Ep. 50 Entrevista con Fonseca

Andrea Silva charla en Backstage con el cantante y compositor colombiano Fonseca.

Episode Transcript

(00:03):
Backstage from this moment, a newbackstage where the only restriction is that everyone
can enter. It opens the doorof what is not seen in the entertainment
industry, the time to pass thelights, the cameras and the microphones to

(00:26):
the backstage. Hey. Well,welcome to a new backstage episode. What
a joy to see you again wasor I dries how it is. He
' s a man, he scolded, Juan Fernando works, he' s
not with love. It is ascolding of love and good to see you
how good to tempt me well,I love that you are here in this

(00:46):
episode. I never imagined because besides, twenty years ago, you were at
another time in life. Me too, surely and Mira we meet again doing
an episode and an excellent backstage.To be here at the backstage to see
us after so long in politics,we were talking about precisely that which,
of the two thousand five, ofthat time, is going to be almost
twenty years. And that' sa little scary, that' s one,

(01:07):
I made twenty, and that's a long time. That'
s a long time. But wedid. But memories feel like they'
re yesterday. Listen to me,Juan fer I want to start with the
talent issue. Let' s sayemergent and new, right now, there
are a lot of yes and differentmusical genres. That' s what happened
in that two thousand five we're talking about. Yeah, but no,

(01:27):
no, no, so much?Not so much? Not so much,
and as you said, touristic,not so many genres. Of course
that' s what seems to methe most bacano of what is happening today
with Colombian music is to see thenumber of genres, because it is that
I gave the genre and there isproposal no better said, it is incredible
to me. I am very happywith what is happening with all the genres

(01:49):
and, in general, with Colombianmusic and notice that I don' t
know how you perceive it, butlet' s say that at that time
they joined one by the same genreand like there was a clear difference in
each other' s identity and theydidn' t happen that way, they
joined. I don' t knowif gender has anything to do with it.
I don' t like to markit in a genre, because nowadays

(02:12):
all mergers are like we don't know what. It is. But
suddenly the brotherhood was beautiful and overtime we have learned and especially yesterday we
were talking about the awards our land, the great discourse of all the artists
positioned with years of experience. Itis the Union, the Union of Artists
and Music. So I don't know if at that time it was
much easier than now, that it' s changed. You don' t

(02:38):
know that I believe a lot inunions and mergers and collaborations when when they
are real, and when they are, it doesn' t have to be,
either with the best friend. Butwhen there is a certain chemistry,
obvious admiration and I feel that fromthat time until now, at least in

(02:59):
my case, I have always seenit as on that side, in terms
of union and friendship, let ussay the colleague to say it in some
way, I also think it isthe same. What happens is that today
there are so many people who don' t know one before all of a
sudden. Well, since we weren' t that many of them start,

(03:20):
then we all met, no,but I love it when you go to
awards or things. And it's a lot of people that you'
re meeting at the time and you' re all with supercars, because if
there' s something very different fromwhat happened, let' s say when
I tore two thousand two say hereon my first album and two thousand five

(03:44):
that I released my second album withthe theme Flores. And it' s
just that I feel like racing nowgrabs and punches for a second. If
at that time we said that itwasn' t that way, I feel
a lot of social, of course, social networks. It' s what
' s happening with Latin na music, what' s happening with Colombian music.
I think there are a lot offactors that influence that, but yes

(04:05):
these days overnight suddenly boom literal boomis that, besides, notice that at
that moment, to paste a song, let' s say I send you
flowers how it hit radio. Imaginea hundred percent radio and at that moment,
as they didn' t exist,we look like a couple of old

(04:29):
people, not in that focus,that mouth. But, but notice that
the fact that digital platforms did notexist, because it precisely made that if
I have always seen the theme ofdigital platforms, such as the democratization of
music, since anyone who records inhis room a song and opens his profile,

(04:51):
he can, he cannot share itwith the world as and then,
of course, at that time itwas not so. Well, look at
two thousand five, I was atschool and obviously you bring back memories,
because it' s also given mea record in Vega, where today I
' m feeling scary. Not becauseand it was green, green I send

(05:15):
you flowers. That was without givingrecords and we were all happy putting it
in the car and we kept hearingthe fearing flowers and surely not only in
the form you will tell me.The way the music was made at that
time was also different and the wayit is vialized today, because it is
obviously another, but they called itwe did not like where it is going

(05:35):
to be fondeca that is, weneed the fearing of live flowers and surely
you touched it millions of times becausehe saw you on different occasions. Yeah,
sure, well, it was justnostalgia. I just want to tell
you. You think he saw.Was it another dynamic? Yes, it
was another completely different dynamic, butnotice that for me the way music is
done has not changed. Okay,well, let' s say there'

(06:00):
s something funny there and it's that between that two thousand five of
my album Heart to two thousand twenty- four of Tropicalia, let' s
say in the middle I feel yes, there were times where I' ve
made music in a different way,and in that I mean like in terms

(06:24):
of production, in terms of sounds, in terms of songwriting. But in
Tropicalia I returned a little bit tothat same way also of two thousand five.
Something he has not thought about nowthat yes is like an essence and
notice that we are full of stereotypesand I do not want to highlight it
with this but on the contrary,keep breaking them, because that is it,

(06:48):
and let' s say that arolo not involved with salsa and with
a number of genres, since anyonefrom any other part of Colombia or the
world will go, but in Bogotásuddenly by the way of knowing the music
of a country, I am aregion is with its artists. Yeah,
yeah, I really do have alot of tropical music to do with you.

(07:08):
Yeah, total and if I hadthought, I know that in two
thousand five I would never have thoughtto say I' m going to be
an album that has a meringue,a sauce, a bowler, a rancher.
Not like for me the evolution ofa musician and that, obviously,
a very personal opinion. But forme evolution and I say it from my
personal experience, is to lose thefear of experiencing. And for me that

(07:33):
has been my evolution and my wayof building my career, because I remember.
In fact, I remember my firstalbum, that of two thousand two,
that I felt like that desire toput the accordion into the song.
But it was me as fear asI was, for the same reason as
I said Bogotá, accordion not andsuddenly enchanted perfect. Carlos Vives not classics

(07:59):
of the province, the land toforget and then it goes, because if
carlo de Samario, but I ambogotan to and tes. In the two
thousand and five I put the gordioneto heart, it sounds and changed my
life also then. From then onit was that game. Let' s
say experiment, make a symphony,make an album of homage to music,
of dimed days of making a salsawith the band Nitche, No for me

(08:22):
has become first a very fun game. This is a very brave subject.
Yes, thank you very much,and it is that dynamic of playing,
experimenting and getting into other worlds.It has become something yes as a very
important part of my career and youspeak, obviously, of that exploration that

(08:46):
you say is eternal, because notice, that you have something very characteristic and
it is your voice, that isyour seal. But look, it'
s one, it' s afeature that continues to evolve. That is
the maturity with which this album Tropicaliais heard today. And above all,
I am very struck by the lyrics, because I send you flowers is beautiful
and we all fell in love withthat song, or we wanted to fall

(09:07):
in love not with that song,but maturity is evident in the lyrics at
the time. Well, thank youso much for listening. Yes, the
song with nitche and it feels feltthe lyrics much more, because believe me
that I am very happy. AndI also feel that over the years you
get a much more rigid filter withyour music, or at least I'

(09:31):
m sorry. So, let's say in Tropicalia I got to have
about thirty songs written. OK.From there I came to fifteen, fifteen
that I produced, I produced made, mixed lists and in the last month

(09:52):
I said I ended up taking outfour and to arrive at eleven of the
album, because I understood one thingthat soon before I had it there,
but I was afraid to accept it. And that' s during the production
processes. One often falls in lovewith certain songs, of course both going
and working them. But, but, but I already understood that there are

(10:13):
loves of those that are not forall life, but are like temporary,
like summer. Yeah, like summerlove. And let' s say today
Tropicalle is an album that I cansay, but absolutely in a sincere and
100% honest way that the elevensongs that are there I love and are

(10:37):
there for a reason, each onevery punctual and I worked very hard on
the lyrics and the music. Andyes, and I think that happens with
the years, also suddenly, notbefore, it' s more like permissive
and that professional background allows you,obviously all of a sudden I' m
sending more confidently and not that Idon' t shake your hand to say

(11:01):
no. This song out there soit' s produced and it' s
a lot you said, but Iknew it made me look like I was
trying to convince myself not to.It' s good. Yeah, it
' s good, it' sgood, it' s good, but
deep down I knew it wasn't, it was a summer love,
it was at this time not suddenlyto do it completely. Yeah, listen

(11:22):
to the creative processes. Each isnot a universe. And I was just
listening to Rick Rowin, this executiveproducer, who is yes, yes,
yes, tremendous, tremendous. Thebook is hallucinated. How about I'
m a Bible? It' snot like reading all my life. No
and the audios narrated by him isbeautiful, incredible, he is, he

(11:43):
is spectacular, yes, yes,and he says you don' t have
to think about the audience. Hesays, if you think about the audience,
you' re losing. Yes,yes, because you believe, yes,
believe and a little while ago anartist came out saying a moment if
you have to go down the mountain, see your village and know how you

(12:05):
are, what you feel, whatyou think, what do you think of
that. You' re asking yourselffrom your audience, if you know what
he wants, or you don't really care to see. There are
several points there. Micho I don' t think you can do more,
I think it' s wrong orat least, if you sit down to
make a song saying I' mgoing to do a hit, I think
it started wrong. I think thetheme has to be a yes, like

(12:28):
an intuition and a genuine emotion tomake a song that moves the floor to
you that' s, that's, that' s, it'
s feeling, you know how yousensed it. Yeah, yeah,'
cause a lot of you finish writinga song and you sing it for the
first time with the guitar. Inmy case, let' s say reading

(12:50):
the lyrics and you know there.In fact, you already know if that
song has like that little candle thatmoves your heart and that and that and
that and that I know that Ican sing it a million times in my
life and it will always move mefor myself. For me that is very
important now, over the years,something that has happened to me, that

(13:13):
excites me too much and that becomeswith a fundamental part of my music is
to see how my songs become partof people' s lives at moments also
very important, of commitment, oflove, of marriage, of melancholy and
of gratitude, of nostalgia. Andthere I do, I think all of

(13:33):
a sudden, when I' mwriting a song that I' m connected
to, that moves my floor,excites and motivates me and inspires me to
look for those lyrics that I knoware going to continue to connect with those
people that are connected to my world. I don' t know if I
get guatender, but it' sa little bit of both worlds. It

(13:56):
' s a little bit of bothworlds. To me once Marie Carthon and
who is a good friend and whois a great character. Sometimes I show
him demos and stuff. And thenonce she showed him a very rare sheath,
a half pop rock sheath that ahI showed him X demos and told

(14:18):
me that daddy. I' mtelling you no, so exploration. I
don' t know what, no, you didn' t scare me,
I know and he told me somethingthat had a lot of fun talking,
because very little, a little inEnglish, little Spanish. He calls me
People artch on YouTube and phoneseca.Oh, people are waiting for you to
be phonseca and I thought it wasa very valid phrase. It' s

(14:43):
that yes or I don' tknow what the sound is. It'
s not like I' m laughingat that, either, because of what
we were talking about. Ahoritica thatI like to leave in different genres,
but yes, that is also true. I think it has to be a
little bit of both worlds. Okay, you talked about Marc Anthony and they
told me the story that you alsotold in a beautiful rill where you showed

(15:05):
him in the two thousand two,I didn' t send him, you
sent him the lyrics of a song, or I sent him a song.
I wrote a song that still todayI think would be amazing in Mac'
s voice in two thousand two Imade a demo and as I said in
the rill I sent it and I' m sure it never reached his team,
nor anyone squealing, nobody living.Yeah, I think I sent her.

(15:28):
I don' t know where.Yes, in the tempt, yes,
but always over the years I swearto you it was like a dream
I had, I said I wantedto have Marc Anthony and a few years
here, because I know him,and that as I also had that in
mind And well, it ended upwith this song that he just released on

(15:50):
his album and you wrote it intwo thousand two. No. No,
no, no, no. No, the one I wrote in the two
thousand two I sent her no ideaand no idea ah ok and in Pandemia
with Alex Cuba, Yes, wewrote this song and ended up recording it
mac that I can' t believeI hear it and it' s very

(16:12):
exciting, And is that you're talking about me two who I believe
that in addition you grew up surelyand inspired you, and those you have
on this album, that is,Nitche, Juan Luis Guerra, Alex Cuba,
that I discovered in Pandemia. Whatan impressive artist. Alex is a
kind of musicality and, in additionto one is so genuine And is that,
besides the story he is very prettyand very funny, because Alex asks

(16:36):
in a village of four zero peoplein Canada over there, in the north,
where better said eight months of theyear, but snow up here.
But I' m very diverse.You imagined a Cuban with that being always
me, because with him we havealways, because we wrote for this album.
He also dreams about me and thatand then we always see each other

(16:57):
for facesteme or whatever and always forall divine cap. He' s the
best. Yeah, I kind ofwork. I mean Juan Luis Guerra,
not like you say. Well,that' s not another one anymore.
That' s another one, andthat' s not true. That was
crazy and you have an album.That was crazy because he also left it
to Luis. He left it tohim. I did a collaboration that I

(17:18):
' d been pursuing for many years, but many years. I met Juan
Luis about two thousand seven, twothousand eight at a concert that invited us
to call in Lima and the daybefore the concert there was a lunch in
a restaurant and I remember that Iarrived at the restaurant and I also played
sit- down Juan Luis and Iliterary, I don' t know what
to say And that I don't, like I say no, I

(17:44):
say that and since then he alwaysvery special with me, very generous with
his words as to my voice,and nothing already goes, he' s
going after that until the song cameand I sent him the song And well,
what do you say, I mean, I don' t know if
you' re quotient. Of courseyou have become your music part of very

(18:07):
important moments and once you take themout you already belong to us and each
one arms his story. I lovethat. I love that. You just
got it now or you always hadthat conscience. I' ve got it
more and more, of course,I' ve got it more and more.
I have to say that in thatsocial networks definitely play a very important
role, because nowadays the world oftiktok for example, Tropicalia has been released

(18:30):
for a week and you don't know two thousand videos that there do
what you say. You, youdeliver the music and you don' t
know what else is going to happenanymore. And there' s a song
inside the album. It' scalled the psychologist and you don' t
know the thousands of videos, psychologistsand people dedicating the song to his wife
like it became a very special thing, and that' s thanks to social

(18:53):
networks, because you see how someonegrabs a song and makes it part of
their life and you' re lookingat it, you look at it,
you respond, you look at thenumbers and how things are. Yeah,
I was gonna try to say no. But yes, it is. If
it' s not that connecting withnetworks is no, no, not that

(19:14):
we' re trapped in networks justlike that and besides, those who are
very well placed that we' relike in change, in which we didn
' t grow up or we weren' t born with that. Ah yes,
not to adapt suddenly has cost you, yes, but above all not.
No, mostly I understood what yousaid. I get that there are

(19:37):
people so it' s completely naturalto grab a phone and record and talk
and look natural. I realized I' m not the most. Yeah,
actually, then let' s sayit doesn' t kill you. No.
So I handle it very much inmy style and my way of being

(19:59):
and I think it' s moreimpo so much in the networks, not
about acting one and I sure ashell happened to me not like starting the
story. And that' s righthere. If I remember, today I
eat at the gym jogging and filmingmyself and what I' m doing.
That' s not me the mostthat that' s not anymore. I
think if I already put that anda friend writes to me, there appears

(20:25):
an influence that is all right withthe influences. No, but it obviously
fancies. But it is that influencesare influences precisely because they have that or
the influences have that nature. Whyah I really admire you grab a phone
and see yourself looking natural and fluid, talking there like a camera and sharing
your life and that you' reeating, you' re going to get

(20:48):
wit. Yeah, yeah, yeah, and where you' re going and
where you' re coming from.I think so, I think it'
s very impressive. Besides, becauseI have children and see, for example,
the influences they see is very crazy, because they see another type.
Let' s say characters who havemade their life of being influencers and are

(21:11):
all day doing challenges and things inthe house and filling the pool with yes
and no and yes, and surelyone there also feeds on things not like
you start to know other things onaverage from your children. Yes, yes,
though, if I try too hardto take care of them as the

(21:34):
clear content, because I' ma little worried that they think life can
be just that. Actually, Ithink it' s okay. That'
s the world they live in.I' m not going to isolate them
either, but you do have togo there as measured listen to me the
first times in a musical career.It has to be all the time and

(21:56):
life, because obviously you' rean artist. He changed you, I
think he sent you, but thischange. Yeah, 100 percent. It
changed your life and you pass likebeing an artist that in Colombia very strong.
What the difference in the moment yousay, when it' s fonde
case internationalized that word is how itwent, that is, it went to
the world the music there is that, that is, what happens, what

(22:18):
is the line that crosses for youto say I' m out. It
really changed my life today I gotup and it was like that. It
was like that and with Santiago Cruzwe' ve always had that one.
That' s not the argument,but I remember. Someday we talked about
it, and we both felt verymarked. It' s all a song
away. Of course, that songcomes and literally I remember. Besides,

(22:45):
the craziest thing Flores sent you wasn' t gonna be the song I was
gonna release that album with. Thesong was going to be a song that
was written by a bayoupar composer Irecorded the song, I had it ready
and we' re going to goout with that one and I showed it
to the composer of Valledupar and theday that I heard it he calls me

(23:08):
the other day and he tells mecompadre, I' m really sorry to
tell you that, but I'm going to record that song. The
man got excited about horitas because itwas a very good song and I said
you can' t do this tome much. I' m ready.
The left is ready, I'm so sorry. You can' t
take it out and the label tellsme at that moment you have to mencho

(23:32):
your spot pa get the first singleout of your next album, which was
my first album. On that disquietis up to date and if you don
' t go out there it's time to wait six more months,
because we have so many releases andI shit I' m going to do
if I go to the studio whereBernardo Dosa, who was the producer I
work with, because all those recordsand Bernardo tells me then sac with fearing
flowers. And I tell Bernardo that' s not a song to release a

(23:56):
record. The ones I didn't know and we went out with that
song and as you say, itchanged my life. This artist changed your
life. He did you a favor. You did me a favor. It
' s amazing what could have beenvices Thank you that I' d seen
it that way. It made itclear to you what I might have seen
as a mistake. He gave youas big as I could have, since

(24:19):
it was I sent you flowers.But a hundred percent plus, because the
way between the fan and the anguish, because I had just signed that label.
I don' t know. They' re paying for the production and
suddenly I' ll tell them wecan' t get away with it.
And they tell me, but asthat' s the way it is,

(24:41):
we' ve already done it andturned around and turned all the sheath and
literal. They told me well,whatever it is, whatever it is going
to go out with, it hasto deliver it like five days and I
send you flowers. It wasn't finished, I mean, they ran
for no. But if it's not because besides giving or telling me
hear I send you flowers then,then I said good. I' m

(25:03):
going to trust you as in Berlin' s intuition we' re going to
fear flowers. I remember I leftfor the house. He told me the
only thing is that you have toput something in the end, because it
' s not finished yet and Idon' t go home and I sit
down and I start thinking like allthat proclamation, let' s say at
the end of I send you flowersto love your house. And well and

(25:25):
I sit down with Juliana, mywife at the time, my girlfriend,
and she helped me write that partbecause you' re going two flowers is
for her and in the end,that' s why the daisy says her
name and we kind of said nottoo much the handle that' s called
Julian. Then we left that openand in the studio, recording four in

(25:47):
the morning, we had to closethe song and suddenly it was like that
good that it is not Mariana question, but because Mariana, I Mariana is
Julian. Yeah, Mariana' sname is Juliana. Wow. And then
there have been many very shocking storieswith the Mariana, but yes, so
comes dizzy hear me and the firsttimes against Picalia, or it is still

(26:10):
the same dynamic when it comes toreleasing an album, or to make a
symphony, to do a concert,I mean, always I think you find
new challenges and you have not experiencedif new first times yes, of course
and Tropicalias, certainly because this albumhas something very special for me I say

(26:30):
and is that the process was completelythe opposite of how I made the albums
in my career, because for meit is always at the end that I
get into finding the name album.And it' s always a little bit,
a headache, because it took mea long time to find that word

(26:52):
that for me not only writes thealbum, but the moment of life and
good concept. Yeah, I'm very transcendental about the album' s
name theme. And Tropicalia went theother way around. Tropicalia I said I
want to make a tropical album but, well, I don' t want
it. I don' t wantit to be tropical I thought of Tropicalia,

(27:15):
but because I knew that there isthis movement of Brazilian music about the
seventies that was called Tropicalia and Ibecame like looking at tropicalia in general and
I realized that tropicalia is an expressionthat has been used in different things.
There are environmental movements called tropicalia,there are cafes called tropicalia, there are

(27:37):
music festivals called tropicalia. And Isaid, well, if it' s
an expression, it' s allthat and I feel like it describes what
I am then smart. I saidTropicalia and that' s where I started
building the album, that' swhere I started writing the songs. It
was the other way around. Itwas the other way around, since having
a context that that, that madethe experience let' s say making the

(28:00):
album very funny or different, becauseevery time I sat in a session or
every time I sat down to writeit was already like with a very clear
focus on where I wanted the albumto sound. And let' s say,
he made the fact that I saidwell, let' s make a
meringue and there we made a bitof a beach. First time let'

(28:22):
s say you' re my dreamhas a mix with meringue, but more
like an urban meringue. Let's say this is a merengue merengue merengue
recorded with already Nina Rosado, whois the pianist of Juan Luis, with
Chocolate, who is her husband,who plays the Dominican drum. Also in
four hundred and forty, done,I went to record it with bull hairs.
That probably impregnates. And that firsttime doing Merengue, that first time

(28:45):
doing it as the bolero of souvenircollection with Gilberto Santa Rosa in Chuicho Valdés.
Yeah, tropical and it' sbeen like again like first times like
yes, like you can let certainthings die and you' re born again
in others, not like you giveit permission to other things to be born

(29:06):
with new projects. Yeah, yeah, yeah, not total. And I
think that, that' s apermit that you always have to give yourself.
I believe that in music, aswell as what you say han bark
of people is waiting for you tobe phonseca. I think you have to
give yourself those permissions, too.And where I hear it caught my attention
already to go closing that you werein Berkeley and that you really had the

(29:32):
fortune that you found people that werevibrating in your own tune. Yes,
and that' s nice because becauselet' s say we don' t
take it into account for a lotof things and you' re well aware
that that' s re necessary somuch for sure your work team, the
people who accompany your process, thepeople you' re meeting. He thinks

(29:52):
that the issue of energy grows inthat, of the manifestation of that they
do have to be as in yourself, in your own by one hundred percent,
one hundred percent. And that's what you say about seeing that
for me it was decisive because let' s say we get to a college.
Now I see that I was ona two- month show that I

(30:14):
have friends who recorded themselves from watchinglaw, that I hear everywhere. You
' re on tape to let mesay that good, but I don'
t eat, I didn' tgraduate. I was in Berkely in a
two- month course. But itwas very shocking to realize that I could
go like this what you say,that I was in a place with people,
that I was vibrating with what Iwas doing, because when I studied

(30:37):
music in the javeriana, here inBogotá, all we say at that time
the javerian approach was or already soclassic. No, no, there wasn
' t like other genres. Andrealize that if I want to make fused
tropical music. And if it's the way it is, this and
the rest is up to you asexploring exactly how it was. I learned

(31:00):
a lot and it was a greatexperience. I loved being in the javerian,
but yes lover cley definitely was andfor life what you say is also
very true. I say in thework team, in the band, beyond
virtuosity, I look for connection andgood vibe. I don' t think

(31:22):
so, especially because we didn't take her on a trip. So
much more important is the good vibethan meeting the geniuses on the road,
and so we' ve built afamily. What have you heard other than
Tropicalia these days that you want torecommend or have around on your radar.
I don' t know if you' re with the music you give her,
play play until you do. Yeah. Yes, of course I do.

(31:44):
I love it. I love yourmoney how a genius is. It
' s fantastic. Plus, Ilove all the luke that c lectin'
the turn, not the elander.Yeah, yeah, I totally love Silver
and I love the album that producedNiel Alvarez elephants and more, and I
' m not bad ok Daniel delLea' s electric lover. I do

(32:08):
really like Daniel' s music,also his solo music, because saving album
that became instrumental. It' snot that Daniels I love. I love
your self. I worked, weworked together for several years, and I
' m very fond of myself.He' s a great friend, but
I do love that, that unionhe made when Plata and du Plan seemed

(32:28):
like an amazing character to me.Let' s recommend your Plati to hear.
It seems to me that it isimportant because sometimes opportunities are lacking,
but sometimes there is a lack ofopportunity that I like that artists already positioned
like You, who carry a divineand very long trajectory, also bring new
artists to these opportunities to be exposed, and also new ones, who also

(32:50):
take a little less time, bringthem back to forever again to other generations
to know them. I think that' s about this total non- total
circle and it' s very nicewhen you feel that you can contribute and
really make an impact. I wasvery happy for the travel tour in Colombia,
Venezuela and part of the United States. I had as a special guest

(33:16):
a Venezuelan artist who is amazing thatshe is Joaquina, who won Latin Gramy
as the best new artist. Butat that moment she was, because very
very very starting and it was verynice to be able to contribute to someone
that you were so much. Iremember joaquína since I first started going like
this singing with a guitar, andI was saying this is amazing. This

(33:40):
child is really something very special.And he' s made a very nice
career in the fourth time he's been, because he hasn' t
been around long. But, but, but he' s already done some
amazing things and he feels great,he feels. It is gratifying to have
been able to contribute something then always, always in some way it was also

(34:01):
sought that of the moments. That' s very nice. Fanfer I loved
seeing you again, but don't spend 20 years in the background,
that is, 20 years to getback. But worth it, not worth
it. Obviously, tropicalia is tremendous. Thank you very much and thank you
and that you bring much more musicto have more stories. It' s
counting. We will continue thanks toIT, to IT many this episode of

(34:22):
backstage. Backstage, from this momenton, a new backstage where the only
restriction is that everyone can enter.It opens the door to what is not

(34:43):
seen in the entertainment industry. Thetime to pass the lights, the cameras
and the microphones to the backstage