WEBVTT

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<v Speaker 1>De Hano has this really interesting way of capturing a

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<v Speaker 1>very intense emotion within one song and you can escape.

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<v Speaker 2>It from PRX and futro media. It's let you know, Usa,

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<v Speaker 2>I'm Maria no Josa today Tejano singer Verronique Medrano and

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<v Speaker 2>her career in a male dominated industry and what she's

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<v Speaker 2>doing to preserve the future of t Hanno for generations

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<v Speaker 2>to come. Veronique Medrano loves going to Lapulga in Brownsville,

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<v Speaker 2>Texas with her family.

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<v Speaker 3>It's not a flea, it's like it's a flea market.

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<v Speaker 4>She says.

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<v Speaker 2>Lapulga is a place where vendors bring their goods to sell. Yes,

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<v Speaker 2>but it's also a perfect little bubble where Mexican and

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<v Speaker 2>American cultures blend and mingle in the open air.

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<v Speaker 1>It's the one physical place you can see, a place

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<v Speaker 1>where you walk in and you realize that's where the

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<v Speaker 1>beauty of the valley is, and these little pockets are

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<v Speaker 1>real people reside, real people like you and me.

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<v Speaker 3>The culture, the food, the language.

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<v Speaker 2>The flea market in Brownsville has deep meaning for Vitonique

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<v Speaker 2>for a lot of reasons. It's one of the places

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<v Speaker 2>where she draws inspiration for her songwriting, and it also

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<v Speaker 2>inspired one of her hit songs, It's Lapulga, and it

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<v Speaker 2>went viral back in twenty sixteen. By drawing on inspiration

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<v Speaker 2>from the border, her life and her culture is part

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<v Speaker 2>of Vinonik's identity as an artist in Tejano. It's a

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<v Speaker 2>style that fuses Mexican, US and European influences to create

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<v Speaker 2>a really unique sound. Vinonique has released three albums, picked

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<v Speaker 2>up several Djano Music Award nominations, and was recently invited

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<v Speaker 2>to the Latin Grammy Awards.

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<v Speaker 1>So today is the day of the Latin Grammy and I.

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<v Speaker 5>Am wearing this beautiful like purple outfit.

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<v Speaker 1>I'm just feeling so good right now. I just I

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<v Speaker 1>really can't believe that I'm here.

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<v Speaker 2>On today's episode of How I Made It, Verdonique walks

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<v Speaker 2>us through the origins and diversity of the Hanno music

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<v Speaker 2>and what she's doing to preserve it for generations to come.

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<v Speaker 6>Hi, my name is Veronique Medrano and I am a

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<v Speaker 6>Tejano and Spanish country singer out of Brownsville, texass.

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<v Speaker 1>And Meal Yeah n the Semana and Ustan Milsnami Baba.

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<v Speaker 7>And I have been born and raised here all my life,

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<v Speaker 7>and so this duality of the Mexican American culture is

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<v Speaker 7>very very present in the art that I make and

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<v Speaker 7>in what I do.

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<v Speaker 1>Sane de Hano music, it is definitely American music. But

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<v Speaker 1>it's because it was born out of La Fronterra.

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<v Speaker 2>It was.

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<v Speaker 1>It was a blending of polka and German music and

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<v Speaker 1>Mexican music and music from South America. You know, there's

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<v Speaker 1>always like a oh, what is real to Hanno? But

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<v Speaker 1>de Hanno is really an evolution of sound. It started

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<v Speaker 1>from conjunto music, and conjunto music was standing bass accordion,

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<v Speaker 1>either a bajo or a guitar of some kind. It's

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<v Speaker 1>real simple, and that was the purpose, because hello, if

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<v Speaker 1>you're a migrant worker, you know, living and you're working

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<v Speaker 1>all over the United States, it has to be something

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<v Speaker 1>you can just stick in your your bag, your car, whatever,

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<v Speaker 1>and you go.

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<v Speaker 3>You're gone in the next city to work.

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<v Speaker 1>It came from immigration, It came from migrant workers, it

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<v Speaker 1>came from the farmers a lot more than people realized.

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<v Speaker 1>To Hanno and have a really large role to play

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<v Speaker 1>in the Chicano movement. It was the music of the people.

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<v Speaker 1>It was from the border. It was the best encapsulation

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<v Speaker 1>of being a Mexican in America or a Latino in America,

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<v Speaker 1>and all of these things that over time evolved as

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<v Speaker 1>it became more modern. The big difference really is the

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<v Speaker 1>electric instruments. You know, you go from an accordion to

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<v Speaker 1>a keyboard, you go from a standing bass to a

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<v Speaker 1>bajo to a bass guitar, you go from an acoustic

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<v Speaker 1>guitar to an electric and in certain cases, de Hano

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<v Speaker 1>has its even its own branching offs. You have big band,

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<v Speaker 1>the hanl you know, like Little Joe. You have the

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<v Speaker 1>more Norteno styled Hanna, which is, you know, the Michael Salgados,

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<v Speaker 1>and then you have the more modern which is of

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<v Speaker 1>course Selena. Hanno has this really interesting way of capturing

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<v Speaker 1>a very intense emotion within one song. Yes, and you

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<v Speaker 1>can't escape it. Whether it's joy, whether it's passion, whether

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<v Speaker 1>it's first love, first kiss, first breakup, first cheating. Literally

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<v Speaker 1>you're capturing that emotion and it's raw. There's something that

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<v Speaker 1>hits your roots, it's something that just hits your soul.

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<v Speaker 1>Different when you hear that music in Spanish and you

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<v Speaker 1>understand it, and you understand the emotions. But Mexican regional

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<v Speaker 1>music to hanaud really is the from concentrate, no holds

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<v Speaker 1>bars like I mean, look at it. Look at some

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<v Speaker 1>of the classic I'm giving you all of these examples

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<v Speaker 1>because they are some of the most iconic Mexican regional songs,

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<v Speaker 1>because they captured that feeling so intensely.

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<v Speaker 5>I was all right.

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<v Speaker 2>For a w.

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<v Speaker 1>I could smile full, but I saw you last night.

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<v Speaker 1>You held my hands so tent as you stopped to say.

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<v Speaker 1>When I was three or four, I was still not vocal,

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<v Speaker 1>not babbling, not anything. And so my my mom was

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<v Speaker 1>a little concerned because this is the nineties, so of

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<v Speaker 1>course the concern is like, Okay, is there something else

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<v Speaker 1>that we're just not saying. Do we need to go

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<v Speaker 1>get tests? They did all the tests, they spoke with

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<v Speaker 1>all the doctors. They told her there was nothing wrong.

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<v Speaker 1>You know, my mom's working full time and my grandmother's

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<v Speaker 1>taking care of me, and so it would kind of

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<v Speaker 1>like switch off between them. So she would go work

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<v Speaker 1>and she would leave me with the grandmothers. And so

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<v Speaker 1>it wasn't until I was watching Johnny Canalis and he

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<v Speaker 1>had put Selena out on stage.

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<v Speaker 4>All right, gets yes, yes, no, no, no, ready, you

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<v Speaker 4>got it, take it away, yes, sir.

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<v Speaker 1>I started babbling. So I started trying to sing along,

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<v Speaker 1>and my grandmother, of course, immediately calls my mother up

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<v Speaker 1>and I'm still going, and so my grandmother's like Cynthia,

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<v Speaker 1>and you know, she's she's exclaiming to my mother that

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<v Speaker 1>I'm trying to talk or trying to sing. I guess

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<v Speaker 1>to what I'm hearing and what I'm seeing, As my

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<v Speaker 1>mother loves to joke. Once I started, I couldn't stop.

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<v Speaker 6>I was not good.

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<v Speaker 1>I'd like you to know I was not a child prodigy.

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<v Speaker 1>I was not there, you know, like singing opera music

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<v Speaker 1>at four please, I was singing Chico badly, badly. There

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<v Speaker 1>is audio tape of me singing that song. I'm so

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<v Speaker 1>cute though, Like you, you have to admit, when a

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<v Speaker 1>child tries to sing, you just you just go that's

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<v Speaker 1>the most adorable thing in the world.

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<v Speaker 6>And it was okay.

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<v Speaker 3>But I'm like, girl, no, you were.

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<v Speaker 7>You were on your own.

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<v Speaker 1>But that goes back to the power of art and

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<v Speaker 1>the power of music to relate to someone at any age.

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<v Speaker 5>It is why I do what I do.

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<v Speaker 1>It is my calling, it is my purpose. It wouldn't

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<v Speaker 1>be until I was twenty one twenty two till I

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<v Speaker 1>actually pursued it professionally. So I had made the decision then,

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<v Speaker 1>and so I started finally dipping my toe into too

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<v Speaker 1>music again. The glad when is the Concio.

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<v Speaker 6>Casino.

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<v Speaker 1>I'm very blessed because I have an artistic family. They're

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<v Speaker 1>just artistic and they're all little way like you know,

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<v Speaker 1>my mom she helps me with the songwriting whenever I

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<v Speaker 1>have trouble, like she's able to understand that vision and

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<v Speaker 1>then give me a word to help me. My mom

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<v Speaker 1>works with me on the outfits. That's art, like picking

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<v Speaker 1>the colors, the choosing that the styles, and then we

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<v Speaker 1>do the photo shoot. She knew the poses, she knew

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<v Speaker 1>what would kind of bring people in. And now we

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<v Speaker 1>actually have a team. It's a small and intimate team

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<v Speaker 1>and I like it that way, and I feel like

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<v Speaker 1>if I didn't have them for everything that they're doing,

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<v Speaker 1>I don't think I would have gotten to the heights

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<v Speaker 1>that I would have wanted to in the very short

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<v Speaker 1>amount of time that I've done it. But there was

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<v Speaker 1>a lot of criticisms about the music I had other

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<v Speaker 1>people who were big in the industry, artists call my

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<v Speaker 1>songwriting mediocre. People question LA like crazy.

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<v Speaker 7>Musket sign.

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<v Speaker 1>So when I wrote LA, it came literally from me

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<v Speaker 1>and my mom had gone the weekend prior to seventy

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<v Speaker 1>seven Flea Market, and so so this was one of

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<v Speaker 1>those songs that I wrote like half English, half Spanish,

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<v Speaker 1>like it was a little bit of both. And it

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<v Speaker 1>was the first time that I felt really supported in

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<v Speaker 1>regards to my bilingualism for writing, because I was trying

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<v Speaker 1>really hard to like at least get the essence of

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<v Speaker 1>what I was trying to say, and going back and

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<v Speaker 1>editing it and then showing it to my mom and

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<v Speaker 1>then like we we had some people come over and

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<v Speaker 1>all of this was done around the kitchen table over

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<v Speaker 1>a few weeks, and it was the etis line that

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<v Speaker 1>we had the hardest time with because we were trying

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<v Speaker 1>to say like junk food, but we couldn't fit. You're

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<v Speaker 1>out of way to say like elotes and like junk food,

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<v Speaker 1>Like how are you going to say that? That doesn't

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<v Speaker 1>sound right, that sounds nasty, like that like it doesn't

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<v Speaker 1>sound cute at all, And and we finally, like one

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<v Speaker 1>of our friends like was like two judios and we're like, oh,

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<v Speaker 1>that sounds cute, Like it's like am like like it

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<v Speaker 1>had its little like twist to it, Siego yah, And

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<v Speaker 1>in a sense was the love letter to the valley,

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<v Speaker 1>to my my childhood and and and my grandmother and

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<v Speaker 1>my mother and and really the beauty of our multiculturalness here,

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<v Speaker 1>our Mexican American news, because I talk about that in

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<v Speaker 1>the song it doesn't matter whether you have a lot

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<v Speaker 1>of money or a little money, everybody's the same here.

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<v Speaker 1>I think the line that best encapsulates it is in

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<v Speaker 1>the song dolos on bienvenidos amigos ikonosos, and it's saying

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<v Speaker 1>like everyone's welcome, whether you're a stranger or whether you're

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<v Speaker 1>somebody that goes there every weekend, and the vendors know you.

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<v Speaker 1>A person can go to this place and they truly understand.

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<v Speaker 1>Like you're seeing these kids and adults code switching between

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<v Speaker 1>English and Spanish and there's no judgment. You understand each other,

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<v Speaker 1>and it's just this perfect little bubble of seeing how

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<v Speaker 1>the Mexican and American culture blend. The Burga has such

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<v Speaker 1>a special place in my heart because it made me

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<v Speaker 1>realize that my voice and.

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<v Speaker 3>My story was valued.

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<v Speaker 1>I've written other songs, you know, I've written Loteria based

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<v Speaker 1>off of, you know, the experiences.

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<v Speaker 7>Of my life.

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<v Speaker 1>I was trying to understand my role in the world,

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<v Speaker 1>and Lotaria was based off of the Lotaria cards literally,

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<v Speaker 1>but it was looking at the cards at this very

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<v Speaker 1>pivotal moment in my life when I didn't know if

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<v Speaker 1>I was truly Mexican. I think because I am of

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<v Speaker 1>both worlds, it becomes so hard to validate whether you

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<v Speaker 1>are a true Mexican. The best way to say it

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<v Speaker 1>is there was the line that Edward James almost says

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<v Speaker 1>in the nineties Selena movie. It's like, you're not Mexican

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<v Speaker 1>enough for the Mexicans and you're not American enough for

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<v Speaker 1>the Americans. You have to be both one hundred percent

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<v Speaker 1>at the same time, and it's exhausting. Being a woman

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<v Speaker 1>in the industry in a male dominated industry is one

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<v Speaker 1>where you will be questioned for every little success you have.

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<v Speaker 1>When I first got into the industry, I was barely

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<v Speaker 1>six months in and I was already nominated for Best

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<v Speaker 1>New Female Artists of the Year. People did not understand

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<v Speaker 1>why that happened, but am.

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<v Speaker 5>The female newcomers to this generation, the best new female.

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<v Speaker 1>There was a lot of criticisms about the music, about

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<v Speaker 1>my outfits.

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<v Speaker 3>These criticisms came from people who.

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<v Speaker 1>Are very die hard stands, as you would put it,

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<v Speaker 1>or fans of the genre of a certain type of artists.

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<v Speaker 1>That's where it came from. So they expect you to

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<v Speaker 1>sound like XYZ artists. They expect you to look like

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<v Speaker 1>XYZ artists. A lot of artists wear the cowboy hats

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<v Speaker 1>and the boots, and so there was a lot of

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<v Speaker 1>criticism as to why I chose to do rockabilly and

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<v Speaker 1>vintage with a little bit of modern stylings. Women are

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<v Speaker 1>not seen as the lead very often, and those who

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<v Speaker 1>are are just having to do more. There's just more

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<v Speaker 1>that's expected of us as as female solo artists. There's

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<v Speaker 1>at least thirty plus solo female artists. Back in the

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<v Speaker 1>eighties and nineties when it was big, you could count

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<v Speaker 1>five five to thirty. That's a huge leap. But when

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<v Speaker 1>you put that into perspective as to what my experience

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<v Speaker 1>has been, it has been a lot of hard.

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<v Speaker 6>Work in this.

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<v Speaker 1>I've been fighting for the handle music for years, so

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<v Speaker 1>much so that I went back to school so that

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<v Speaker 1>I could get a master's, so I could protect the genre,

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<v Speaker 1>protect the music, start educating in it. It's about preserving

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<v Speaker 1>and archiving the Mexican and LATINX culture here in the

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<v Speaker 1>States so that it doesn't get forgotten. You know, a

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<v Speaker 1>lot of people don't realize the importance of let's just say,

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<v Speaker 1>you know, Freddy Fender's.

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<v Speaker 7>Stuff wasteed days in waiting line.

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<v Speaker 1>Freddie Fender does not in the Country Music Hall of

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<v Speaker 1>Fame despite his great and many accomplishments for that industry.

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<v Speaker 1>And they only have a few things. But that's not

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<v Speaker 1>their fault. How have we as a community preserved the

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<v Speaker 1>things that were his Like people who went to his shows?

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<v Speaker 3>Did they save the tickets?

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<v Speaker 6>Is it in some bin in some.

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<v Speaker 3>Box in the bottom of the seat?

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<v Speaker 1>And you would be so shocked at to how these

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<v Speaker 1>little things that you might have could create an interesting

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<v Speaker 1>narrative of who this person was. Like records that maybe

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<v Speaker 1>have been lost to time because.

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<v Speaker 3>They were literally records.

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<v Speaker 7>Y'all.

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<v Speaker 1>All of these things are important. And that's really the

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<v Speaker 1>purpose is that we don't want for people to forget,

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<v Speaker 1>but for Latinos, a Mexicanos, LATINX the purpose of our

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<v Speaker 1>having a preservation is to not be forgotten. That is

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<v Speaker 1>what you leave behind, and so I would like to

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<v Speaker 1>leave that behind. A beautiful and very rich and complex

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<v Speaker 1>image of the Rio Grande Valley, of the border towns

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<v Speaker 1>in Sun Santons, Yolanda, Unos.

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<v Speaker 6>Give the real.

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<v Speaker 1>I finally have the opportunity to show the Rio grand

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<v Speaker 1>Valley and show the success that can come from being

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<v Speaker 1>here to people who never in their wildest dreams would

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<v Speaker 1>have thought that, like, oh, she's from Bronzwell, like she

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<v Speaker 1>probably doesn't live here, and then when it dawns on

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<v Speaker 1>them that like, no, I still live here, like hi, guys,

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<v Speaker 1>I'm at And the beauty of the valleys over our

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<v Speaker 1>own little microcosm, and the fact that I can.

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<v Speaker 3>I can do this music and I can be artistic

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<v Speaker 3>in it, and I don't have to leave. I don't

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<v Speaker 3>have to go to some big city. No offense to

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<v Speaker 3>big cities. I like y'all, but I don't have to

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<v Speaker 3>go there to be artistically successful.

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<v Speaker 8>My music and everything I've done has come from the

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<v Speaker 8>joy of being a Mexican American, the joy of finally

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<v Speaker 8>discovering who I am and owning who I am because

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<v Speaker 8>it took some time.

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<v Speaker 2>This episode was produced by Rinaldo Leannos Junior and edited

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<v Speaker 2>by Mitra Monschahi. It was mixed by j. J. Grubin.

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<v Speaker 2>The Latino USA team includes Andrea Lopes Crusado, Marta Martinez,

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<v Speaker 2>Mike Sargent, Julia Ta Martinelli, Victori Estrada, Patricia Sulbaran, Gini

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<v Speaker 2>montalbo Alejandra Salasad and Julia Rocha, with help from Raoul Verez.

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<v Speaker 3>Our editorial director is Julio Ricardo Barella.

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<v Speaker 2>Our supervising senior engineer is Stephanie Lebau, our assistant senior

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<v Speaker 2>engineer is Julia Caruso, and our associate engineer is Gabriela Bayez.

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<v Speaker 2>Our digital editor is Luis Luna. Our fellows r Monica

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<v Speaker 2>Garcia Morales, Elisa Baena and Andrew Bignalez. Our theme music

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<v Speaker 2>was composed by Zenie Rubinos. If you like the music

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<v Speaker 2>you heard on this episode, stop by Latino Usa dot

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<v Speaker 2>org and check out our weekly Spotify playlist. I'm your

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<v Speaker 2>host and executive producer Mariao Kosa join us again on

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<v Speaker 2>our next episode. In the meantime, look for us on

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<v Speaker 2>all of your social media at Gerda de a start approximate.

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<v Speaker 4>Jao.

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<v Speaker 5>Latino USA is made possible in part by the Anni E.

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<v Speaker 5>Casey Foundation. Creates a brighter future for the nation's children

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<v Speaker 5>by strengthening families, building greater economic opportunity, and transforming communities.

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<v Speaker 5>The wind Coat Foundation and funding for Latino USA is

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<v Speaker 5>Coverage of a culture of health is made possible in

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<v Speaker 5>part by a grant from the Robert Wood Johnson Foundation.

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<v Speaker 3>I know it's a party boat.

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<v Speaker 2>It's a party boat on the ocean, and you can

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<v Speaker 2>hear the dunkunku, all right,