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<v Speaker 1>I'm wondering if you're wondering. When I said, you know what,

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<v Speaker 1>I want to interview in Mortal Technique, people kind of

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<v Speaker 1>looked at me like, wait, what why?

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<v Speaker 2>Violent lunatic.

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<v Speaker 1>From Fudur Media and BrX. It's Latino USA. I'm Mariano

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<v Speaker 1>Josa today a portrait of rapper Immortal Technique. So why

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<v Speaker 1>don't you introduce yourself?

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<v Speaker 2>My name is Felipe Cornell. A lot of people know

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<v Speaker 2>me as a Mortal Technique, Immortal Technique, stuck in your thoughts,

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<v Speaker 2>talking in dreams. No one's as good as me, just

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<v Speaker 2>got better marketing schemes.

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<v Speaker 1>Born in Peru, as Phelippe Coronel in Mortal Technique is

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<v Speaker 1>a legendary underground hip hop artist known for his skills

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<v Speaker 1>on the mic as well as for his raw, super

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<v Speaker 1>political lyrics.

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<v Speaker 2>You listen this ponts of my corporations. That's why Halliburton

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<v Speaker 2>gets paid the rebuilt nations. Tell me the truths. I

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<v Speaker 2>don't scare into paralysis. I know this. CIA saw been

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<v Speaker 2>Latin on dialysis in ninety eight when he was top

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<v Speaker 2>ten for the FBI. Government ties is really what it?

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<v Speaker 2>Government lies redigious.

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<v Speaker 1>His family immigrated to Harlem New York from Peru when

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<v Speaker 1>he was just a toddler to escape the armed conflict there.

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<v Speaker 1>He grew up in Harlem during the eighties and nineties,

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<v Speaker 1>at a time when New York City was notoriously rough checked.

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<v Speaker 2>The Czech costant struggled to make the payments work in

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<v Speaker 2>your whole life, wondering when a day when the subway

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<v Speaker 2>stays packed like a multicultural slave ship is Russhawa thirty

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<v Speaker 2>to eight nonstopping the people come and home app the corporate.

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<v Speaker 1>Share cropperty Pettybas says that because of the way that

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<v Speaker 1>he grew up, he harbored a lot of rage, and

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<v Speaker 1>eventually that rage led him to prison. He was incarcerated

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<v Speaker 1>for a year during his college years for assault related offenses.

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<v Speaker 1>While he was in prison, he honed his rapping skills,

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<v Speaker 1>and when he was paroled in nineteen ninety nine, he

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<v Speaker 1>took up freestyle rap battling. He became a champion in

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<v Speaker 1>the underground New York City battling scene. Just two years later,

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<v Speaker 1>he released his first album, Revolutionary Volume One, which launched

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<v Speaker 1>him to fame, eventually collaborating with famous artists such as

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<v Speaker 1>Dead Prez, Most Deaf and Chuck d of Public Enemy,

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<v Speaker 1>but his brutal song Dance with the Devil is what

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<v Speaker 1>he mostly became known for.

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<v Speaker 2>He started hanging out selling bags in the projects, checking

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<v Speaker 2>the young chicks looking for more.

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<v Speaker 1>Recently, Mortal Technique has turned to philanthropy activism, but he

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<v Speaker 1>also continues writing music with his trademark focus on Harlem,

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<v Speaker 1>our favorite neighborhood. I sat down with Immortal Technique in

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<v Speaker 1>twenty nineteen to hear about his life and how he

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<v Speaker 1>used his rage to get to where he is now.

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<v Speaker 1>As fans hold their breath for the release of his

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<v Speaker 1>first album in over ten years, we thought the time

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<v Speaker 1>was right to bring that conversation back to you today.

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<v Speaker 1>Just a heads up. In this interview there will be

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<v Speaker 1>some discussions about rape and sexual violence. So, Felippe, you

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<v Speaker 1>were born in Peru. Where in Peru?

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<v Speaker 2>I was born in ros Pittelmilita de Lima.

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<v Speaker 1>And what area of Lima.

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<v Speaker 2>I lived in a place called sam martin Bors. I

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<v Speaker 2>have a house there now. It's very much like Harlem

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<v Speaker 2>in the sense that it was, you know, a dilapidated

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<v Speaker 2>neighborhood for years, even though it has its originations in

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<v Speaker 2>a very very upscale area. Right fifty eighty years ago,

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<v Speaker 2>and then it turned into a slum. And it's funny

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<v Speaker 2>because you know, my father, who grew up in Peru,

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<v Speaker 2>who thought he would live his whole life there, experienced

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<v Speaker 2>you know, five thousand percent inflation in a year, a

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<v Speaker 2>virtual civil war between you know, MAOIs gorillas and a

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<v Speaker 2>CIA backed paramilitaries, and in order to find peace and quiet,

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<v Speaker 2>he moved to Harlem in the nineteen eighties. And that's

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<v Speaker 2>the life I began to live. I'm on the border

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<v Speaker 2>of Bolivia, work for pennies, treated like a slave. The

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<v Speaker 2>poker fields have to be very discovered. Of my people

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<v Speaker 2>is starving, broken and sweaty, and treatment about the revolution,

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<v Speaker 2>looking that ma machete. As a youth, I would go

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<v Speaker 2>back there whenever. My parents. We wouldn't buy like fancy things,

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<v Speaker 2>you know what I mean. We didn't have the newest

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<v Speaker 2>toys or something like that. If we got them, we

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<v Speaker 2>got them off secondhand. And my clothes all came from

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<v Speaker 2>a church. Everything that we had was saving up to

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<v Speaker 2>go home to see my family and to make sure

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<v Speaker 2>that we maintained that cultural connection, because I think it

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<v Speaker 2>was it was very important for my parents to make

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<v Speaker 2>me understand what it meant to be here and to

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<v Speaker 2>have those opportunities. It definitely was an eye opener in

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<v Speaker 2>the sense that it exposed poverty to me in a

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<v Speaker 2>way I had never seen it. In America, you live

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<v Speaker 2>with the illusion of a safety net, right, the illusion

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<v Speaker 2>of the safety net. You're gonna have Medicare, you got

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<v Speaker 2>social Security, all these things are gonna take care of you.

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<v Speaker 2>And I think out in Bedu, it was more like

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<v Speaker 2>you're swimming in the ocean alone and you realize that

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<v Speaker 2>you're swimming in the ocean alone.

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<v Speaker 1>At what point did you, as Philippe, as a young person,

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<v Speaker 1>did you begin to kind of process, well, there's this reality,

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<v Speaker 1>but then there's the illusion, because so much of your

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<v Speaker 1>work as an artist, as a musician is about kind

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<v Speaker 1>of pulling back the cover.

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<v Speaker 2>In terms of the world itself. I think my father

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<v Speaker 2>was one of the first best teachers I had, Like

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<v Speaker 2>he was recruited out of the Peruvian military to be

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<v Speaker 2>at Columbia University. But it wasn't until I started actually

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<v Speaker 2>studying human beings that I came to certain realizations about

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<v Speaker 2>the society that we live in. It wasn't an epiphany

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<v Speaker 2>that I came to these realizations. I think it was

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<v Speaker 2>more of a slow burn of realizing that they were

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<v Speaker 2>just one other layer, one other thing. You know, I'm

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<v Speaker 2>a person who's visibly Latino, but you know, my mom's

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<v Speaker 2>father is black originally his families from the Caribbean. So

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<v Speaker 2>I grew up with a very, very different idea of

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<v Speaker 2>African Indigenous Latino relations. You know, in many ways, I

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<v Speaker 2>witnessed a lot of people, both especially Puerto Ricans and

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<v Speaker 2>Dominicans that I grew up with friends of mine that

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<v Speaker 2>were in total denial of their African ancestry. And I'm

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<v Speaker 2>looking at them and I'm like, dude, you're blacker than Pepper,

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<v Speaker 2>and you're talking about how you're not black. You're calling

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<v Speaker 2>people Brieto and all these other names, and you're talking

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<v Speaker 2>about your mom. You know that, right, just like the

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<v Speaker 2>Spanish ex terminating tin News, raping the black and Indian women,

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<v Speaker 2>creating lazihos support.

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<v Speaker 1>Your parents had a lot of hopes, maybe about the

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<v Speaker 1>illusion of the United States. You're actually going to at

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<v Speaker 1>that time, You're going to one of the best public

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<v Speaker 1>schools in New York City.

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<v Speaker 2>That's the reason my parents stayed in the city. They

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<v Speaker 2>were originally going to move to Canada for the free healthcare,

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<v Speaker 2>and I got into I was living in Harlem and

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<v Speaker 2>I got into Hunter.

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<v Speaker 1>So when you say Hunter, that's Hunter College High School,

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<v Speaker 1>which is this public school in New York City. It's

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<v Speaker 1>very high performing. You can test into it, so you

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<v Speaker 1>have to be super bright to get in. And speaking

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<v Speaker 1>of Hunter College High School, we've got to bring up

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<v Speaker 1>somebody who has also been on Latino USA a couple

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<v Speaker 1>of times, Lean Manuel Miranda. You know, the accusation is

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<v Speaker 1>that you were actually a bully to Lean Manuel, that

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<v Speaker 1>you he says you terrorized kids and that you even

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<v Speaker 1>threw him in a trash can.

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<v Speaker 3>Well, his rapper name is Immortal Technique. He's one of

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<v Speaker 3>the most sort of politically ideological. He really made sort

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<v Speaker 3>of an incredible life for himself as a rapper. Right,

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<v Speaker 3>he was a school bully and he terrorized kids. He

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<v Speaker 3>throw them in the garbage. I got thrown in the

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<v Speaker 3>garbage by him.

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<v Speaker 1>Isn't that interesting? And yeah, he was a really angry kid.

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<v Speaker 1>And how are you and lean Manuel? How is that?

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<v Speaker 2>No? We talked and he was like, Yo, I'm sorry

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<v Speaker 2>about the way the story came out. I mean to

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<v Speaker 2>say that you were like the most wicked person in

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<v Speaker 2>the world. And obviously, you know, you change as an

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<v Speaker 2>individual since then, and we have been on good terms.

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<v Speaker 2>You know, I've never had like an outstanding issue because

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<v Speaker 2>of that particular interview. It was more about what other

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<v Speaker 2>people have brought into the conversation, because, to be honest,

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<v Speaker 2>he wasn't the only one that got thrown in the

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<v Speaker 2>trash can. There were dozens of people thrown in the

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<v Speaker 2>trash can. I was a definite, definite violent person, and

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<v Speaker 2>I think that the contrast came because I was expected

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<v Speaker 2>to be a certain way at school, and then when

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<v Speaker 2>I left school, a lot of the kids from school

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<v Speaker 2>didn't have to deal with the same repercussions and same

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<v Speaker 2>issues that I had to. It's like cambodiatic killing fields uptown.

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<v Speaker 2>We live in distress and hang the flag upside down

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<v Speaker 2>the sound of conservative politicians on television. People in the

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<v Speaker 2>hood are blinds, so they tell us to listen. They

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<v Speaker 2>vote for us to go to war instantly, but none

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<v Speaker 2>of their JITs serving the infantry to all just stacked

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<v Speaker 2>against us like a casino. Think about it, most of

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<v Speaker 2>the army is black and Latino. The rage and anger

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<v Speaker 2>that I experienced as a kid was from living in

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<v Speaker 2>that dual life, you know what I mean, from going

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<v Speaker 2>to a good school with a bunch of people who

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<v Speaker 2>you know, maybe sometimes would have a gratitude problem, and

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<v Speaker 2>then me going home to Harlem, which was just totally different.

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<v Speaker 2>Like with Harlem, I reminded people in nineteen eighty eight

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<v Speaker 2>eighty seven, it was.

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<v Speaker 1>Tough, yo, it was tough.

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<v Speaker 2>I mean, my brother's out Paul of me came home

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<v Speaker 2>one day and a dude no lie in front of

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<v Speaker 2>my building down on the street corner, knocked his air

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<v Speaker 2>conditioner out and it hit a lady in the head,

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<v Speaker 2>and he pulled out a rifle and just started firing

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<v Speaker 2>at people. I never discussed these things. Other kids maybe

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<v Speaker 2>had therapy to talk about it. I didn't have no therapy,

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<v Speaker 2>So I maybe a lot of the things that I

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<v Speaker 2>had seen and witnessed really kind of changed stuff. Like

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<v Speaker 2>a lot of kids. Sure you lived in New York,

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<v Speaker 2>but you didn't see the same things that I saw.

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<v Speaker 1>What's the problem. So at one time you were asked

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<v Speaker 1>about the bullying and the violence, and you said, quote,

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<v Speaker 1>I guess at seventeen, it was hard for me to

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<v Speaker 1>see that the person I was really fighting was myself.

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<v Speaker 2>I chose violence to be the tool of deconstructing other

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<v Speaker 2>people's issues, and it led to creating more issues to myself.

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<v Speaker 2>So every time someone thought just because he's smart, he soft,

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<v Speaker 2>I reminded them every day that I would hurt them

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<v Speaker 2>in some way. Like everything about me was structured to

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<v Speaker 2>fight with people. To be honest, While I imagine that

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<v Speaker 2>I liked that, at the time, really inside of me,

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<v Speaker 2>I didn't like that. It wasn't something that I enjoyed.

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<v Speaker 2>It was something that I saw as a necessity. It's

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<v Speaker 2>touch and go. It's not like I was just a

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<v Speaker 2>purely wicked kid.

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<v Speaker 1>So the rage actually lends you in prison? Is it

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<v Speaker 1>in prison where you basically decide that that's where you

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<v Speaker 1>want to move into rap? Or how is it that

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<v Speaker 1>you decide rap is the place where you're going to

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<v Speaker 1>find your expression.

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<v Speaker 2>I think one of the things about prison isn't that

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<v Speaker 2>it decided to make me choose rap as a career.

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<v Speaker 2>I chose rap in prison as a form of meditation,

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<v Speaker 2>as a form of finding peace. I was thrown in

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<v Speaker 2>the hole one time. For people who don't know what

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<v Speaker 2>that is. That solitary ca infinement where you basically live

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<v Speaker 2>in and exist in a very dark space. Native American

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<v Speaker 2>cat named Judge. He came by my cell and he

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<v Speaker 2>shoved a piece of paper and like a half broken

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<v Speaker 2>pencil in the cell and he was like, Yo, man,

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<v Speaker 2>don't go crazy in there. And I really, man, you know,

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<v Speaker 2>if there's a person out there who I owe, you

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<v Speaker 2>know what I mean to pay their rent, it's definitely Judge,

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<v Speaker 2>because man, that piece of paper was covered with so

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<v Speaker 2>many writing it looked like like I only had one

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<v Speaker 2>piece of paper to write on. So it was like

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<v Speaker 2>I wrote on all the lines that I wrote on

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<v Speaker 2>the sides, and I wrote on the other sides, I

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<v Speaker 2>wrote on the back, I wrote on the outside lines.

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<v Speaker 2>This thing was like the Holy Grail. And get caught

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<v Speaker 2>in a hustle to let him know that I died

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<v Speaker 2>while I fought in a struggle from the hood rats,

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<v Speaker 2>the rich kids, lost in the bubble spray painted on

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<v Speaker 2>the street set in the subway. So I used to.

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<v Speaker 1>Coming up on Latino, USA, we talk about Immortal Technique's

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<v Speaker 1>first album and this song that launched his career, Stay

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<v Speaker 1>with Us.

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<v Speaker 2>One night more than a Self, And then I saw

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<v Speaker 2>the way they portrayed us that everyone else that coached

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<v Speaker 2>us the whole see the worse than ourselves. Glad that,

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<v Speaker 2>in fact, the whole time you are heart and ourselves.

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<v Speaker 1>I used one night, One night, Hey We're back, And

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<v Speaker 1>when we left off, Immortal Technique was telling us about

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<v Speaker 1>how he got into rap. We're gonna pick up now

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<v Speaker 1>with his first album and the infamous song Dance with

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<v Speaker 1>the Devil. Justa heads up in this section of the conversation,

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<v Speaker 1>we're gonna be talking about rape and sexual violence. You

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<v Speaker 1>released Revolutionary Volume one that was your first album in

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<v Speaker 1>two thousand and one, and on that album is basically

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<v Speaker 1>the song that launched your career, Dance with the Devil,

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<v Speaker 1>which I was listening to it this morning in preparation again.

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<v Speaker 1>Just yeah no, and I'm sitting here like.

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<v Speaker 2>They drove around a project slow while it was raining,

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<v Speaker 2>smoking Blunt's, drinking and joking for entertainment until they saw

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<v Speaker 2>a woman on a street walking along three in the morning,

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<v Speaker 2>coming back from work on their way home, and so

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<v Speaker 2>they quietly shot out the car and followed her walking

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<v Speaker 2>through the projects. The darkness swallowed her. They wrapped the

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<v Speaker 2>shirt around their head and knocked the roll to the floor.

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<v Speaker 1>This is it, kid, What was it about to Dance

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<v Speaker 1>with the Devil that you think launched your career?

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<v Speaker 2>Essentially, I could give you a million different answers, but

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<v Speaker 2>I'm gonna give you the ugliest one. Everybody either knows

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<v Speaker 2>someone or has been sexually assaulted themselves, And I think

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<v Speaker 2>the song came at a time when people were trying

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<v Speaker 2>to kind of weed through a new generation of hip

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<v Speaker 2>hop during the two thousand era and looking for who

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<v Speaker 2>had kind of substance in the music. We never had

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<v Speaker 2>a song about rape ever in hip hop. Ever, we've

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<v Speaker 2>probably discussed that it's been thrown around, but a song

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<v Speaker 2>in which we showed how that really means you're raping yourself,

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<v Speaker 2>you're destroying yourself. And then the underlying themes of its sister,

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<v Speaker 2>which are that all human beings that are alive right

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<v Speaker 2>now have to be related. And I wanted that point

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<v Speaker 2>to resonate in the people's minds when they were out

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<v Speaker 2>there listening to that music. I'm pull in and I

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<v Speaker 2>can't surve back. Right before he pulled it and the

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<v Speaker 2>end of the life, he thought about the Copaine with

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<v Speaker 2>the platum ice, and he felt strong standing along with

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<v Speaker 2>his new brothers. Cocked it to a head and pulled

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<v Speaker 2>back the shirt cover. But what he saw made him

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<v Speaker 2>start to cringe and stutter because he was staring into

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<v Speaker 2>the eyes of his own mother. She looked back. The

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<v Speaker 2>benchmark of Western society that people base all of European

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<v Speaker 2>civilization on monarchies, is Rome. And when you look at

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<v Speaker 2>Rome as a society, you say, where did Rome begin?

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<v Speaker 2>We see that the beginning of Roman society begins with

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<v Speaker 2>an act called the rape of the Sabines. And I

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<v Speaker 2>think that's a part of all of our genetic memory.

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<v Speaker 2>I think every single little human being who's living right

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<v Speaker 2>now is a product of rape at some particular point,

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<v Speaker 2>and they've just never dealt with that. The trauma exists

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<v Speaker 2>within them as a genetic memory. Some of them have

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<v Speaker 2>that in their bloodstream, more recent than others. When you

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<v Speaker 2>look at it, it's incredibly humbling as a man to

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<v Speaker 2>realize that I stand upon the achievements of murderers and

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<v Speaker 2>rapists to claim the position of power that I have

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<v Speaker 2>in this society. You could be standing right next to

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<v Speaker 2>you and you wouldn't know the devil pros inside the

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<v Speaker 2>hearts of the selfish white, brown, yellow, and black color.

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<v Speaker 2>That's not restricted what.

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<v Speaker 1>Comes up for you as you're processing that song.

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<v Speaker 2>I mean, it's a difficult thing to talk about only

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<v Speaker 2>because there are women in my family and people I've

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<v Speaker 2>known my whole life that have been survivors of rape.

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<v Speaker 2>And you know, obviously it's it's not my choice whether

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<v Speaker 2>I share their story. It's not my place without their permission.

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<v Speaker 2>But I felt like I wanted to draw some idea

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<v Speaker 2>towards the disgusting nature of what it is and how

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<v Speaker 2>it actually has a huge place in our human society.

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<v Speaker 1>It's really tough to hear that. And so when I've

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<v Speaker 1>been able to listen to, for example, your love song,

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<v Speaker 1>you never know, people.

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<v Speaker 2>Like you set out so paraut to be a problem

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<v Speaker 2>with the bronsuse de bo.

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<v Speaker 1>Which I just love because you know, you talk about

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<v Speaker 1>taking your love whether to the Metropolitan Museum about or

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<v Speaker 1>to Mussel del Barrio, you know, and seriously, just hearing

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<v Speaker 1>that in a rap song, that's a love song. That's

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<v Speaker 1>a side of you, you know, the gentle kind of

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<v Speaker 1>romantic side.

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<v Speaker 2>There is a romantic side, Yeah, I remember the I

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<v Speaker 2>think I've written a lot of interesting tweets. I think

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<v Speaker 2>one of the ones that went the most viral is

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<v Speaker 2>I don't know how many thousands it had, but I

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<v Speaker 2>I wrote something and I said, you know, if I

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<v Speaker 2>really like her, I might buy her flowers. I said,

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<v Speaker 2>but if I love her, I'll write her a story.

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<v Speaker 2>After all, What good are flowers when you can create

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<v Speaker 2>a universe just for her. Writing brought me out of

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<v Speaker 2>misery and pain, you know, like a lot of Volume

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<v Speaker 2>one that you hear is a lot of rage and anger.

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<v Speaker 2>But that's anger and rage that's taken out of me.

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<v Speaker 2>You know, sometimes if I really love somebody, I would

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<v Speaker 2>write something for them, something that would help them heal,

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<v Speaker 2>something that would put their problems, whatever it is that

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<v Speaker 2>I know about them, into the proper perspective. Little credit cards,

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<v Speaker 2>game and jewelry stealing, crack selling, lick a store Robin.

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<v Speaker 1>So, in twenty eleven, you released rich Man's World. You know,

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<v Speaker 1>in a lot of ways, it feels like you were

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<v Speaker 1>kind of expecting a Donald Trump to appear on the

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<v Speaker 1>scene before a lot of other people were.

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<v Speaker 2>I mean, I put out a lot of messages in

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<v Speaker 2>the music some people that some people at first accused

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<v Speaker 2>me of being a conspiracy theorist. But here's an interesting thing.

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<v Speaker 2>What were my big conspiracies on Revolutionary Volume two that

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<v Speaker 2>the Iraq War was based off lies. I then brought

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<v Speaker 2>up that the government was listening to all your emails

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<v Speaker 2>and tapping your phone, and people said, that's absurd technique.

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<v Speaker 2>You live, you live in nineteen eighty four, that's never

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<v Speaker 2>gonna happen. And look what happened. So the idea that

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<v Speaker 2>the demagogue at Gaudio would come in isn't something that

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<v Speaker 2>is part of the radical imagination of someone who lives

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<v Speaker 2>in the never ending story. It's something that was eventually

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<v Speaker 2>going to happen here in the United States because they

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<v Speaker 2>don't want my dirty laundry. And when I fight it,

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<v Speaker 2>forget my lawyers excited, because what good is the law

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<v Speaker 2>if you can't rewrite it. I got seat eight traders, dictators,

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<v Speaker 2>Yad was the blowers in hats hurt. Indeed, all of

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<v Speaker 2>this money from out there, A lot.

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<v Speaker 1>Of Latinos and Latinas immigrants are waking up and they're

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<v Speaker 1>feeling powerless, angry, filled with rage, confused, sometimes hopeless. How

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<v Speaker 1>are you translating those emotions into your art right now?

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<v Speaker 2>One of the things I started doing is I started

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<v Speaker 2>working with various human rights organizations. That's something that has

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<v Speaker 2>always given me a really grounded sense of peace. One

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<v Speaker 2>of them, of course, was the Border Angels, the people

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<v Speaker 2>that leave water drops and food drops for those people

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<v Speaker 2>walking through the desert. And the other was a group

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<v Speaker 2>that I feel doesn't receive enough attention as well. It's

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<v Speaker 2>called the Green Card Veterans, and these are people who,

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<v Speaker 2>some of them served in multiple theaters of war. I

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<v Speaker 2>think people need to realize a lot of these individuals

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<v Speaker 2>have been deported or are fighting deportation.

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<v Speaker 1>Is there any of your writings recently that you can

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<v Speaker 1>share with us about those issues about the creed.

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<v Speaker 2>Yeah, there's actually a song I have. I can't spit

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<v Speaker 2>it right now because I know my producer listen. I mean,

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<v Speaker 2>we've kept this under wrap so hard.

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<v Speaker 1>One line, one line, A great hustler.

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<v Speaker 2>I love you, you got a good hustle.

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<v Speaker 1>No, I think that what we're.

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<v Speaker 2>Talking about is a song that describes the uh. We

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<v Speaker 2>touched on it earlier, the depression and the suicide of

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<v Speaker 2>people who have gone to war. And part of that

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<v Speaker 2>was talking about this particular issue.

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<v Speaker 1>So what is immortal technique processing now as a musician,

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<v Speaker 1>as an American? Where is it coming together for you?

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<v Speaker 1>My son? Of course, who was your biggest fan, was like,

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<v Speaker 1>how come he hasn't.

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<v Speaker 2>Written No, no, no, no, I've written plenty of stuff.

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<v Speaker 2>I just haven't I haven't released it, and there's a

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<v Speaker 2>lot of reasons for that.

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<v Speaker 1>Okay. So the question of your many many many fans,

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<v Speaker 1>you know that, the question is your dad, your mom.

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<v Speaker 1>We want to know when's the next tech song that

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<v Speaker 1>we can Okay.

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<v Speaker 2>I actually do have a couple of features coming out,

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<v Speaker 2>which are just songs that I'm on for other people's projects.

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<v Speaker 2>And then in terms of the record that I have,

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<v Speaker 2>I'm closer than I've.

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<v Speaker 1>Ever been and we're looking forward to hearing it too.

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<v Speaker 1>Thank you so much, Immortal Technique, Felippe Coronelle, thank you

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<v Speaker 1>so much for all of your work.

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<v Speaker 2>Thank you very much for having me here. The middle

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<v Speaker 2>Passage coming soon, sp and a building I do Mecca,

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<v Speaker 2>Harlem Brooklyn you already.

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<v Speaker 1>Know Harlem and that that was Rapper Immortal Technique. Our

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<v Speaker 1>episode was produced by Maggie Friedlin, who was edited by

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<v Speaker 1>Marlon Bishop and mixed by Stephanie Lebau. The Latino USA

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<v Speaker 1>team includes Julia Caruso, Jessica Ellis, Victoria Estrada, Renaldo Leanos, Junior,

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<v Speaker 1>Andrea Lopez Grussado, Luis Bluna, Frori, Mard Marquez, Marta Martinez,

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<v Speaker 1>Nor Saudi and Nancy Frujillo. Benilee Ramirez is our co

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<v Speaker 1>executive producer I'm Your Host and also co executive producer

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<v Speaker 1>Mario Josa. Join us again on our next episode. In

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<v Speaker 1>the meantime, We'll see you on all of our social

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<v Speaker 1>media Lteva, Yes Bye.

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<v Speaker 4>Latino USA is made possible in part by the Ford Foundation,

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<v Speaker 4>working with visionaries on the front lines of social change worldwide,

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<v Speaker 4>the John D. And Catherine T. MacArthur Foundation, and the

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<v Speaker 4>Heising Simons Foundoundation Unlocking knowledge, opportunity and possibilities. More at

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<v Speaker 4>hsfoundation dot org.

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<v Speaker 1>We could go on for a while, but wherever