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Todo Latino Show
Ep.142 Diana Luna of NALIP is Championing Latino Representation in the Arts
Why is it crucial for Latino creatives to have proper representation and visibility in the arts? Join us as we welcome Diana Luna, the dynamic executive director of NALIP, who shares her inspiring journey from growing up in Mexico City surrounded by art and culture to becoming a pivotal figure in the U.S. advocating for Latino voices. Diana recounts how her father's passion for arts influenced her career and her relentless drive to fill the representation gap for Latino creatives in the U.S. With an engaging discussion on navigating the creative industry, Diana provides invaluable tips on pricing art, understanding contracts, and leveraging social media for self-promotion.
Our conversation also delves into the challenges faced by studio executives in promoting diverse talent and projects. Diana shares the successes and frustrations within the industry, discussing how critical community and media critic support are for the longevity of diverse content. We celebrate notable projects like "Blue Beetle" and "Flaming Hot," while also addressing the disappointment of canceled shows and the lack of marketing for diverse content. This segment provides insights into how collective efforts can ensure more representation and employment opportunities in media, highlighting the universal relatability and richness of diverse storytelling.
In our final segments, we explore the evolving impact of technology on the entertainment industry, discussing AI and virtual reality's potential to both challenge and enhance creative roles. Diana emphasizes the necessity for Latino creatives to be ready and competitive in this fast-changing landscape. To wrap things up on a lighter note, we dive into a fun "Would You Rather?" game centered around food preferences and cultural tastes, revealing our love for dishes like pozole verde de pollo and tamales. Follow NALIP on Instagram at Naliporg and stay tuned for more exciting updates and events.
My name is Diana Luna and you're watching Todo Latino Show.
Speaker 2:Hey everybody and welcome back to the Todo Latino Show at 1500 Live, presented by Todo Wafi. I am your host, rafael Fernandez. My co-hosts are here Yobi Daisy, our guest, has worked endlessly to elevate Latino voices. She is now the executive director of NALIP, the National Association of Latino Independent Producers. I am super excited and honored to welcome Diana Luna. Welcome to the Todo Latino Show, thank you. Thank you for having me. Guys, I'm super fangirling.
Speaker 3:Yes, you are.
Speaker 2:They know we were trying to prep for this interview and I was like that's the first question, all right. So I definitely want to know, like your backstory we love origin stories here and I think it's like a really important part of the show. But I know that you were born in Mexico City. Yes, and I was just talking to Eli Vasquez, who's coming to Revolución, and he was telling me that he's now got a place in Mexico City because he loves it so much, like the beautiful aspects of it there. What was it like for you and your family growing up there?
Speaker 1:Oh my God. So yes, proudly from La Ciudad de Mexico.
Speaker 3:Bienvenida.
Speaker 1:And it's many years ago that I left home by telling my parents I'll be right back.
Speaker 3:Yeah, it was just a work thing.
Speaker 1:It's going to be quick. I'll be right back, and I never did.
Speaker 3:Wow.
Speaker 1:I'm still telling them that I will go back, ya vengo ya vengo, ya vengo, ya vengo, and it hasn't happened.
Speaker 1:And it hasn't happened because you know how the mysterious roads take you to places that you never thought of, places that you would never have thought of. And when I was in Mexico and actually I share this at the summit, actually because I was reflecting a lot into how I am here with this ginormous responsibility and what took me here and I think it was mainly my dad that he was like every Sunday, instead of going to church, we went to a museum, to a concert, something that had to do with arts and culture, to all the film festivals at La Cineteca Nacional and it was all throughout growing up, all throughout and growing up.
Speaker 1:I told once he was already much older, a total adult, and I asked my dad why do we keep going to these places over and over all the weekends? And he said because art is what makes us human and when you are in contact with the arts you become a better person, you become someone that is aware of your surroundings, you become more compassive, you are aware of our differences and the things that we have in common. So that got totally stuck in my mind. I'm thinking you're right and that's why we come here, mainly because there's no other species that have the appreciation of the creativity and there's no other animal that is creative.
Speaker 1:But we are, and that kind of set the path into me actually coming to the US working with creatives and from there that has been always my career making sure that creatives have a space, so that people have access to arts and cultures, that we can create social justice around the world. Because this is how we connect, this is how we talk to each other, through music, through film, through paint, and sometimes we're not that aware of that, but that is interesting into who we are, and that's pretty much how Mexico has such an impact in my growing because thankfully in Mexico so much you know like free access actually to a museum, to I mean you're embedded in culture while you're walking on the streets. So I kind of always took it for granted until I moved to the US and I realized that as an individual I was not seeing who I was expressed in arts and culture. I realized that where are our Latino artists? Where are our Latino filmmakers? Where are they?
Speaker 1:And I was so confused by that, since I live on the East Coast and from there I started working into programs that and it was just I don't know, it's just like life takes you there right away. But I began working through academia that I was able to connect those two, like what's happening here, what in the US? We don't take art for granted, or film festivals should be part of what you do with your parents right for granted, or film festivals should be part of what you do with your parents, right. And I began my career working in academia, developing programs to support the arts, non-profits and later everything that had to do with commercial art, and then I entered, with a filmmaking aspect of it, into how do we create, prepare creatives to advance their careers?
Speaker 1:Because, also, as a creative, you are not thinking of the impact that you can have, because it's your need to express. You are needing to express who you are, the things that are worrying you, everything that is affecting your surroundings, and the ability to say it through writing, through film, through a paint. That's how you connect with humanity, right. But at times that is, yes, always that's the priority to communicate, but maybe not necessarily to make a living of it or not necessarily aware of providing that visibility to the masses, to a wider audience. And this is the work that I love doing, into making sure that, as a creative, you understand what is that path to develop your career, because, as creative, sometimes what matters the most is your art, in whatever capacity, rather than, hmm, I wonder how I'm going to pay the rent this month, or I wonder how can I be competitive, because it goes kind of against it, because this is my piece of work, if you understand it good, I don't care. If I make a living, I don't care. No, we do care Because it matters.
Speaker 2:It matters, yeah.
Speaker 1:The exposure. So that's how my career got into.
Speaker 2:Yeah, because I was wondering about that.
Speaker 3:Yeah.
Speaker 2:You have a, a master's in business administration, and then you have that's where you got the. You went into your master's for arts.
Speaker 2:Exactly, I was going to ask that In business, but it doesn't I mean, and we're going to talk about NALIP, obviously, and the representation aspect, but some of the ones that you were mentioning, um, let's initiated and oversaw the Latino Arts Fellowship, which aimed to increase the position of Latinos, and then LMU, which is an extension of Loyola Marama University, and then you managed over 160 training job certificate programs. That's insane. That's insane.
Speaker 1:And I could talk about it. Well, still, I still remember them, all of them, like just ask me yeah, of course that's crazy.
Speaker 2:And then the last one, I think, was what is it TFT? Yeah, tomorrow's.
Speaker 1:Filmmakers Today.
Speaker 2:That's the one, that and that one you're doing for the Latino filmmakers.
Speaker 1:Yeah for Hola Mexico Film Festival.
Speaker 2:That's crazy and I'm excited that there are people like you that do that. Like, for instance, my kids. They're all in the arts. So I have another one who was an artist. I can remember all the things they had to do for the grind in order to get to where they are now, like I remember building a basement studio, like an art studio, for my daughter to be able Well, not a basement, but like a garage we literally put walls up so she can hang the canvases to try to support her and everything that she was doing, so she didn't have to go out there and pay for the studio and now she owns a studio and all kinds.
Speaker 2:I mean it's crazy, um, but yeah, I'm really excited for that. Like, what are, what are some of the things that you see from artists themselves that are some of the struggles that that they're going through, that, if you could change, would be one of those things you're like yeah, this is some advice I can give that yes, I think that we cannot separate um arts, the aesthetics of professionalizing your career.
Speaker 1:I think it I don't know why, but even that MFA's is um, I don't want to judge, but um, there are a lack of preparedness for just as simple as understanding a budget. The aspect of finance is so important for, for the arts, for the nonprofit world.
Speaker 2:I noticed filmmakers. I know my daughter went to art school she went to. Was it a no, it'll come to me, but she went to art school. One of the things that they didn't show her were some of those key things like how to price your art or how to the look over the contracts and how to deal like how the galleries and so forth and the same with with uh, you know, my daughter, she as an actress, they didn't go over some of those things.
Speaker 2:It was always just about the promotion, headshot, headshot, headshot, backstage, backstage, backstage, but never about the physical like, like, finance, part of that the finance aspect of it, the legality of it.
Speaker 1:I mean, there are so many things around that makes you an relevant artist or relevant filmmaker. That has to do with the people that is around, that is managing your career. And if no one is managing your career, even more important, so that you understand, once you see a contract, oh okay, this is, this is not right. Or even when you're putting together a project, well, this is not feasible.
Speaker 1:I mean, we're never going to be able to cover that budget, or not understanding marketing your audience, and sometimes, again, the creatives are not necessarily inclined into thinking that way because, again, it is about what comes from them rather than preparing for a marketing campaign and selling your work. But at times it is also important to understand the nuances of your work, understanding who you are talking to and how do you create a reach because I think that is the main, main thing about our society to how do we create access and the access goes by an artist understanding how you're going to promote yourself. How are you going?
Speaker 2:to become visible, especially in this day and age I mean there's more than ever, because back then you didn't have social media and I was like now social media is an intricate part, like they ask actors now how many followers you have like it's insane.
Speaker 3:It was gatekeeping in the sense of accessibility.
Speaker 4:I really love what you said about art when, when I first interviewed Edward James Olmos, he said that the strongest art form is being in a theater watching something. And I believe that because a lot of people don't like going to the movie theaters anymore, right, but I still do because I appreciate the art of it and I know what La Leap is about. And I'm curious what is La Leap? La Leap, right. What is NALIP? Nalip, right. Yes, what is NALIP Like? If you could go into depth.
Speaker 1:Oh, absolutely so.
Speaker 1:Thankfully, nowadays we have different organizations that are supported of creatives, specifically of Latinos, and I think this is an incredible aspect of the world that we live now.
Speaker 1:But, most important, all these organizations were also changing to adapt to the needs and to the new concept of our community not new, but our stronger concept of community that we're building. So just to make a differentiation, for example, uh, with lalee for lfi, their focus is pretty much into youth, uh, and understanding uh, that youth also have that potential and that support to be the next great filmmakers, but also they focus a lot into their film festival and other programs. Nalib is specifically into career development, access and visibility of our members. So we have an incredible community of filmmakers, mainly, and executives nowadays that we come together and, through our resources, they have access to either workshops, incubators, career development programs, networking opportunities and visibility through our platforms. So it's pretty much this membership organization that wants to bring community together, working opportunities and visibility through our platforms. It's pretty much this membership organization that wants to bring community together in order to get the space that we must have now.
Speaker 4:Is that NALIP or NALIP? I call it NALIP, I think it was given as NALIP.
Speaker 2:We call it.
Speaker 1:NALIP.
Speaker 2:It depends. If you're saying it from an English perspective, it's probably Nalip.
Speaker 4:Yeah, I know right. And then if you're going for Latino, it's Nalip, Just like Nalip, nalip.
Speaker 2:Nalip. I'm pretty sure the people were like Lailiff.
Speaker 1:Lailiff, where you going.
Speaker 2:You're going to the festival.
Speaker 1:The Lailiff Festival. Speaking of, one fun fact is that Nalip was founded 25 years ago. Yeah, and Edward was also part of that project back then where these all very incredible, strong independent producers 25 years ago realized that there was about to be a boom of their work. They came together also to advocate for the rights of the Latino public broadcasting and understanding how they were going to really create this environment of supporting each other.
Speaker 1:But, you know, things change throughout the years but that was how it became to me Very cool, I know that you guys get first-hand knowledge of trends.
Speaker 2:It's one of the things like I pick up data and as soon as it comes out, I start analyzing it and everything seems to be like changing so much. Like what are the most significant opportunities that you see for Latino creators today?
Speaker 1:mm-hmm. Well, we've been going through many years or I will say throughout these 25 years and other organizations that we've seen that the access that Latino talent have into the industry it's minimal, it has little glances of success in here but not really, and it's a constant struggle that doesn't really get us. It doesn't be steady, it is a steady low pretty much. But what it's very clear now is that after the pandemic and we've seen again over and over cancellation of shows and things that we don't feel necessarily proud of in terms of the industry what it's very clear is that we're entering a transformation within the industry and understanding what is next.
Speaker 3:So you think that we're in an evolution right now, Diane?
Speaker 1:I think so, and I am very curious into what is going to happen next year because, as we have released so much data about how the Latino audiences are the ones breaking the box office numbers, we've seen that right. So the data is out there, the data on the power of the Latino community financially, it's out there. But we also see that there's a lot of young talent that is rising and they're coming very, very strong. So we have this foundation of understanding. Okay, executives, the studios realize that the potential on all aspects is here. What do you want to do with it?
Speaker 1:like we see ourself in the front lines, but what is happening in the in end, so in the back end, I think the most important thing that I feel it's a huge responsibility of what we do, it is supporting our executives and making sure that there are more hires in terms of any level really of executives, because I think that is the first like impediment into things to really create a change, and I kind of get it because, you know, let's say that we're in this room here and we have, uh, someone from korea let's not go that for korea and comes and says look, I want you to put this person on my show.
Speaker 1:He's great. How do I know how?
Speaker 2:do you know that this?
Speaker 1:person is great, oh, and he's very, very funny. What if he isn't? What if he's totally inappropriate? You know what if it's someone you know? And you, you are going to be very cautious, unless your best friend, that he's a Korean guy, will say no, that he's a Korean guy was like, no, yeah, they're amazing.
Speaker 2:And you were like, oh, okay come in, so you need somebody in the room that can vouch for that person and be able to.
Speaker 1:Yeah, you must have someone on that room to green light projects.
Speaker 2:Who has an understanding and is able to that, has an understanding and not just asking.
Speaker 1:you're asking your friend, but and that we big time love- Specifically producers, writers.
Speaker 2:There's a lot of producers like in those specific areas, showrunners, things like that.
Speaker 3:Very huge.
Speaker 2:I want to piggyback on what you were saying, because we had a huge year when it came to certain things like Blue Beetle, flaming Hot, the amount of effort that Evelyn Gore had to do in order to get Flaming Hot to be as successful as it was. But we do see what you mentioned a lot of the cancellations, and I've been very vocal with it, with Netflix and a lot of the other companies. Shows like Not Dead Yet, mr Iglesias, the Horror of Dolores Roach.
Speaker 1:I mean Free Ridge.
Speaker 3:Free Ridge was the ultimate.
Speaker 2:Free Ridge got me to write an article and send it specifically to the, the Latinx director of of Netflix, because we were never given access to promote it or even the tools to be able to do that. And the show came out in February I think is what it was and not even two weeks or three weeks later they had already canceled the show, which was beyond me, and everybody who I spoke to just didn't even know the show existed or that it was a spin-off. You know what I'm saying, and so for me, like, what are your thoughts on why that is taking place?
Speaker 1:so there several aspects. I think the and the one that I will say is that you know it's, we have these array of choices right when you go on your team, just go to your TV and you're like this one right and first the mystery of marketing. And who makes it into that first line on your TV, right? And we don't really have data into those clicks and what is successful and what is not. So that is something just to point out and how can we find out more about the decision?
Speaker 1:making into what you market and what you don't, but let's say that there is no marketing. Well, as a community of creatives, if I know that you have something out, my responsibility is to go turn on my TV and leave the show playing, even if I don't want to watch it.
Speaker 4:I so agree with that and two people don't get that though so is that how it works? Yes, like you no like I honestly don't know, like you have to watch things in order for it to keep going.
Speaker 2:Every play that takes place, especially on Netflix and on Hulu, and on Disney, every single play that's what they're going by. How many people tuned in because that describes the popularity.
Speaker 2:I mean yeah, I mean, I've said that so many times and people are like, oh, but I'm not. I'm like, no, you had a response. They had the same responsibility with uh encanto. Everybody waited. It had to become a tiktok sensation for people to finally start watching the movie and then, all of a sudden, where people were stuck on representation, like it's insane, it is insane.
Speaker 1:And also, I will also point out, like people in the media our journalists, our critics or anyone why would you go in the media our journalists, our critics or anyone? Why would you go into detail if it was the accuracy of representation or not, if it was good, if it was bad, why would you do that to your own community?
Speaker 2:You support the work that we do and later, throughout the years, have the conversation.
Speaker 1:Yes.
Speaker 2:In the heights.
Speaker 1:I mean, who cares if it was well portrayed or not? You watch it, you support it because if that happens, you are benefiting your creative community, your care, more employment, you can more that stamp of approval.
Speaker 4:I mean we still watch other movies like that you know that second you still watch them like madam web that he didn't like. That I thought was not that great and it's okay to have bad projects out there.
Speaker 1:It's fine, it's honorable, but do you think that they allow us to have you know Not.
Speaker 3:Yet you know, once we do something, it has to be correct or at best Okay.
Speaker 1:So it doesn't have to be great either. It has to be supported.
Speaker 3:They allow us to have that wiggle room.
Speaker 1:It's not the allowance, it's like what comes first, the chicken or the egg? Okay, right, because if we don't support it, then the matrix are not there. So therefore it's canceled.
Speaker 2:Well, they have an excuse now. Yeah, now they have an excuse.
Speaker 1:Oh, it doesn't make me any money, yeah, excuse now, yeah right, oh, it doesn't make me any money. Yeah too bad right. But what happens? I was just reflecting on that the other day. Inside out, too, what would have happened what would have happened?
Speaker 3:it's at the top of the chart as latinos.
Speaker 1:We would have replicated the same acting of going to the theater the first weekend and breaking the box office office with blue beetle exactly why, didn't we?
Speaker 2:if we would it, another different thing would have happened afterwards a lot of people came up with excuses for that, because I know I was being promoted right when, when we uh, towards the end of the pandemic, so there was a lot of um.
Speaker 3:Literally the only people that can go promote it were were directors and writers, and so forth so cholo and and and you know, george, and all of them they weren't able to do it because of the actor's strike.
Speaker 2:That's what it was. I had that same sentiment because I went to see it. I went to see it when we went to the premiere, and then I went with my daughter and I went to see it then, and then I went to see it again after the premiere and then I took my son, I think, for that, and then we went and as soon as it came on online, I think it was on Max.
Speaker 2:We streamed it to kind of show it. You know the support and I don't understand because for me, like some people will say, oh, but we weren't really like you didn't see it, you automatically shot it down before you could even see it. Meanwhile you gave an unethical amount of support to spider-man, no way home, because toby and and garfield and all them were on that show and I saw latinos there. There was a lot of latinos. They didn't come out for encanto, but a month later they get for covid, but a month later they were all there. And you know what I'm saying, like I never understood the movie the longest game.
Speaker 4:Have you guys watched that? It it's an amazing movie I haven't watched it because I haven't seen any promoting on it.
Speaker 2:I just saw it come up on the advertisement for Prime, I think is what it is, yeah, it is now, and. I have a schedule for tonight to go stream.
Speaker 4:It's on Netflix too. Is that what it?
Speaker 1:is on.
Speaker 3:Netflix. It just got it. I was never aware. I just saw the advertising for it.
Speaker 1:It is a great movie. It is a great movie and it's a general audience reach. And again, it's not that we are dwelling on the Latinidad, no, it is just a good movie, as simple as it gets, and I think also has to do with how, as a community in the US, we are also manifesting of who we are and how do we create change. I think something that I feel very optimistic about it is that now, as organizations, we're coming together and I mean leadership has changed, and it's not that it was bad or good or bad, it is just it's changed. And I think now we see a different level of urgency and understanding that it's only through the power of all good or bad, it is just change. And I think now we see a different level of urgency and understanding that it's only through the power of all that we can create change. And it is not about necessarily competing, as you were just mentioning before. It is not about my project, my festival, and no.
Speaker 1:It is how do I support you In the tiny little thing that you can do? It creates an impact. It creates a bigger impact. But, like as we do right now with Blue Beetle, we really try to make a huge effort and this is the thing that we don't have a budget for it, neither of the organizations. But we were still calling everybody like buy a theater, buy a theater.
Speaker 2:I remember that.
Speaker 1:And let's publish this letter, and let's do this, and let's do that. Who's paying for that? Not the studio right, but that was not important. What was important is to live it as much as we could together and I think that the more that we get to do those things and amplify at its maximal potential, then we can create that perception and understanding to our larger community that might not be involved in filmmaking to say, oh yeah, let's just go support, let's bring all my family, let's get those five tickets.
Speaker 2:Yeah, we did everything. We posted meme-type promotions, we posted video-type promotions. We had our marketing team do everything that they could. When we went to the event that we were invited to and we had spoken to Angel Manuel Soto, we posted up his reels and stuff. I mean, we did everything to push everything that we could and then it became a streaming sensation when it came out on Max.
Speaker 1:Yeah, the streaming did really well.
Speaker 2:It's insane. It's almost like we were waiting. We couldn't support it in the theater. We were waiting for it to come out on the stream services so, yeah, that that really frustrates me when it comes to that aspect of it we gotta change it so what are your thoughts about diversity.
Speaker 3:I was looking. You know what are the upcoming projects that you have on your board, especially because we see a lot of women. You know BIPOC filmmakers storylines. That reflects the diversity in Latinidad. That reflects the diversity in Latinidad.
Speaker 1:So I'm very excited because also we know that Latinidad is so wide in terms of the concept and what it includes.
Speaker 1:But I also see that when we talk about diversity, and in this particular with the programs that we have in Alip, we don't want to isolate our community by any means. Instead, we want to make sure that we're bringing everyone on board, that we have those conversations with all the BIPOC community. That's so important because, at the end of the day, we all have the same struggle. And again, what happens if we come together as this unity where we are relating to our Asian community and anybody really? So, one of the programs that we have and we're about to open in the coming month or so.
Speaker 1:It is and this is I think I forgot how many times we have run this program right now, but that might be about the four installment or something, yes, of our Diverse Women of Color.
Speaker 1:That is a program, and this is what I think is cool when I feel very optimistic about things, and I will tell you why.
Speaker 1:So we are having this program and we provide $30,000 to a filmmaker to develop the pro um, the project, a short, a short film and we select women of color uh, regardless if you're latina or not, you are part of this program, yeah, and it's so empowering and the projects, because now you got the funding, you can add more to it, you can really explore your ideas and make them happen.
Speaker 1:So and it's incredible, because you get the visibility we promote as much as we can then we get the access into the film festivals and so forth, and they have had great results. So Netflix is the one supporting this program and when I see that I, or when I feel optimistic, is because I know that the people that are championing these projects at Netflix they do care and it is not as we might think, oh, they want to just do the check. You know supporting diversity, the initiative. No, it is because they understand the impact, they understand how relevant it will become and how important it is also for their content and that we understand what is that content that vibrates with the community, that is needed, that are very different stories that they might already have in their services.
Speaker 3:Yeah, because we keep on saying that we're not a monolith. We have different stories you know, and it's like how we see ourselves in these spaces.
Speaker 1:And I think it's like programs like this, then it makes this happen Because, again, if we go back into this terribleings of what Latinos are, you know they're anarcho, you know they're like struggling Stereotypes, all the stereotypes. That is not a genre, you know we go, oh, latino content. This is what it's about. No, it has nothing to do with that. It's like you have incredible stories and then, oh, you happen to be Latina right or the writer you might never find out that it was a Latina writing that.
Speaker 1:I have an incredible example about that just recently Well, not recently, but with Isa Lopez. She's Mexican and True Crime the show you will never, ever ever find out that you have a Mexican behind. But when she talked about it, she's saying that it was so important for her to be part of that show because she's so concerned about giving visibility to the disappearance of women and she wanted to focus into that In a totally different environment, in a totally different setting.
Speaker 1:But that is a problem that in Mexico and Latin America Los Feminicidios she cares so much about that. Through these stories, she's telling what matters to her and as an audience, we are not questioning it, but we're learning through it. We're seeing it through this show and you know how everything transforms so beautifully.
Speaker 2:So with programs like D like, like diverse women of color, that's what we are aimed to to do great yeah well, we have many more something that, um, when I interviewed rafael agustin, it was the same, literally the same logic that Latinos not a genre, and for our stories to have an impact, we need to be able to kind of wave from that mindset and make horror movies or make movies or family movies, or make you know animated movies, which can or cannot, you know, depending on what you're trying to do have Latino characters in it.
Speaker 2:Do you feel like because, when we talk about all these cancellations and all these different products, do you feel like that's maybe one of the mistakes that we're not making content that's relevant across culture, kind of like what's done by other entities and so forth, or that we're not making content that's relatable across the board? I feel like a Latino family is no different than other families, with the exception of the little things that we have in our culture that separates who we are, but the problems are the same and we don't really push.
Speaker 3:You know the struggles and the celebrations are the same, like, for example, I'm catching up with different variety of shows yeah. I want to say Rami. Rami is about an Arab, egyptian, american, but the problems the issues that happen and I know the timing that the show took place. Again, I can relate to it. I'm not Arab, I'm not Muslim, but the issues that he had with his parents, with his sister, with his friends.
Speaker 2:And that's what I'm saying. Like you can relate to the problem, but it doesn't necessarily have to be a problem specifically designed for that culture, Exactly.
Speaker 1:If that makes sense, yeah, and I think that this is what I feel also very excited about for the future, and it's because now, in terms of accessibility, we are becoming more acceptant on seeing other cultures on TV, but without questioning it right. All these Korean shows right that have been so successful. You're not thinking, oh, it's Korean. No, you're thinking, oh, this is really good right.
Speaker 2:Yeah it became convenient, even though they throw their culture in there like the show was just.
Speaker 1:but it's so good yeah that all, then, everything that is behind it, makes it just wonderful because, there's so much behind and I think I can. I will give an analogy with an art piece. When you see an art piece you will say, oh, I love it or you don't. And when everybody loves it, most likely is because it's beautiful aesthetically. Why?
Speaker 1:because the artist most likely has a lot of career behind yeah there is a lot of context, not only within his art, but historically, his belief system. Uh, everything that had to happen for that to be on the wall. And then then you're, as a random person. You go, oh okay, and then you start looking closer and closer and closer until you understand what is that artist trying to say. And then you learn it, you accept it and you then keep working.
Speaker 4:Same thing with movies. It's exactly the same.
Speaker 1:It's exactly the same. So I find it fascinating when we're watching other cultures on screen and we just take it.
Speaker 3:We take it like I love, fresh off the boat.
Speaker 1:Yes, an amazing it's an amazing show as well. I mean, the family's is incredible and and I think that's those are the ones that the content that we need. Are we making that contact? We might, but because we don't have access, we don't really know that we need. Are we making that content? We might, but because we don't have access, we don't really know that we are. So that's kind of the most strange problem ever, because I mean, to Nalip, we are presented with these amazing projects and then we just scratch our head. I'm like, well, yeah, they're incredible, but how do we tear down that wall so that you can get the visibility that is so needed? And, yes, out there we might have the ones that might not be as great, but there are so few of them that we can't.
Speaker 2:Yeah, I feel like La Leaf has that issue every time that they're going through films and I mention La Leaf because I'm just a huge fan.
Speaker 2:Yes, I love their festival, that issue, every time that they're going through films, when they're um and I mentioned la leaf because I'm like I'm just a huge fan, like it's one of the one of the things that um, uh, inspired me for todo wafi and and even revolution is, is the fact that, you know, I've gone to that festival and just to see people's celebration aspect of their work on screen and afterwards and just being on the carpet and things like that, um, it's just like, like, truly inspiring to me and I feel like as a, as a community, we should be celebrating more of that for each other not just once a year.
Speaker 2:It's yeah, like there's just so many, there's so many instances of people who are making projects and they want it to be out there. We've been so, implementing even the premiere that we're doing on the 19th.
Speaker 3:Exactly.
Speaker 2:We've had people who are influencers who have come up to us and say hey, we're doing a short film before we go to festivals, we want to do a premiere and we go all in. I get the red carpet ready. I get the theater ready. We do it at the culver city theater or the culver theater um, and it's their version of, like their warner brothers you know, our netflix premiere. You know and these guys were coming this week are coming in tuxes.
Speaker 4:I don't know what that but hey, let them, let them, no, hey, he wants to shine on the carpet, let them them do that Con familia.
Speaker 2:But I feel like that's such an important aspect for us to be a part of Is a celebration, not just when we have these giant festivals.
Speaker 1:Yeah, it's got to be constant.
Speaker 2:I feel like that would be a motivating factor for people to create more projects and to not be afraid to get themselves out there.
Speaker 4:If that makes sense, and I feel like the more you promote these small films too, the more people ask. I always see people. When we posted our interviews for La Leaf, people were like where can we watch this? When is this coming out? And a lot of the stuff hasn't even been released yet.
Speaker 3:Exactly, we're still seeing other festivals.
Speaker 4:Yeah, there's still other festivals, but it's really nice to promote your own people, I think. And on a different topic, I wanted to ask you how do you see the role of technology with like AI and virtual reality and evolving in the entertainment industry?
Speaker 1:So when everything was going on with the strikes, I understand and I see that there is a huge concern because of technology, how it's really taking over a lot of employment, and the writers mainly. I think those are the most somehow affected.
Speaker 1:My take it is okay if this is here and it's not going anywhere, because it was already here before. Even they call it AI. The past two years we were already interacting with it. It is into how do we prepare our community to be a step ahead, instead of the fear of just taking your job away or not becoming this writer because now it's taken over by just all these machines. Well, become an expert. That's what I was thinking.
Speaker 4:On feeding.
Speaker 1:AI and I think the more that you understand how do you manipulate the AI world, the better off. If you break it down. It's just another tool. It is a tool.
Speaker 3:And your creativity.
Speaker 1:And I think that it is here. It's not going anywhere, it's just going to become.
Speaker 2:Oh, it's just going to become more, More and more. I mean it keeps evolving.
Speaker 1:Yeah, and is it good or bad? It's to be found out. But it's the same with the tools that we have right now with the internet.
Speaker 4:I mean, who's guilty of using ChatGPT here, like for questions.
Speaker 2:I've used it for quite a few things that I want to get like a base on.
Speaker 4:I'm not saying it's going to take your job but, like you said, learn it and utilize it in a way where it's going to help you, instead of thinking it's going to take your job. It does help.
Speaker 1:But it helps as long as you are able to ask the right questions to really understand what it is that you are looking for. So for that you've got to be informed. Yes, looking for, so for that you gotta be informed. Yes, and and yes, technology it's uh, it's not this you know sci-fi movie that is going to take over. Uh, just yesterday actually, I was still in that anecdote that it was just something really dark in my head.
Speaker 3:Maybe I'm gonna give myself up, but remember when we had issues even with computers a long time ago yeah, well, here comes the thing.
Speaker 1:So yesterday we went to santa monica just to try these new self-drive cars.
Speaker 2:Yeah.
Speaker 1:I forgot what they're called. You know the white ones that are out there with the big satellite thing. So we got in just for the experience. Really, we didn't even need to go to Santa Monica. We were like, okay, let's go there. So we jump in the car and yeah, it's pretty cool, you know, just being sitting there and the steering wheel just like invisible man, it was kind of cool. So then we're almost about to get to Santa Monica, like three hours later, because the car goes really slow.
Speaker 1:And you do respect every possible speed limit. So we were like going as slow as you could possibly think, and that was funny already. But then we come to. We were about to get to Santa Monica and then the train would pass by and there was a car accident.
Speaker 1:And then the train crashed this truck. The truck was trying to cross so the car still had indication to keep moving forward. I wondered does the car understand that there is an accident? No, the car cannot understand that there is an accident. So the car just stopped there and the police were like move, move and we're like we can't oh my God, because we were stopping the traffic and the sensor will keep telling the car to go straight and would never understand that they needed to turn.
Speaker 1:And a very easy right. It didn't understand so the whole situation. No, yeah, no. So we had to call customer service. Customer service helped and they're like okay, now we're gonna connect to the car and like give these instructions you have to go through that hole.
Speaker 2:There's no, no, like turn off the automatic.
Speaker 3:No, no, no, no no, no no, no, no no, no, no, no, no, no, no, no, no, no no no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no no no no, no no, no.
Speaker 4:So is it considered an Uber? Is it like an Uber, like an?
Speaker 1:Uber. So bottom line is like there were people involved to help the car make that decision to turn right.
Speaker 2:To turn right, no big deal.
Speaker 1:To make sense out of it To make sense out of it. And then we forgot a pair of glasses there. So again we had to call people and someone had to go find the glasses. Like, there is people involved, right?
Speaker 2:So again is this taking away the job of an over driver, yes and no, it's just that he's transforming into have to be the customer service guy human intelligence until today.
Speaker 1:Human intelligence, human intelligence your human creativity how, how you replace creativity response, so I think this is a tool.
Speaker 4:Moral of the story is no robot will ever replace us A?
Speaker 2:Will Smith warned us.
Speaker 1:No An iRobot, no, I'm just kidding, but we got to be ready, we got to be ahead of the game.
Speaker 4:Wow, don't take a ride.
Speaker 2:I'm not riding that.
Speaker 3:I like full control so with a good segue. So what are your hopes about? What do you see for Hollywood and beyond, now that you we put almost all ideas in?
Speaker 1:yes integrating and happening we just had the our media summit. We're back, sweet back into these amazing gatherings of creatives and I just feel very optimistic, without being cocky, like, oh, life's gonna be fine, you know. But it's like that's how the world goes you go up and down, up and down and they will go crash again. Right now, I think we we live in a moment in history that we've never experienced before, and I think it's for the best, because we're forced to transform.
Speaker 2:I think we're forced to have the difficult conversations.
Speaker 1:We're forced on like kind of survival mode, and this is where we thrive, and I see that now more than ever, if we don't come together as a community, we're not going to disappear. Right DEI might, the concepts of inclusion might, and all these words in the dictionary might disappear. But, we're not. We're here stronger than ever. I think we are understanding what the environment looks like and it's just a matter of putting our heads down and get to work by being ready and to me ready means career ready.
Speaker 3:Yeah, yeah.
Speaker 1:We have to be as competitive, we have to be as fast, we have to be, as you know, as powerful that we can possibly be together, because what is ahead is going to be rough. It's rough, but I think it's when people really go up, strive. Strive, because then we got the challenge and I think we're ready to take it so, Paño, nos tenemos que poner pilas. Nos tenemos que poner las pilas. And yeah, and when you have that sense of emergency, I think you have no choice. There you go.
Speaker 2:I'm a big dude. I got to get those D-cells.
Speaker 2:Takes two or three people to get me going. So I really appreciate this conversation. That was absolutely amazing. That's fun. Thank you for sharing that insight, because there's a lot, absolutely amazing. Thank you for sharing that, that insight, because there's a lot.
Speaker 2:You know, I deal a lot with the um. You know daisy's on the carpet and jovi's, you know, working with us on the show and um, and I deal a lot with the people who are who we're trying to get access to to be able to kind of promote a lot of the things that we're trying to do. And and it's been really eye-opening to see how media companies work, distribution companies work. And you know, as a Latino, like in some, in some instances I'm like why did we make that decision as a community to not to do, not to do? And then in some instances I'm I'm always fighting on the background and on the forefront, you know, through emails and stuff, like why did this take place? You know it would be a great answer for that um, but you sharing insight gives us a lot of that, you know, even in the, in the wing. So I thank you for that thank you for for the invitation.
Speaker 1:I think, like this is a you know, different moments in history that we have to embrace. Uh, I feel optimistic again about our community because again I feel that the strength of our members at NALIP, the talent that is out there, is incredible. So we have all the tools and again things might change, but we're here, we're not going anywhere.
Speaker 2:How do they do that process? If somebody wanted to become a member of NALIP, like, how would they do that?
Speaker 1:Oh, it's super easy and actually it's kind of fun, because when you go on our website, you just click become a member. It's actually pretty affordable and that gives you access to everything and beyond meaning, our events the networking opportunities, discounts or free application to the programs, and also we have office hours, which I picture it with a red phone, but I mean there's no red phones but it's to me.
Speaker 1:In my mind, the concept was of a red phone where, if you have a question something about your career the immediate assistant with something that has to do with your projects you just call us and we'll figure out how we can help you. So, yeah, kind of a red phone.
Speaker 3:Very cool, I will get one.
Speaker 2:My red phone. Very cool, I will get one, my red phone never goes, never like shuts up.
Speaker 1:It's constantly ringing ours too, but it's a whole feeling now we're happy, like the batman thing from the 1960s.
Speaker 2:Yeah, you remember that. Yeah, that's how I see it, commissioner. All right, so we're at the part of the episode where we're going to play a game. And the game is Babbler, Would you Rather? And we're going to ask you a question and you have to tell us which one you would rather do.
Speaker 1:You ready A ver A ver, a ver A ver la colita.
Speaker 2:Here we go. So would you rather have guacamole or salsa guacamole, guacamole. I feel like that was that's yeah, would you rather have tacos or empanadas? Savory if you had to choose an empanada like what, which one they can, so they. They only have sweet ones. The pollo Empanadas, empanadas, okay, all right Savory If you had to choose an empanada. Like which one? De queso, de queso. Oh, you like the queso. Okay, I feel like the only time I don't like the queso is because they don't always feel it the way.
Speaker 1:Correctly. Yeah Well, I'm a quesadilla person.
Speaker 2:Very cool, all right. Would you rather cumbia o merengue?
Speaker 1:Merengue.
Speaker 2:All right, that's a faster one. I'm Dominican-Puerto Rican. I go off All right Telenovelas or movies, movies, movies. That's a good one. Pozole o menudo. Pozole, pozole o menudo.
Speaker 4:Pozole, pozole De pollo, de pollo Verde, yes, all right.
Speaker 2:Would you rather have tacos for breakfast every day or tamales for dinner every night?
Speaker 1:Tamales for dinner every night.
Speaker 2:No, yeah, I feel like I would have won with that.
Speaker 1:De pollo De pollo, de pollo Verde. Yeah, green de Verde, yeah.
Speaker 2:Yeah, I feel like I would have won with that. I don't know about tacos for breakfast every morning. That kind of sounds nasty actually, yeah, it does, I don't know, I love tacos, but not for breakfast.
Speaker 1:Our producers are looking at us like we're insane oh we didn't specify what kind of tacos.
Speaker 2:They didn't say breakfast tacos, so I'm assuming that they were talking about tacos de res or al pastor. Oh, I need my Alright would you rather telenovela's dramatic stare or the telenovela obnoxious cry? No dramatic stare.
Speaker 1:The dramatic stare. Oh, she gave it to you. I didn't see she was like ding, ding, ding, that's crazy.
Speaker 2:Alright, let's see Accidentally spilling mole on your white shirt or stepping into guacamole with your favorite shoes.
Speaker 1:No, the guacamole with my favorite shoes Mole.
Speaker 2:Would you still eat it after you stepped in it? You?
Speaker 1:have to eat it too. I thought you just stepped on it, that's insane.
Speaker 2:It's like a five-second rule for step no.
Speaker 4:No, it's not the same. It's not the same. That's not an option.
Speaker 2:That is funny.
Speaker 1:I added to it the mole would stain forever it doesn't come off yeah the mole will not come off, mucha, mucha.
Speaker 2:Okay, so I'm not. I've only mole once. What is mole?
Speaker 1:Okay, so mole is a paste that is made out of different chiles and chocolate. So, and it depends on the region, the kind of chiles that you have, so it could be like mole negro, mole de olla, mole verde. Now I'm hungry.
Speaker 2:I think I had the mole.
Speaker 1:We have a real serious problem on this show.
Speaker 2:I think I had the mole. It was like a dark. It looked like.
Speaker 4:They're all kind of dark brown. Yeah, oh, is it a dark brown?
Speaker 1:They're all of it, it is dark brown, but it could be black too.
Speaker 4:So you can go, depending on.
Speaker 1:Puebla or Oaxaca. I actually don't like mole. It is, it's a very you got to acquire it.
Speaker 2:I chose it as a dinner we went to. That was in Borland Heights and I chose that because somebody said it was a really good choice.
Speaker 1:La Casita Mexicana has a very good one. La Casita Mexicana is good.
Speaker 2:La de la Guita has a different one. I don't think that was the name, did you like?
Speaker 4:it, though, or it was okay. It was okay. It's a little sweet. It's an acquired taste. Like she said, it's definitely an acquired taste.
Speaker 2:It grows on you as you eat. But if you're not the type of person that likes that kind of like that type of flavor because it's got a unique flavor, it's not like it's.
Speaker 1:Yeah, but there are good places in town where you can find different kind of more yeah.
Speaker 4:Last question, I wanted to add an unpopular opinion of dishes you do not like. Oh, I don't like menudo. Yes, I we talked about this last week too. See, I'm. Puerto Rican, dominican Menudo is a band of five kids. I want to ban Menudo. That was touring the entire world.
Speaker 2:I'm like Ricky Martin.
Speaker 4:You're the second guest that says that, and I agree, yeah, yeah we should speak.
Speaker 2:Okay, so now speaking from From not an intelligent side of this. What is Menudo? It's Mondongo.
Speaker 3:Oh really, menudo is Mondudo, it's mondongo.
Speaker 2:Oh, really Menudo is mondongo.
Speaker 3:Yeah, it's tripe.
Speaker 2:I didn't know that it's like really hard to chew.
Speaker 4:Yeah, there's no meat. No, it's not, it has to be really well cooked.
Speaker 3:I know that because this was one of my grandmother's main dishes that my uncle used to love, and then I will taste it, and you're 100% sure that Mondongo is just like.
Speaker 1:Menudo, it's the stomach of the cow, uh-huh, oh.
Speaker 3:It's really kind of like hairy.
Speaker 2:I don't know when my mother makes it and my grandmother makes it. That thing was so soft.
Speaker 3:It's supposed to be like kind of like very, how do I say it? It's not leathery.
Speaker 2:I will agree, though, that the texture is not probably a fan favorite.
Speaker 3:Yeah, but you have to watch it and then it looks like velvety, velvety, white kind of thing?
Speaker 4:or what about tacos de lengua de tripas and all that stuff.
Speaker 3:I used to eat liver cancel, cancel, tacos de lengua.
Speaker 2:See, I'm glad that in my culture it's just pork and chicken and mofongo and like plantains. I would be happy with that we should go to Caribbean cuisine one day yes, and go get Tres Golpes. Oh, there you go. I took Nostalgic. Latino and. Alexander hey.
Speaker 3:I'm supporting my people Tres.
Speaker 2:Golpes. Tres Golpes is um mashed plantain. I love that and then it's got a satchichon. That's like amazing. It's got fried cheese, it's got an egg, and then they put red cebollas on top that sounds good.
Speaker 1:That's my kind of food.
Speaker 2:One day we're going to have to just yeah.
Speaker 1:Right after this, we're going to schedule it.
Speaker 2:We'll go support. She just opened up a restaurant, so it's really cool. Oh really, she had a food truck and Give them a shout out. Caribbean cuisine. The Instagram I believe it's Caribbean underscore cuisine with a K so and everybody calls her Tia everybody's.
Speaker 3:We're going, she's rooting, we're rooting for her.
Speaker 2:Then, yeah, we were there, we were there last weekend. We it's. They sell everything Maduro's Tostones oh my goodness, I'm going they also sell.
Speaker 1:Vicks.
Speaker 2:I'm sorry she's so Vicks. I'm sorry she's got Vicks over there, you know so, so, alright. So if people wanted to follow you and Nalip, where would they go? Naliporg that's our Instagram.
Speaker 1:Yes, very cool very cool we post there all different kinds of very useful information from stats, projects, events, everything in between.
Speaker 2:So what if they want to follow you personally?
Speaker 1:Yes, LunaDiana29.
Speaker 2:LunaDiana29?.
Speaker 4:Yeah, nice, why the 29? That's my birthday. She's like forever 29. Forever 29. Yeah, that could be true.
Speaker 2:So again, really appreciate for and thank you for being a sport and playing the game that was actually no, that was fun so and educational.
Speaker 2:For those of you who didn't know anything, like I know, when it comes to to those specific type of foods, very cool, um, but that's our show, everybody, thank you for tuning into the latino show here at 1500 live. I am r Rafael, that is Daisy, that is Yobi, that is Diana Luna and you can follow us at Todo Wafi, at Todo Latino Show. Check us out on YouTube and all of your favorite listening apps, and keep in mind Revolucion is almost two months away. Get your tickets now. We've actually customized your experience so you can actually buy specific panels and seminars. Um, make sure you join us at the gala night and, uh, the comedy show with aida rodriguez. And again, if you see me at the event, please say hi. If I run away, it's probably because you're scary, but again, uh, thank you for joining us and we are out.
