- two, where I had
never gone until May last year.And the first thing that surprises me.
I' m surprised by a lotof things, but people have a sense

(15:46):
of pride, in their flow,in their look and if I manage if
it started, today I' mgoing to spend it on a shirt of
peace, of course, because there' s a pride, there' s
a style and it' s reallya nice thing to see when you have
my sole and thousands to buy indesigner clothes that you put on your clothes
and go out to the street dancingin boo. So, that really affected

(16:06):
me. He was greeted with affectionin a neighborhood of the Dominican Republic with
hair, all taco earrings and Ifelt comfortable. There is always one that
says ah look laella, there ismy love that if it is, but
in general it has been a positivereception of both the people and the team

(16:27):
that makes the music in capotiva.He makes me two subjects and you mentioned
one. Now you do shut upwith which one would be the second.
The second survivor who goes survivor forthe one who hasn' t heard him
says so, i mean, I' m a survivor of many situations I
may think that I toy mind becauseI dare to be different, because from

(16:49):
the point of view the gas vieweryou' re going to see is going
to say two things or wonderful Ilove or that crazy guy ta and maybe
and I really don' t care. I dare to be different because I
dare to mix contemporary art and visualarts that are often limited to a gallery.
I make a space that attracts certainsocial classes, exactly Counterin Bow of

(17:11):
sursa hoods. I play piano,it' s abstract and it' s
also too elite to have a piano, but then I, I mean it
' s like trying to mix thoseworlds. I dare to be different.
And there' s a video wesigned in Quirium. Greetings to queenan ah
Don who received me very well alot of love from the team and Victor,

(17:36):
and that is to create a freshaesthetic of ours. We have so
much, so much material, onlyDominican, our Creole, and I,
when I lived here because of thesame traumas, lived very far behind those
manifestations here. You go outside andyou see something else, you go to

(17:57):
Brazil and see how Huns are celebrated, how identity is celebrated, how samba
is celebrated, the afrodescendent. There' s a lot of tight people laughing
dancing and telling you apart the samething we have. Santo Domingo. I
love then how we' re goingto detonate that bomb clear and see what
happens to that prolusion. We're going to pause because, Fernando,

(18:18):
we need money, because we needmoney, we' re back now,
guys, we' re back andwe want to thank Leticia to Burgos,
which is one of the sixty-one patterns we currently have. If you
don' t know what I'm talking about between Slash Wilfreland and help
us continue this program with your monetarysupport, I also want to thank the
magazine open door. Comes the opendoor magazine that can enter open door to

(18:41):
point org Slash magazine and see thismagazine, which is very cool, is
the magazine that you would have hadwhen you grew up making a child queir
and it is really quite informative.Exactly remove edition one and two. However,
by the time this episode comes outit must have gone out to the
third edition of open door magazine,as well with an interdoor and Open?

(19:03):
Door? Open? Point org Slashmagazine Fernando Riso. I want to ask
you no to Fernando Arricardo, ifthat is, how that process has been
and the question very I don't know how to explain vary much don
' t wait. What' snot gonna sound like I' m judging

(19:26):
and not, but what' sbeen the hardest thing to get back to
the Dominican Republic? Because people,when you come back from the outside,
because that' s how the goalis there to peep you out, you
understand that you' re backing backfor sale, that you' re doing.
How has that process been or whathas been the hardest thing to go
back to the Dominican Republic? Well, yes, when I tell you that

(19:52):
now I' ve come to livefor every one of me I' m
here six months I arrived in September. I' m leaving in April and
instead of telling me how good,why exactly and why you' re coming
here and what it was and whatit was, to which my answer is
that. A lot of exciting thingsare happening here in Europe. You'

(20:14):
re a little tired at the levelof art and culture. Here' s
a lot to create your country,your country. People who understand your language,
Brazil prepared me. I went toBrazil, beautiful, very cuerl Frandy,
at least in Rio de Janeiro,where the carnival lived wonderfully and looks
a lot like us, but Iwas still a foreigner. I kept doing

(20:36):
and worse because you were a foreignerwho looks like one of them, and
they speak to you in the language, but there comes a barrier that you
were not born there, then beinga foreigner living in many countries. It
has given me so much I feelvery full, but it is time to
get back the most difficult and itis interesting that you ask me that because
since November I have been working ona series of paintings that explore that same

(21:00):
thing, that sense of readjustment anddislocation, where you give up make a
reality that you know or that youknow, but you have changed and you
have to get used to the stories. In the Dominican Republic we love to
tell history, yes, both tospend time and to tell tales, to
get used to stories, to getused to the divareos as well, or

(21:25):
to have a lot of fun andagain you know it or I knew it,
but I forgot then again to understandthe social codes of the Dominican Republic.
Being an old and new person atthe same time that you' re
like establishing your own identity, it' s been very interesting. I want
you to talk to me a littlebit about what your process is like when

(21:47):
it comes to painting or how youcover that topic. How difficult or easy
it is for you to enter thatworld. Yeah, yeah, yeah,
yeah. It' s just assimple or as complicated as music. How
you do it. I think veryinsictively and having studied fashion and working in
fashion gives me a feeling of collection. So I work on several paintings at

(22:11):
once or what it means is thatthere' s going to be a motive,
there' s going to be avisual motive or there' s going
to be a limit of the colorsthat you' re going to use and
what you explore levels understanding, I' m trying my first lesson that one
of the teachers gave me is tobarate it and then reconstruct it. So

(22:32):
I don' t start with theultimate goal in mind, but with enjoying
the exploration of stripes, brand colors. And what if I do this to
him. And what if I dothat, to which again my family,
people who see my art, tellme but you' re done. So
there' s an exploratory process ofspeculation, of trial and error, of

(22:52):
seeing that it comes out and withmusic it' s the same look.
What if I put an emboss andsing it in English, and what if
I put the piano in it andwhat if we orchestrate it to sound like
a quenor that is playing Don Pou. So my approach is the same.
It' s exploratory of approach,of trying, of limiting a little because

(23:14):
if you' re going to create, the sky is the limit, but
defining a certain system, some visualrules until I decide to break them and
establish new rules. Ok look andI see you very yourself, very,
very expressive, very queer that herein Dominican Republic. Choca yes, collides,

(23:36):
It has generated some real and tangibleconflict, apart from the comments that
you said that, for example,the Cuarentino is as well relaxing ok Mami,
yes, I think so, howmuch. But some real and tangible
conflict. And he' s doneyou not yet, okay not yet.
Again we are in a closed space, in a podcast of a camera,
but not yet. And what Ifind is that many people, in a

(23:56):
strange way, are identified with ok. There are women who see me because
I' m saying the most womanand I put on the earrings, something
like that for the street and theysay honey. I wish I was doing
that, but I can' thelp it. You' re working in
the box at the super. Sure, then you give them a smile and
you see them and you see thatperson to men maybe a little harder,

(24:17):
because I see a male body thattrains from time to time they say,
but it' s this guy look. I don' t know any more,
I don' t know if I' m going to repeat the question,
but I' m not. Goodthing you haven' t had any
of that Chulo and I have beentold that you like it very much also
talks about identity, gender, genderexpression and sexual orientation. There' s
some specific reason why you like totalk about it I go to class on
the street about that, which iswhat happens. Don' t you?

(24:37):
Don' t you? Don't you? Don' t you?
Don' t you? Don't you? Don' t you?
Don' t you? Don't you? Isn' t that paw
preaching? Don' t you?Don' t you? We haven'
t done that in the past.But, well, it' s not
just because I think there are timesto illustrate concepts, it helps people take
care of it better. I mean, myself, I had to try to
find myself, to understand myself,and the metaphor of a triangle worked out

(25:02):
a lot for me. It's a triangle like that where in a
corner you have your gender expression.The expression of gender refers to how you
present yourself based on constructed social canonsthat say earrings are for women and mentalities
are for men. You can feelthat your gender expression goes as a different
genre than your physical gender. Yesgender identity. Second point is who you

(25:30):
are and you say. I'm a man in a woman' s
body. It' s not thesame. You can be a man in
a woman' s body and youwant to express yourself of a masculine female
identity. And third is the sexualorientation that you decide to interact with sexually.
So I feel like there' sa tendency to put all the birds

(25:51):
together Yes, it' s allright. But I think people who are
trying to understand who they are canhelp them a little bit by saying look,
because I really have an ex becauseI asked myself the question and I
ended up with him the decision orwith certainty. I' m a man.

(26:12):
Cis my gender identity is male,but my gender expression is fluid and
sexual meditation is homosexual. So there' s a little exercise, simple,
clear, and and it' sa spectrum I' d say, look,
and there it changes clearly. We, as human beings, are changing
every moment. So, if someone' s metaphor serves the analogy, I

(26:36):
offer it. Yeah, no,I' m pretty sure you put it
in the tringulito so people can learnhow to separate them, and you always
remember that there are three, three, three exact ones. I agree and
exercise is good, because, forexample, pearls became fashionable men recently you
understand and pearls were always a veryfeminine symbol. Yes, however, people
forget that that was feminine. Atsome point, then the thing goes around

(27:00):
like it' s good. It' s a good game of expressions that
of course I wanted to ask youhow a person who has traveled constantly you
say you work and come out alot Dominican Republic. You' ve always
had contact with Dominican Republic, you' ve seen the queer scene change over
the years. You experienced that oryou' re getting involved now in the

(27:22):
queer community and maybe in gay discos, because it was a bigger difference than
you did now and before, forexample, ok Yes, well, when
I left there were two or threegay discos and they were gay discos where
you had a lot of men livingin a conservative Dominican city who were going

(27:42):
out listening to music and dancing andyou had sexual connotations, because it was
maybe there weren' t the appsthat you found earlier going out to meet
and flirt to see what it beats. Now there are many places, or
there are other places that try tobuild community, that try to build spaces

(28:03):
that are used for other things whereit is not just man, where there
are men and women and trans peopleand so on, and straight people who
also want to go for the musicor the wave. When I lived in
the Dominican Republic, well I wasyoung, I wasn' t. My
religious beliefs also did not allow meand I dedicated myself in the dichoteca to

(28:25):
bring it down, but I watchedthe video. Then come back now like
I see it. I see thechange? I see the change, I
see the space? I see howthe narrative has obviously changed in America,
it has to be said, thatis, the narrative in America in the
media and the Netflix changes and makespeople see it and adapt it here.

(28:45):
Of course, then, it haschanged a lot. For good. Yeah,
and you don' t miss anythingfrom the other communities. Covering other
countries now that you' re herelonger, or how strange, how strange.
Yes, I miss dancing, yesfor three consecutive days wey in Berlin
or London in a dichotheque in thesummer, three is consecutive. If you

(29:06):
go out to your house, Ichange you, you go out again,
and you put on a different clothesto beat the whip, you go,
yes, but that' s whereyou go when you' re forty,
and I wear the milatures because Itake you five years. I' m
five years younger than you and Iare already. I' m looking right
into disconnecting that analoa number two.Your car like a vehicle. When you

(29:29):
are born as a vehicle of theyear of nine hundred and ninety thousand.
My body you say, your bodyyes, it' s like a new
car and you have the option toput it in the garage so that it
doesn' t scratch you, sothat you don' t tame my shawl
eat, because the glass because ifthey steal my mirrors, but in twenty
years it' s car is goingto be a car with twenty years.
Yes or you can tell me I' m going to go for a walk

(29:51):
around the block and we' regoing to learn the radio valo glass open
me is a ruf and if itscratches, you try not to scratch it.
But this car is going to comein with a lot of shock so
yes, the body allows me.The mood, the desire to live,
the desire to go out, todance, is not what they are called,

(30:11):
they are not done, they simplyhave it or they do not have
it. I mean, I stilllove it. Then I need that I
need partners to play the game withme, to establish my identity. It
wasn' t just me in aroom. That is explored in clear community,
seeing people who have the courage.This is nothing. There are people

(30:33):
who are them day after day afterday, you have to get out of
their house. It takes three hours, because for them to feel who they
are it takes that garment makeup effortand it' s full time. Then
see those people with the courage tobe them, with the effort to express
themselves. Let you report your ownidentity and tell yourself you' re going

(30:56):
to pass my hair, why not. So in Europe Clothing, in part
of the United States, in Brazilyou see more people who are in that
process and that I need here too, but there you see more people reading
you read the visual message that you' re putting, because everything is a
clear coded visual message you see andthat someone understands you and that says oh,

(31:18):
yes, I' m going toyoutubeen oh that cool and you do
the best for someone else. It' s something that' s nice,
cool, nice. I want toask you a question, but I think
you' ll tell me why I' m asking that question. Or how
he kisses well. Okay, there' s a video to social media.
The music point to Rayita down.There' s a queenum video again.

(31:42):
The masters welcomed me. We hada party and in the promotion of the
video there was a mango. Amango showed up and we think it'
s a good time for because it' s a very good mango. When
I have Europe, you think mango. Avocado another reason to live in República
I engan the fruits are very good. Piña, you Te, you'
ve been depressed one day. Youpeel a pineapple and eat it my parents

(32:05):
pass you clear, it will changeyour day. Piñame gives it all avocado.
So there' s a b you' re asking me the question about
the video that is and in thatI said that a good kiss and good
sex is also like eating a mango. Okay. Yes, and everyone has
to be involved and you want tobe there. Well and totally worth taking

(32:29):
your time. There are different sexualexperiences. Everyone does what they like,
but I like to row my sleeves, open my leg and eat my handle
so I can eat it without fearof dirtying what it was. No,
no truth, the mango, yes, the map, then you eat it
You mango wants to let you eatit and you want to eat it.

(32:50):
It' s a dialogue, okay, a dialogue where where it' s
what you try the sleeve and ifyou move it on one side, you
bite it on the other. Thisis confirmation of a conversation. The conversation.
Not all handles are the same.Can' t all mangoes come and
heal love. And the mango youwant to peel, the other nice one
you want to bite. Of course, then, yes, not totally the

(33:14):
good kiss is the same. We' re going to a ching Sholita on
a pattern of those things. ButI want to ask you about the art
you' re doing. You tookcare of me in April You told me
you' re leaving. Yeah,before that there' s an art exhibition
of yours from somewhere. Yeah.Yeah, yeah, yeah, yeah.
Speaking of that or an artistic exhibitionof a series of paintings called lege tour,

(33:34):
you don' t ask me whyit has the French name ok means
return and that' s the samething. They are abstract pieces in paper,
with style as geometric abstraction, witha lot of color and a lot
of strength. I want to presentthat body of work as a way to
document my experience, to come back, but also to hijack the gallery space

(33:57):
and open it to other forms ofinterpretation. I don' t know about
you, but I don' tgo where. In boy at an art
gallery in Santo Domingo I played nextto a piano and with people dancing,
women' s dresses or women's clothes. So the idea is to
expand the cultural offer, presenting somethingthat exists outside the country in galleries and
attract an audience that, maybe youcome for the music and learn some painting

(34:21):
or you are impressed with some ofthe painting or you go for the painting
and know some of the dance.Then it' s called music. Present.
It' s the first edition.It' s going to be my
art at the Maya Cultural Center inthe Colonial Zone. It' s going
to be March. The date anddetails will be published already by instagram and
repeat your Instagram. Please, Youthe comics, the point music to you

(34:45):
and rayita music down with two togondo music, you create under the point
music to rayita down exactly, thenit is to create as a cocktail and
remove the barriers of n art ofnue Art galleries traditionally attract an audience or
certain education or from him what Iknow, but it does not generate conversation

(35:07):
between generational generation, interclass, intera, life experiences and I believe nothing.
The gallery of people who wouldn't find themselves anywhere else and find out
that, maybe they have more incommon than I thought. How nice I
love that idea. Yes, yes, you sound have please, yes,

(35:28):
of course, so will you be. And now, to finish I want
to ask you if you have,if you can define your inspiration and your
musical project, also invite people togo to your YouTube channel. I imagine
you also equal the music, themusic point with two to exactly then.
I think you define your inspiration andyour musical project and that concludes it.

(35:50):
Thank you. The invitation for musicmusic is the music that I wanted to
hear when I grew up music todance is not being. It has references
to that other Dominican diaspora in NewYork, Panch the Great Magic Juan Apple,
who found hip hop, which younailed me meringue hip hop and changed

(36:13):
Sandy Pappolos illegal. That was likea wave at the end of the nineties,
at the end of the nineties,that revolutionized everything. I' m
doing the same thing and I saylet' s put in bow context let
' s put in bowe or electronicmusic and see that comes out then a
little very affirmative nostalgia of the uniqueexperience of each person, of its expression,

(36:38):
very queer and I want it tobe fun and honest, based on
facts of real life. Waiting forsome that you want to finish, Give
yourself the taste, give yourself thepleasure of going to the exhibition and going
through the YouTube channel, because itsounds something different and cool different is the

(37:00):
song to Tanteato' s poor.I want to thank you immensely Ricardo,
incredibly I have made the conversation thatwe had with you and very pleasant,
very pleasant. I want you tostay with us so we can continue this
conversation on a pattern. Let's gossip empat Let' s gossip a
little bit. Thank you very much, not a pleasure. It' s
two pleasures. Oh, my God, I love it. It' s

(37:23):
two rich pleasures, don' tbe selfish share this episode. Listen to
the four- metre club, whichis another family podcast. Joete this and
have fun bye uy Fella a podcastwe gay or who