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Interviews Melanie Santiler at the 2023 edition of the Havana Wolrd Music contest, where she won the prize in the Minors category. Photo: Courtesy of Fábrica de Arte Cubano (Photographer: Pablo Larralde). Melanie Santiler at the 2023 edition of the Havana Wolrd Music contest, where she won the prize in the Minors category. Photo: Courtesy of Fábrica de Arte Cubano (Photographer: Pablo Larralde).

Days of being wild, a conversation with Melanie Santiler

At the end of October, Melanie Santiler contacted me to ask if I could interview her. I don't usually respond to requests like that when they come from the artists themselves, but her request had a curious origin: she wanted me to be her interlocutor for what was to become the written foundation of her diploma work, a visual album that goes by the name of Days of being wild and with which he was graduating from the University of the Arts (ISA).

I consciously came to Melanie the way one comes to the music of this generation, by some reel of Instagram, for the storie I was in the company of Javier Sampedro for one of his incursions in República Records. It was precisely there where we exchanged a couple of words. It was her first time in the Playa studio, and she and Javier were recording something that I don't know if I ever got to hear, who knows if it was what it is today. Days of being wildThis debut EP is waiting to be released, hopefully soon.

From her incipient work I am struck by her ability to combine the delicacy and almost adolescent freshness of her tone with the rawness of the songs that (as a provocation?) she usually covers, all this while we can evaluate in real time the growing mastery of her vocal possibilities. Days of being wildMelanie's song, as the world will discover, has a bit of that, a mixture of viscerality and tenderness, in which you can find echoes of Yma Sumac and Maria Callas, as well as of Lhasa de Sela, Lido Pimienta or Rosalia. Melanie's is an extemporaneous tone, as if a portal had been opened and someone had arrived from another time to sing old sorrows with a new accent. What follows is a conversation in three voices: between an artist searching for her voice, her own reflections as a person, and a curious person trying to understand the process.

RafaThe first thing that caught my attention was the concept. Concept albums are not very common here. It's not that there aren't any...

Melanie: Yes, for example, DogsIsla Escarlata is a concept album.

RExactly, it's not that there aren't, but it's not common and in general artists can have an idea, a centrality, a work, but nobody usually goes from concept album to concept album. I was struck by the various layers it has, from the coherence that can exist between the themes, to what you told me was one of your objectives: "I would like it to feel like it's nighttime". Did that project the audiovisual part of the EP?

MI want it to be understood that everything I tell in this album happens in a single night. From my artistic references, I had the feeling that an audiovisual would be the perfect vehicle to accompany these songs towards the aesthetics of the night.

RSo, this visual side was born out of necessity, out of the fact that music was not enough for you?

MExactly, it's not enough for me. For example, in all audiovisual work I'm always having a conversation with the camera. The camera is the subject with whom I'm having that conversation. The songs always refer to a second person, which can be yourself, or the projection in your mind of the person you want to have them with. I show this escape route through poetry, song; when you want something but can't have it, and as an artist I allow myself to have that conversation even if the person is not around to make it happen. Whether it's Jet, I hope it reaches you or Fantasy Stateall revolve around this idea. I see a very strong performative essence to this concept. I said to myself, how can I develop this idea and make it be understood specifically as it is in my head, if I rely only on the music, which has been organized with the utmost care; but the other visual part of the project was missing.

It is the experience of a long year and a half, but the EP and the image give me the possibility that all that happens in one night, that it is all in a row. I think it's great the idea of being able to tell in 10 minutes -the length of an audiovisual-, a narrative of a year and a half of life. I even considered the possibility of it being like a book. Imagine if I had made the EP and it was accompanied by narrations that told what happens in the videos. Maybe it would have opened a window from another angle to these stories, considering that I had to let go of many ideas because my budget did not allow me to realize them with the quality they deserved. I was alone with my desire to make those songs that started as images in my head, which I transcribed into lyrics and then into music. It was a dream and a necessity, but I only had my means and the support of my family and friends. The point is that, if I had chosen that direction, I would have felt unable to convey the spontaneity I wanted, that it would be noticeable that it all happens in one night. I would lose the feeling of immediacy, which was a priority for me, because that's how I feel I live, that "being wild" is knowing how to live in the present, it's the freedom of knowing that you can do what you feel in the moment.

Although in retrospect it seems to me that it lasted a year and a half, at that time I felt that everything was going very fast. I felt that I was fighting against everything in life in an unconscious way, there was no space to breathe and I questioned whether I was living or not, because of the speed of everything. Social networks played an important and curious role because they contributed a lot to the feeling of the fleeting, but they also made me wonder if there was another way to live, which leads me to the songs. When I started writing them, I realized that not everything was happening at the same time. That caught my attention, I had never noticed the time factor in this way before and that's when I incorporated it into the video.

RYou didn't come from art school, did you? You went directly to ISA after pre-university. What motivated you to apply for that major [visual arts]?

MAt a certain point I felt at a disadvantage because I came from the pre-school. When I was 16 years old, I started taking photography lessons. Then, when I was 18, I took singing lessons. My grandfather was a plastic artist, graduated from San Alejandro and then he dedicated himself to the design of dams, and everyone said he was very good. That was always in the family, as opposed to music; I had never talked to anyone in my family about [music] being something I wanted to do since I was a little girl; they have been learning about it little by little.

Melanie Santiler. Photo: Rocio Mascayano.

Melanie Santiler. Photo: Rocio Mascayano.

RIn addition to this indirect influence that you may have had through your grandfather, photography was what moved you. Your generation is not very analogical, so I think that the relationship with photography is particular. It is different at least from the one that could exist 30 years ago. Before that time, how was your relationship with photography?

MOf course, it's true that it's different. As far as I remember, I didn't even have a good cell phone to take pictures, I wouldn't have gotten into photography that way. I was once at a friend's house and she showed me her camera. He told me he was going through a course and I was just bamboozled. I had nothing to do that vacation, and I said to myself: why not. My impact with photography was not with a cell phone, but with a camera, compact, small, which I still have. The idea of observing things with a vision that other people didn't have made me feel very good. The professor, Yuri Obregón, told me that despite having the worst camera in the course and being young, I was taking the best pictures. He told me about his experience at ISA, about his time there. I may not have made him aware of it at the time, but then it clicked with me and I felt it was something I could use. He prepared me, he taught me photography as an art, as a means to communicate sensitive ideas. As a result of those classes I began to make several conceptual photographic series. I really had a lot of doubts about whether I was going to pass the ISA tests, and it was a surprise for everyone when it happened. And also, I assure you, it felt like I was a guinea pig. No one could understand how I had gotten in [directly] coming from the pre.

R: Going back there, just now you were telling me that you felt like you were out of place?

MCompletely, when I started, almost from the first moment I wanted to leave. I'll explain it from today's perspective. My idea -then it was like this- was that I could take my works and they would help me improve at a conceptual level, in terms of thinking, in terms of the medium. During the vacations before entering [ISA] I was informed [of the obligation to take] the drawing course. Since I didn't come from an academy, they suggested that I start drawing so I wouldn't arrive blank. I, who usually listen to advice, did it with a lot of effort, to tell the truth. When I handed in my results, they asked me if I was the one who had drawn them, because they had turned out very well. I felt very bad, discouraged. On the other hand, there was also harsh criticism. My reaction was to start studying a lot about art. Then I saw what the others were doing; it felt like there were a lot of lies around empty concepts.

I understand that it is an academy, that it forces you to produce and create as an exercise, but I don't consider art to be that; the creative process is something much more natural. The idea behind everything must be something that resonates with you, it is not a construction, it is something that is naturally born. So the lie lies in the fact that you have a classroom with 15 people making art and it is unlikely that every time they deliver works with a genuine concept behind them, a background, a studio, a history, a real concern. I have always started from study, effort, I consume a lot of art and that allows me to resort to my intuition. I feel a need and I look for a way to express it through art, with the tools I have and the language I have been developing, but at that moment I felt that we were all lost, using the "concept" as a resource; that I had nothing behind it, or at least nothing solid, coherent. I detected that pattern in me, I discovered that this was not me, I did not feel yet that I had to make the decision to make music, but I did feel bad, that I did not belong to that framework, despite being there with ideas in common with my peers and the certainty of being an artist.

I finish my first year and COVID arrives in my second year. In this course I meet some great artists, referents of conceptual art in Cuba, who are also professors of the career: Eduardo Ponjuán, Antonio Margolles and Luis Gómez, privileged minds, artists incredible. They always talk about them in school, they always warn you that in the second year they come, they take you to another level, they are the ones who really illuminate your creative process. There are no lies there, you can't come to pretend with them. It was an explosion in my face, to say "here yes", but it was still chaotic, although very rewarding. I had to put myself through twice as much studying. I felt I wasn't artistically mature enough to work with them, so it forced me to explore deeper into myself. What I was learning with them pushed me in that direction of maturity and understanding.

At this stage I understood many of my own processes, I was able to choose the paths that were right for me, and discard those that were not. It was at this time that I discovered that I wanted to change careers. I discovered design and thought it could be both rewarding and lucrative. Don't get me wrong about the money, I feel that there is a conception of art as the opposite of money. Life in any country is difficult, but in this one even more so. I wanted to guarantee the possibility of making art and living from it, and I never felt I could do it from the visual arts. I did the paperwork to change and I had my mind made up.

RFrom second year to third year?

MYes, because I had to finish second. That gave me a terrible fear, because I was afraid of not reaching the level of quality and authenticity that these teachers brought. One day I made a video. It was the first time I felt, in all that time of my career, that something really had to do with me. I understood it on a sensitive level, but I couldn't find a way to explain it. That caught my attention, it made me curious. It was one of the first times I really enjoyed the video. I came to the critique with no expectations and when they saw it they said to me: "And you're the one who wants to change from ISA!

Logically, that reaction shocked me. I thought they might be seeing something in me that I didn't see. That was my main motivation to continue making videos, and that was also when I realized that I had to make music. I realized that the moving image is very attractive to anyone, and from my perspective as a creator it was the most specific vehicle to materialize what existed in my head. I have been writing songs intermittently since I was 14 years old, I was not aware of how deep music is in me. It is because of this encounter with these masters, that for the first time everything fits perfectly and I understand that I can make art in parallel, that video is the visuality that music does not have.

RVideo as a resource to get to the music?

MNo, video as a resource to create a more complete image, video hand in hand with music.

R: Then came the third year...

MThe third year came and I continued. I trusted a lot in the opinion of these artists that I told you about and I decided to finish the ISA. I started to look for a way to link my interests to create sensations with the video and music that I carried in parallel. At that particular moment I remember being obsessed with visual albums and it was a classmate who told me one day "Why don't you do that for your thesis?". I was already by that time making music with a friend.

RWhat year is it?

MI think it was around May 2022. I made up my mind and in the middle of the third year I started the EP. I started before everyone else because I knew I needed more time, that it was an ambitious project from scratch. In the end it turned out that I was the one who was the furthest behind. Before looking for a producer, I concretized the ideas with that friend with whom we were making songs together. Then, the first producer I looked for was Yoyi Lagarza, the first person I showed my songs to. It was almost instantaneous our connection at the level of musical sensibility, but he went to work outside Cuba and we couldn't do anything together. At that time, it would not have been possible to work with him from a distance. Then I met Bosito, I told him about my whole idea and how the visual was going to be present, that I was looking for a certain visuality with the music, that would highlight the composition of the lyrics, which I think is something that differentiates my proposal -that is, the way in which I compose the lyrics-. I talked to my family to support me because it was something I could not afford alone; the friend who composed with me also contributed and that gave me the opportunity to finally reach the search I wanted to do and that had been brewing in me for a long time. I managed to unite what I had divorced myself for not knowing how to understand myself. I was also thinking that my teachers would see that, by necessity, I am a transdisciplinary artist. With everything I'm telling you about ISA, I felt that I was deceiving myself as an artist and I saw myself as a complete fraud. That's where this project comes from, looking for the sincere and wild person in me: what I wanted to be.

When I started making music I realized that I had a very personal way of writing, very influenced by the visual arts. I write through direct images and more abstract images and that's where the weight of a phrase hangs. If I say, for example: "I want to be a knife that comes out and grazes you", that for me is a direct image because when I hear that I imagine a knife, no more and no less, being thrown with great speed until it cuts someone with its edge. Now, if I say: "I hope that someday you get what I told you inside", for me that is an abstract image that everyone will incorporate in their mind in a different way and many times not in images, [but] rather in sensations, in reflections or emotions.

Melanie Santiler. Photo: Samu Llanes.

Melanie Santiler. Photo: Samu Llanes.

RI'm going to go back now. You tell me that you were writing music since you were 14 years old?

MI wrote as a hobby, but there is something there, of course, an initiative that later led me to the lyrics of the songs.

RBut let's say that there is another sphere, a literary consciousness. The song one assumes it is associated with a music and lyrics, but if you were writing, strictly speaking, it was something literary that later could have other layers, how does that writing come or where does it come from?

MNow that you mention it, it's only now that it dawns on me. At that time I wrote quite a lot. My grandfather was a writer and I think he was the most direct reference I had. He was a great person and totally sincere in all aspects of his life. He was always reading and he instilled a lot of reading in me. Sometimes it felt like an imposition and I think I have always rebelled against imposed things and things that are not born to me.

When I started making music, I realized so many things about myself that I wasn't aware of, and that changed me. Making art changed me, I don't say it from pretension, but because it really marked me. Anyway, I still have a hard time reading; when I do, it's in search of information that will help me in terms of technique.

RSo what you were doing when you were 14 years old was totally intuitive, right? Wasn't there an imitation exercise?

MI don't know, to tell you the truth, I think I read a lot of juvenile novels. I started writing because several friends did it, but I felt ridiculous for doing something mediocre. Then I started making songs. I would think of vocal melodies linked to the lyrics and I really enjoyed it. Besides singing, that's the other part that I still enjoy very much.

RDo you remember what you were listening to at the time?

MI was probably listening to Bruno Mars, Lady Gaga, Katy Perry, the most popular pop music in the world. mainstream; GleeIt was a series that had a great impact on me, because the main character had the dream I had since I was a little girl, and it introduced me to a world of new music, when here there was no Internet to search for artists. I believe that singing always comes from imitation, it's the way you learn to sing, but not composition, that comes from necessity. Maybe at the beginning I was very innocent and I didn't write about what I felt, I wasn't as free as that, but it was an exercise that let me loose my hand until I got rid of my prejudices and there came a point when it was inevitable for me to write. I remember that I wrote -before songs- a story that I liked very much. It was the story of how life originated. I don't remember well what happened, but it was called One million drawings.

In the pre there was a craze with Korean bands and I started writing songs again. I don't see writing songs as anything special, it's just my language. It's something very natural, an action, like eating. When I discovered Rosalia a whole world opened up for me. It wasn't until I saw her perform at the Grammy's that she really touched me and I started to listen to her music, she has a performance incredible. Now, what really struck me were the lyrics of Badly and all the visual images that were in two and a half minutes of song, something that I later perceived in one of my greatest Cuban referents: Teresita Fernández. I understood that I didn't need to look outside myself, that I had enough to throw away, from my own language and experience.

And that was the beginning of my project Days of being wildwhere for the first time I was in a pulse with my truths. It was discovering my philosophy of life. Jet fulfilled all of that. I had a pretty stifling relationship with my partner that made me feel unable to move. Breaking with that was the first step. It is also the first experience that I narrate in this search for the wild being in me. That's how it all started. That song has allowed me to be vulnerable, to be confident, to be innocent. Jet has all the fears: [the fear of] the situation [I was in], the fear of producing a track for the first time, the fear of singing for the first time in a recording studio, even the fear of showing it because it's the first one on the EP, the first visual I did and I had to re-record. The first one for everything.

RIt is your letter of introduction.

M: Exactly. It talks about me, even though I'm talking about a second person, because it's my feelings and the beautiful way that person was stored in me. For me it was an intense experience because the whole idea made sense. Seeing myself as a person who spent so much time locked in a room without being happy, wanting to live and go out to the street at night, realizing and wanting to escape from that, made everything make sense towards this song.

RCan you tell me about references that include these two sides, both visual and musical?

MBeyoncé released Lemonade in 2016 -of course, it came to me much later-. There I understood a number of things, such as listening to truly sincere music with a very hard production, which at the same time is accompanied by supreme images and which gives a lot of importance to black women. There I discovered a true transdisciplinary work. Pipilotti Rist is another artist that I consider one of my main references for this project. I'm a victim of this song is a clear example of how his ideas run through all areas of artistic creation, interpreting his songs and giving them a visuality of his own. It is these same lyrics of his songs, the sonority that he builds in each of them, which generates a narrative.

Julieta Wibel, the youtuber, spoke referring to C. Tangana with The Madrileniananother of my references of transdisciplinary artists; he said that he had been able to create a complete work thanks to the fact that he unites music with architecture in his visuals, together with sculpture..., in short, it is something to study. Rosalía did the same with The bad wantwith beautiful visuals, loaded with symbols, reinterpreting classic paintings; he created an imaginary between flamenco and contemporary that is a work of art. All this made me want to rebel to do something this big with my inner world.

Melanie Santiler. Photo: Social TV.

Melanie Santiler. Photo: Social TV.

RWhat was that period of rebellion like? What did it bring?

MI was someone with a lot of prejudice and that did not allow me to be a free person to think beyond the typical, I was afraid to bring out my personality and do whatever I wanted. I rebel when I find something that prejudices me, or some taboo. Before I was very prejudiced with everything, with the cast, with contemporary visual arts, with reggaeton. I have grown a lot and my enjoyment of things has grown.

RI find it strange that, although you mentioned to me Lemonade Why do you have this fear, this reservation?

MI don't see it as a visual album, I see it as a short film. When I started this project I was searching and I came across a thesis by Ana María Sedeño-Valdellós. The thesis was called The visual album as the new promotional form of the music industry. It is a thesis from the University of Malaga, which explains precisely that, how the visual album and its characteristics have created a new and more complete form of promotion that tends to reinvent the image of the artist in question. RunwayKanye West's album is a perfect example of what could look like a visual album, but for me it doesn't fulfill those characteristics. First of all, it is an audiovisual that is not limited only to the duration of the songs, but it tells a story, it has a script. There are actions that do not depend on the music, moments where the viewer is challenged to remain without listening to any sound. If I needed 10 minutes in black in my audiovisual -which is something that at a promotional level does not work because a videoclip only covers the time of the song-, I would do it, because honestly, my goal is to tell that story, in the way that I as a creator understand, not with a mercantile objective.

Kanye directed himself, as I did in my project, accompanied by Camilo (Dakukamara), who also recorded. I'm not looking to create an image of myself, nor to appear pretty in the videos, because my intention is to be me and look sincere. That is an opportunity that this audiovisual has given me. There is my image all the time, just me, so that my solitude and my conversations with myself can be noticed. I don't see music as if I were a musician. What I film, even if it is sung, does not lose its visual sense. In the end, video art has music, the performance has been closely linked to music and sound. It's impossible to separate film from music because it potentiates emotions. In the end I take [from] both to help me create an emotion or recreate a moment. In my case they are not even images loaded with symbols, it's me, my body, my face, very exposed....

RDo you feel that it is through music that you have been able to express yourself best?

MI feel that this is the only way I can present myself to the world, to more than one person, so that they can get to know me. That's when I feel like the person I truly am and need to be. My spiritual learning, my emotional stability, is born from there. Not to mention the fact that singing is what I love to do the most. I am a happy person since I decided to dedicate my life to this. My inconsistencies, my fears, my conflicts became something really valuable. I've been feeling really bad, depressed, and I listen to a song of mine and I say, "look, this is me". That person is the real me, the valuable one. Sometimes it's really hard for me to relax, and when I started working with Javier Sampedro that for me was...

RWhat has that relationship been like, that process?

MJavier has been key in my career and, beyond that, one of the most important people to me, along with my best friends, Lorenna and Camila. He is not only my producer, I also found an artist that pushes me to other places, he introduces me to artists that have expanded my way of enjoying music. I feel that with him I can talk about everything, I can aspire to more, I don't have to settle, I can be ambitious when it comes to creating because he holds my hand and pushes me.

Sometimes I consider him my big brother, but at the same time there is a very serious professional relationship. Especially when I was starting out, I felt that my opinion was not worth it. That has never happened to me with Javier. He has allowed me to create in my own studio, for example. With him I can also talk about the whole visual part; he graduated from Famca [Facultad de Arte de los Medios de Comunicación Audiovisual], he directed the videos of his project, so we have more things in common, apart from our musical union. I have never felt so grateful to anyone, not even to my family.

Melanie Santiler with producer Javier Sampedro (first from right to left). Photo: Samu Llanes.

Melanie Santiler with producer Javier Sampedro (first from right to left). Photo: Samu Llanes.

RI think it's time for you to show me the story behind the audiovisual. Tell me about everything you imagined. Did it turn out as you expected?

MI told you it was all a one-night story. JetThe first song, the first song, takes place inside a room and it's me, all the time, singing to the camera, having a conversation without even getting out of bed. The intention was that whoever was watching would feel that I didn't have the energy to do much more than stay in that bed, in that room, alone, thinking and having the conversation I needed, without that subject to whom it is directed.

Before making music I was going through a relationship that didn't work out, as I told you; I wasn't interested in creating complicated images when what I really wanted was to create that feeling of gloom and emptiness in which I existed. A jet skin, which always shines above everything, above me, that I don't want to leave, but it's necessary because, otherwise, it would kill me. That's why this part of the audiovisual had to be in black and white, with careful shots, in terms of lighting and shots. I wanted my image to show how delicate I felt at that moment.

My grandfather's death was also shocking. To see that in the end no matter who you are and what you do, you die and they carry you like a sack of potatoes; that was traumatic for me, it made me react and disconnect the autopilot. I needed to get out there and challenge myself, have adventures, bring out the wild being I know I have inside and have been hiding, I don't know why. The handheld camera is used as a resource to give an idea of the momentary, of intimacy. I seek to create simple images but that have a weight especially in transmitting that emotion of instability that can cause a change, a breakup, a moment of loneliness and reflection, of anger and anxiety. There is an important detail in this audiovisual: the lighting of the face will be independent from that of the scene in general. The exposure to people's opinions, to their looks and what they condition me, is something I reflect.

R: Jet is the first song, what is the second song?

M: Fantasy state. Starting from this idea of freedom, I discover that here I wanted to talk about sexual freedom, not necessarily from sex, but rather the freedom to be a sexual woman, with a personality that transcends the physical and shows the power that women have with a great security in their projection. One of my references in this case is Marilyn Monroe. It has nothing to do with being femme fatale or anything like that, I am a soft girl, but I do reflect freedom from femininity.

Then comes I hope it reaches youwhich is a breaking point. It is in a theater, because as a location it reaffirms that what happens on stage is a performance. If in Fantasy State you seek freedom in one way, you also deny who you really are. There is falsehood, there is acting, I am not being me. It's not my face, not my body, not my mind, it's an idea that society itself has created in these times. This idea was inspired by David Lynch's film, Mulholland Drive. There is a scene where the protagonists attend a theater and the master of ceremonies warns that everything that happens in the theater is fake. A singer's performance begins and the protagonists are moved to tears. Suddenly the woman faints and continues to reproduce her voice, making it evident that she never sang.

With this visual I really tried to create a performance with the lights of the theater and the tense moments of the song. It was no longer the moment when I felt like that, it was a performance and that's life itself. You trick yourself to allow yourself to enjoy yourself. I wanted it to be as natural as possible in spite of everything. I didn't wear make-up, I didn't care about being well groomed. I tried to get rid of all vanity. I tried to interpret and communicate, as I would do in front of an audience, even if the theater was empty, looking at the camera as if it were a subject. By doing this it seems to me that I am testing strength with whoever might see [the material] at some point, especially if they consume it in its entirety, because in that way I demand to be looked at, to be seen, even if it is uncomfortable. That's what it's been about all along: finally I'm going to have the assurance that someone is looking at me as I am or, better, as I want to be seen. That is wild for me, it makes me the owner of myself.

RYou have taken the name of the project from Won Kar Wai's film, Days of being wild.

MIt's just that this film seems to me to be very unfair. It's called Days of being wildBut the wild thing is that the characters follow the idea of freedom of each one; some paths are calmer and others more exciting, but it was hard for me to understand that they were all wild for just following what they wanted, at that particular moment. For me, the first and wildest thing I did was to decide to take this path. This film brought me a reflection that starts from the fact that none of the love stories reach a meeting point. All the time you wait for those people to achieve a fruitful relationship, with the objectives established in a relationship, and they never arrive.

R: We [in the West] have this idea of living a happily ever after that only works in the movies. The happily ever after are few and far between. Besides, just because there is no happily ever after doesn't mean it's wrong.

M: Of course, it doesn't mean that there was nothing.

Melanie Santiler. Photo: Rocio Mascayano.

Melanie Santiler. Photo: Rocio Mascayano.

R: In relation to the process, is there anything you regret or wish it had gone differently?

M: I think there are things that I regret. For example, in the first songs I don't feel that I defended the idea I had at the beginning, but I don't punish myself, because I think I didn't have the experience or I didn't know how to do it and that's it. When you don't know, you don't know. I don't think it's something to regret, you learn as you go along. I understand my language, I understand what I want to learn now, where I am and what I want to improve.

RWhere do you determine that the goal lies: in your personal fulfillment or in the scope/impact that the work may have?

MI'm not a conformist person and I would always like to reach the top in everything I do, but whether something happens with the work doesn't depend much on the creator, it depends on the public and how they receive it. One has the duty to make it known, but there are limits that, even if we want to, we cannot cross. There is that, but I already see a closure in this project because I fulfilled my goal, even though nobody has heard it yet. It would be nice if someone made my thoughts their own, but my goal was always to look for the person I wanted to be and I think I achieved it, that's what is gratifying. Hopefully it will reach ears that really needed to hear it, and something will happen. I always say that some door must open, because when you create a world, you open doors, you just have to wait to see who crosses through.

Avatar photo Rafa G. Escalona Father of a music magazine. Professional procrastinator. His goal is to be a DJ for a station at dawn. Prince of random. More posts

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