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Thursday, 7/17/14Democracy Now! 2014-07-17 ThursdayDemocracy Now! 2014-07-17 Thursday Headlines for July 17, 2014 Horror on Gaza Beach: New York Times Photographer Witnesses Israeli Killing of 4 Palestinian Boys U.S. Turns Back on Child Migrants After Its Policies in Guatemala, Honduras Sowed Seeds of Crisis Nobel Economist Joseph Stiglitz Hails New BRICS Bank Challenging U.S.-Dominated World Bank & IMF Download this show
Wednesday, 7/16/14Democracy Now! 2014-07-16 WednesdayDemocracy Now! 2014-07-16 Wednesday Headlines for July 16, 2014 "Iraq Has Already Disintegrated": ISIS Expands Stronghold as Leaks Expose US Doubts on Iraqi Forces Is an Iran Nuclear Deal Within Reach? Dissecting the Latest Talks over a "Manufactured Crisis" How Do We Define American? Jose Vargas, Symbol of Undocumented Immigrant Struggle, Detained in Texas Download this show
Tuesday, 7/15/14Democracy Now! 2014-07-15 TuesdayDemocracy Now! 2014-07-15 Tuesday Headlines for July 15, 2014 With 192 Dead in Gaza, Is Lasting Ceasefire Possible Under Israeli Occupation? After Palestinian Unity Deal, Did Israel Spark Violence to Prevent a New "Peace Offensive"? Green Scare: Animal Rights Activists Face Terrorism Charges for Freeing Minks from Fur Farm The Prosecution Gap: Corporate Polluters Rarely Criminally Charged for Violating Environmental Law Download this show
Monday, 7/14/14Democracy Now! 2014-07-14 MondayDemocracy Now! 2014-07-14 Monday Headlines for July 14, 2014 "Israel Targets Civilians, the Casualties Speak Volumes": Int'l Protection Urged for Besieged Gaza "We are Human Beings": Gaza Doctor Pleads for End to Israeli Bombing of Civilian Population Norwegian Physician Treating Wounded Civilians: Stop the Bombing, End Israeli Impunity in Gaza "Your Body Is No Longer Your Own": Freed OWS Activist Cecily McMillan on Plight of Women in Jail Download this show
Saturday, 7/12/14RIP Jazz Legend Charlie Haden; Watch His 2006 DN! Interview on His Life, Music and PoliticsLegendary jazz bassist and composer Charlie Haden died on Friday in Los Angeles at the age of 76. Watch him discuss his music and politics in this September 1, 2006 Democracy Now! interview. We speak with legendary bass player, composer and political activist, Charlie Haden. In the late 1950s he played in Ornette Coleman's groundbreaking quartet which changed the shape and sound of jazz. Over the years, Haden has won countless music awards, including two Grammys. And he has played with many other jazz greats including John Coltrane, Don Cherry and Archie Shepp. Charlie Haden has also been one of the most politically outspoken jazz musicians. During the middle of the Vietnam War, he and Carla Bley formed the Liberation Music Orchestra. The group's debut album mixed songs from the Spanish Civil War, anti-war songs and a tribute to Che Guevera. In 1971 he was jailed in Portugal for dedicating a song to the black liberation movements of Mozambique and Angola. In 2006 Haden re-formed the Liberation Music Orchestra to respond to the Bush administration and the invasion of Iraq. He titled the album "Not In Our Name." Charlie Haden joined us in our Firehouse Studio. This is a rush transcript from September 1, 2006. Copy may not be in its final form. AMY GOODMAN: Charlie Haden recently joined us in our Firehouse studio to talk about his music and politics. I asked him to talk about how he began playing music. CHARLIE HADEN: My parents were on the Grand Ole Opry. They traveled all over the country singing hillbilly music. That's what they called it back then. They were friends with Roy Acuff and the Delmore Brothers and the Carter Family. And all of my brothers and sisters who were older than me started on the show, after they were big enough to hold a guitar and sing. And I was born in Shenandoah, Iowa. I was being rocked to sleep by my mother, humming folksongs to me, and all of a sudden I started humming the harmony. I was 22 months old. And she said, "Charlie, when you started humming the harmony with me, I knew you were ready for the show." And so I started on the show at 22 months old as Cowboy Charlie, and I sang every day. On the radio we had two shows a week, in the morning and in the afternoon. And I did that up until the time I was fifteen years old. AMY GOODMAN: From when you were before two years old — CHARLIE HADEN: Yes. AMY GOODMAN: — to 15. CHARLIE HADEN: Right. And I yodeled and I sang, and you know. And we all sang harmony. AMY GOODMAN: How many of you were there? CHARLIE HADEN: Well, there was —- I had two older brothers and an older sister that were on the main show. And later, I had a younger brother and a younger sister, but -— AMY GOODMAN: Did this bring together family or divide you? CHARLIE HADEN: What was that? AMY GOODMAN: Singing, playing music. CHARLIE HADEN: Oh, that brought us together. That was one of the most wonderful things about bringing our family together. We all got together every morning to decide what the songs were that we were going to sing for the radio show. Just like you prepare your show, that's the way we prepared our show. And my dad would pick out the songs that we're going to sing. And sometimes we had a radio studio in whatever house we were in, and he would crank the crank that would go into the radio stations, and that would let them know we were ready to go on the air. And sometimes we would go into the studio in Springfield, Missouri at KWTO — Keep Watching the Ozarks — and we would do the show from the studio. My dad was the MC. He gave all the commercials — you know, Wait's Green Mountain cough syrup, Sparkalite cereal, Allstate Insurance. I mean, we had all kinds of sponsors. We got mailbags from all over the country. And it was really a great experience for me, not only musically, but being close to my family and devoted to this music. And my life was filled with music, and I learned so much about harmony and melody doing those shows. AMY GOODMAN: You were singing then, but you don't sing now. CHARLIE HADEN: Well, I don't sing now, because I had polio when I was 15, bulbar polio. This was when the epidemic was happening. And I was lucky that it didn't affect my lungs or my legs. It went to my face and kind of paralyzed my vocal chords, and I wasn't able to sing. And they said I was very lucky that I would get over it, which I did. But at the same time my dad had decided to retire from entertainment and start a fishing lodge down in Lake Bull Shoals in the Ozarks. He was a fisherman, so he built this fishing lodge. And, you know, in the meantime I had been listening to a lot of — this was before TV. Radio was the big deal. Everyone listened to the radio. I never went away from the radio. I listened to classical music. I listened to jazz. I listened to everything. And I started becoming interested in the sounds of jazz. And I went to a concert of Jazz at the Philharmonic when we lived in Omaha, Nebraska, and I saw Charlie Parker play and Billie Holiday sing and Lester Young play, and that did it. I said, "That's what I want to do." And I started working toward that goal and turned down a scholarship to Oberlin Conservatory in Ohio and decided to go to Los Angeles and attend a school there. It was called Westlake College of Modern Music. This was 1956, and they supposedly had jazz there. That's why I wanted to go. But why I really wanted to go to LA was to find my favorite pianist. His name was Hampton Hawes, and he lived in LA. AMY GOODMAN: Did you find him? CHARLIE HADEN: I found him. I was doing my homework one night — early one morning at 3:00 in the morning at Tiny Naylor's on La Brea and Sunset Boulevard with carhops and everything, and a guy walked in that I knew to be Red Mitchell, who was the bass player with Hampton Hawes. So I got to know him. I went up to him, and he said, "Come over to my house, and let's hang out." And I went over to his house. And one day he called me, and he said, "I'm working this gig with Art Pepper, and could you come and sit in, because I got a recording session. I can't finish the gig, and I know he'll hire you if he hears you." So that's what I did. Sonny Clark, legendary pianist, was playing that night. Art hired me. I came the next night, and Hampton Hawes was playing piano. And that was like a thrill. AMY GOODMAN: You've had a long relationship with Ornette Coleman right up until today, the time of this interview. You've just spent two evenings with him. CHARLIE HADEN: Yes. AMY GOODMAN: Talk about how you met and the kind of work, the music that you've played together. CHARLIE HADEN: I heard Ornette play the first time at a club called the Hague. I was on a night off. I was playing at the Hillcrest with Paul Bley, and Carla Bley was his wife. That's how I met Carla. And I went to the Hague. Gerry Mulligan was playing there with his band, and this guy comes up to the stage and asks to sit in. They tell him to come up, and he got his alto. It was a plastic — white plastic alto saxophone. And he starts to play, and the whole room lit up for me. It was so brilliant. And as soon as he started to play, they asked him to stop. So he put the horn back in the case and started out the back door. AMY GOODMAN: Why did they ask him to stop? CHARLIE HADEN: Well, you know, Ornette's music was completely different than traditional jazz. It was free improvisation. It was his way of improvising. It was improvising and creating a new chord structure to the song that you were playing. That's the way he played, and a lot of musicians didn't feel close to that, and it was new to them. And so, they asked him to stop playing. And so, I missed him. He would disappear into the night. I found out the next night at the Hillcrest from my drummer, from Paul Bley's drummer, Lennie McBrowne. I said, "I heard this guy play, who was brilliant, and played like the human voice." And he said, "Was he playing a plastic horn?" And I said, "Yeah." He said, "That was Ornette Coleman. I'll introduce you to him." He brought him in. We met, and I told him how great he played. And he said, "Thank you." He said, "Not many people tell me that." I mean, he said, "Let's go play." And we went over to his house, and we played for three days. And then we started rehearsing with Don Cherry and Billy Higgins. And then a guy from Atlantic Records came to one of the rehearsals, Nesuhi Ertegun, and wanted us to make a record. And we made two albums: The Shape of Jazz to Come and Tomorrow Is the Question! and Change of the Century. AMY GOODMAN: So all these very future-looking — The Shape of Jazz to Come. CHARLIE HADEN: And Change of the Century. AMY GOODMAN: What did you mean — The Shape of Jazz to Come? CHARLIE HADEN: Well, that was Ornette's title, and he always had this — you know, this vision. He's a real visionary in his music. And he has these great titles to his songs and to his albums. And so, The Shape of Jazz to Come, that's what it was. There were several revolutions, changes in the world of jazz, you know. Louis Armstrong and some other people started it out. And then there was the swing era with the big bands. And then Charlie Parker and Dizzy Gillespie came along and created bebop on 52nd Street in the '40s. That was a revolution in the language of jazz. And then, when Ornette and Don and I and Billy came to New York, that was the next one. AMY GOODMAN: You have four records/CDs out with the Liberation Music Orchestra. Can you talk about the first one, how it all began, how you established this orchestra, why its name? CHARLIE HADEN: I established it from my concerns about what was going on in the world because of the Nixon administration and the war in Vietnam, and I started thinking about, "I've gotta do something about this." And I had some music from the Spanish Civil War that was in my collection, and I started thinking about — maybe I can do — I mean, I had never done this before, you know? And maybe I could do something where I can play some political songs from the Spanish Civil War. I can write a song about my hero Che Guevara and call it "Song for Che." I can write a piece about the Chicago Democratic Convention in Chicago in 1968, where people were, you know, beaten on the street and jailed. And so, I called up a colleague of mine, Carla Bley, who I had known since 1957 and who's a great arranger and great composer, and I said, "I want to do this, and will you write arrangements?" And she said, "Let's go over the music." And we got together. I played her all the music. She wrote some pieces. I wrote some pieces. And we wanted to voice it like the old recordings from the Spanish Republican Band. They had like this brass band, where they did all these songs, and it had French horn, tuba, trumpets, saxophones. So that's what we did. And I got all of my guys that I played jazz with, you know, for many years — Don Cherry, Dewey Redman, Paul Motian, a great — Roswell Rudd — and we asked them if they wanted to do this, and they said yes. And so, you know, Carla wrote the arrangements. We had a little rehearsal at —- first of all, I had to find a record company, because every company I went to with this idea said no, because of the politics. And I finally found a guy. His name was Bob Thiele, and he had been producing a lot of John Coltrane on Impulse. He worked for Impulse, which was ABC. And I went up to his office, and I said, "This is what I want to do." And he said, "Well, it's a great, you know, project." He said, "Let's do it. I don't know if it'll be released, but let's do it." And so, he rented Judson Hall on 57th Street in New York, and I knew some Abraham Lincoln vets that had fought in Spain -— AMY GOODMAN: And you write in the record, the album I have here — thanks to our producer, Mike Burke, who is a real connoisseur of all you've done — you write about the Spanish Civil War, and you talk about how approximately 1,600 of the Abraham Lincoln Brigade came back alive. You invited survivors to you concert? CHARLIE HADEN: That lived in the New York area. And I called one of the men that I knew, and he got in touch with everybody else, and they brought their wives. And it was a very mind-opening experience for me to read about the Spanish Civil War, because, you know, Chamberlain and Roosevelt remained neutral when Franco was the dictator in Spain and there was a revolution, and they didn't help the Spanish Republic to fight Franco. And so, as a result, people from all over the world, countries from all over the world volunteered to come help the Spanish Republic fight fascism. And they lost. And if they hadn't lost, fascism would have been defeated, and there probably wouldn't have been a World War II. You know, Hitler had the opportunity to try out all of his new weapons during the Spanish Civil War. And the thing that really moved me, too, was the music that came out of that. You know, when you have people fighting to survive a life struggle, you know, you hear music from those people that's very deep and very moving. And in this case, they were all Spanish folksongs, that new words were added to them for the wartime. AMY GOODMAN: So this record was released, your first. CHARLIE HADEN: After I went to Los Angeles — I lived in New York then, and I flew to LA — and I presented one of the executives with some information that was kind of misleading, but he didn't know it. And I said, you know — they were worried about the word "liberation," because of the Liberation Front in Vietnam and all the things that were associated with that, you know, at the time. And I said, "You know, this is a very hip word, 'liberation.' That's what the United States is built on, you know." And I said, "And if you don't let me release this record, a rock group is going to steal this title." He said, "Oh, God! I never thought of that. Okay!" So, it was that easy. You know, it was plane fare all the way to LA. And then I had got them to release the album. After it was released, there was a lot of controversy about it, and a lot of the jazz critics, the conservative jazz critics, put it down. And it was kind of lost in the shuffle. But it became a cult kind of classic. AMY GOODMAN: Can you talk about playing in Portugal? When was that? '71? CHARLIE HADEN: It was 1971. I had just had triplet daughters. And — AMY GOODMAN: Their names? CHARLIE HADEN: Rachel, Petra and Tanya. AMY GOODMAN: They're all musicians? CHARLIE HADEN: They're all musicians now. And my son Josh was three years old. And — AMY GOODMAN: Aren't you going to be recording — going back to country music and playing with all of them? CHARLIE HADEN: I'm going down to Nashville and doing a country record, back to, you know, where I came from. And they're all going to come with me. AMY GOODMAN: With the triplets and your son? CHARLIE HADEN: And my wife Ruth is coming. AMY GOODMAN: Who's a great singer. CHARLIE HADEN: Who's a great singer and producer. She produces everything I do, with me. And there's a lot of people in Nashville that know about my family that really want to be a part of this. And it's going to be great. I've been wanting to do this for so long. AMY GOODMAN: So Petra, she's with the Foo Fighters. CHARLIE HADEN: She's with the Foo Fighters. And Rachel is with a band called the Rentals. She's on tour now. And the three of them sing together better than the Dixie Chicks. You know, they're great. But Tanya right now is taking care of my brand new grandson, but they still sing, and they're really looking forward to going to Nashville. AMY GOODMAN: And Tanya's married to Jack Black. They went to high school together? CHARLIE HADEN: That's right. And they have a new baby, Sam Haden Black. And Ruth and I are going to see them in just a minute. AMY GOODMAN: I don't want to keep you, but I also do want to keep you. And your son is with Spain? CHARLIE HADEN: My son had a band called Spain, which made four recordings and was really critically acclaimed all over the world. When he goes — even here, his concerts are sold out. And now, then, he just did a solo record. And, you know, the record business, because of downloading, etc., is really at a low right now, and it's really hard for artists to get their music out. And so, now he's going to put it out himself. And it's really, really beautiful. AMY GOODMAN: Well, now I want to go back to you. 1971, had you had your kids yet? CHARLIE HADEN: Yes. They were born October 11, and Ornette called and said we have a chance to go on this Newport Jazz Festival tour of Europe with Duke Ellington's band; Miles Davis's band; Dexter Gordon; the Giants of Jazz, which included Dizzy Gillespie, Thelonious Monk, Sonny Stitt, Al McKibben, Art Blakey. I mean, I can't believe that we were all on tour together. And I was with Ornette's quartet, which was Ornette, and Dewey Redman was playing tenor saxophone, and Ed Blackwell was playing drums. And I said, "Well, you know, we just had these girls, man. And I gotta stay here and help, you know." And — AMY GOODMAN: Not just girls. Triplets. CHARLIE HADEN: Triplets, yeah. But anyway — AMY GOODMAN: Did you know you were having triplets? CHARLIE HADEN: We did, yes. AMY GOODMAN: From early on? CHARLIE HADEN: My ex-wife, their mother, we — back then, they didn't have ultrasound. And there was an x-ray, which we were very concerned about, but they saw three, and they said, "You've got three." AMY GOODMAN: How late into the pregnancy? CHARLIE HADEN: This was eight months. AMY GOODMAN: Eight months into the pregnancy, you learned you were having triplets? CHARLIE HADEN: Yeah, yeah, yeah. And so, Ornette said, "Well, can her mother come out and help, because this tour is really important, you know?" And I said, "Okay." So we got it all fixed up, and I went to Europe. But I saw on the itinerary before we left that we were playing in Portugal, and I didn't agree with the government there. It was a kind of a fascist government. They had colonies in Guinea-Bissau, in Angola and Mozambique, and they were systematically wiping out the Black race, you know? And so I called Ornette, and I said, "You know, I don't want to play in Portugal." And he said, "Charlie, we've already signed the contract. We've gotta play. It's the last country on the concert tour. Figure out — maybe you can do something to protest it, you know?" AMY GOODMAN: The Caetano regime. CHARLIE HADEN: Yeah. And so, during the tour we were playing one of my songs, "Song for Che," and I decided that when we played my song, because it was connected to me, because I was the guy that was going to do it, you know, I would dedicate that song to the Black peoples' liberation movements in Mozambique and Angola and Guinea-Bissau. And I asked — I think we were in Bulgaria, and we were doing a jazz festival there. Or Romania, we were in Bucharest, and I asked one of the journalists there, who was from Portugal, I said, "I'm planning on" — because he knew about the Liberation Music Orchestra. He says, "What are you going to do?" And I said, "I'm going to dedicate — what would happen if I did this?" He said, "Well, three or four different things. You can either be shot on the spot, or they could pull you off the stage, or they could arrest you on the stage. They could arrest you in your dressing room. Or they can arrest you later. But you're going to be arrested." And I thought, you know, I don't think they'll arrest me, man. I'm an American jazz musician. This is a jazz festival. It has nothing to do with politics. I think I'm safe. So I made the dedication, and I wasn't arrested immediately, but, you know, when I did the dedication there were young people there, students, that were in the cheaper seats in front, and they all started cheering so loud that you couldn't hear the music. And a lot of police were running around with automatic weapons, and they, right after we finished our set, they stopped down the festival, and they closed down in Cascais this big stadium that we were playing in. And we went back to the hotel, and so I was starting to get concerned about what was going to happen. The next day, we went to the airport, and at the airport, I was trying to get my bass on the plane to make sure I could get the bass on the plane. And there were hundreds and hundreds of people in front of the airlines' counters. And finally, one of the people from TWA came around the counter and said, "There was a man over there who wanted to interview you, and you have to stay here." And I said, "I don't want to be interviewed." And Ornette came over and said, "What's going on?" And they say, "They want to interview Mr. Haden, and you guys are going to get on the plane. And he's staying here." And Ornette said, "No, we're not going on the plane. We're going to stay here with him." And they said, "No, you're not. You're getting on the plane." They took them by the arms, and they led them on the aircraft. And I stayed there, and they took me down a winding staircase to an interrogation room and started pumping me with questions. They said, "We're going to transfer you over to the PIDE headquarters." AMY GOODMAN: The police? CHARLIE HADEN: It was the political police of Portugal. And so I said, you know, "I'm a United States citizen with a United States passport. I demand to be able to call the embassy." And the guy who worked for TWA looked at me and smiled and said, "It's Sunday, Mr. Haden. You can't call the embassy. You shouldn't mix politics with music." AMY GOODMAN: Jazz legend Charlie Haden. We'll be back with him in a minute. [break] AMY GOODMAN: "Song for Che" by Charlie Haden, the song he dedicated to the Black liberation movements of Mozambique and Angola that got him arrested in Portugal in 1971. Charlie Haden describes what happened once the Portuguese police got him. CHARLIE HADEN: And the next thing I know, I'm in a car, and we're traveling to a prison. And I'm thrown into a dark room with no lights, and I stay there for I don't know how long. A long, long time. And finally — I mean, I was traumatized. You know, I thought I'd never get to see my kids. I thought it was over. I didn't know what they were going to do. And they finally came and got me from the room and took me up to an interrogation room with really, really bright lights. I couldn't see anything. And there was one guy who spoke English that started pumping questions at me right and left, and one of the questions, which I was kind of prepared for, because I thought I would kind of try to fool them. He said, "Why did you make this dedication?" And I said, "Well, I've been making a dedication at every country we went to. I dedicated something in Germany to the German people. I dedicated something in France." And he said, "Do you expect us to believe that?" You know, anyway, they brought a statement to me to sign. I refused to sign it, and they started to look —- one guy had a trunch, and in his hand he was doing like this. And -— AMY GOODMAN: Hitting it against his other hand. CHARLIE HADEN: Hitting it against his other hand. And as soon as I thought like everything is over with, there was a guy that came down and whispered something in the head policeman's ear. And all of a sudden he completely changed. He says, "Mr. Haden, you're going upstairs. Someone from the American embassy is here to retrieve you." And I went up to this real plush room, which was really different from where I had been, and the guy said, "Hey, Charlie, what'd you say the other night that caused all that commotion?" He says, "Wow!" He said, "Well, my name's Bob Jones, and I'm from Chicago. I'm the cultural attaché here. Come along with me and, you know, we can get you out of this place." You know, I said, "Oh, great!" Anyway, I went to his villa and went to the airport and got — AMY GOODMAN: This was Nixon's cultural attaché to Portugal. CHARLIE HADEN: This was Nixon's cultural attaché. I found out later from Ornette, too, and from other people that they weren't going to do — the United States wasn't going to do anything, because they were very embarrassed by what I did, because of NATO. And they didn't want to have anything to do with it. And finally, I guess Ornette helped, too, and one of the promoters in Lisbon was kind enough to help, and they said, "You know, this guy's a famous jazz musician, and you better let him go, you know, because it's not going to look good for you." And they let me go, and I was very happy. AMY GOODMAN: We're talking to the legendary musician, bassist and political activist, Charlie Haden. After this, did it change your thoughts about speaking out? Did it make you radioactive for other jazz musicians? Did musicians support you in what you had done? CHARLIE HADEN: Most of the musicians that I performed and played and recorded with all supported me. You know, it's such a struggle for jazz musicians in this country to get their music played and to the people. And in that struggle, they don't really have time — or, you know, they're struggling to play their music, and I think that that's the reason that more musicians don't speak out politically. But I started getting worried when the FBI came to my apartment, and they had been watching the house. I saw cars out in front on 97th Street, where we lived, and I knew plain-clothes cars when I saw it, you know. And they finally came up to the door and rang the doorbell, and they said, "We're FBI. We want to talk to you." And I said, "Well, why should I let you in?" They said, "Well, we're asking you if we can come in and talk to you." So I said, "I don't have anything to hide. Come in." So, they asked me, you know, "Why did you do that?" And I told them. I said, "I don't agree with the policies of the Portuguese government, and that's why I did that." And they had a whole dossier on me. I couldn't believe it. Anyway, but I thought about it afterwards, and if I had it to do again, I would do it again. And as a result, I think, of what I did, because nobody had ever done that in Portugal, my wife Ruth and I later learned that they put it into the school books of the schools in Portugal, what I did. And there was a revolution in 1974 of the young enlisted officers, and they overthrew Caetano. He fled the country. And I think it was a gentleman named Duarte [Soares] that took over, socialist government. They invited me to come back, and I came back and I played. And there were 40,000 people in this big meadow in Lisbon, and they were all chanting, "Charlie! Charlie! Charlie!" And I had goose bumps all over. It made me feel so good. And then, my wife Ruth and I were invited back, because I met, while I was there, Carlos Paredes, who was this famous fado player, and I loved his playing, and so I said, "I want to play with you." He had been arrested under Salazar. And we came back and did a film with him, and they took me back to the stadium where I was arrested in '71. And they did a little documentary. It was all in Portuguese. And it was really nice to go back. AMY GOODMAN: I want to talk about speaking out and how easy or hard it is, and if you think that as a white jazz musician, you were able to speak out more than Black jazz musicians, if it matters. I mean, Louis Armstrong, for example, not known for speaking out, but when it came to the Little Rock Nine, to the kids not being able to get in school, he did speak out fiercely and actually talked about President Eisenhower — why wasn't he taking the hand of the children and walking into school? — and took great risk in speaking out. Do you think there's a difference? CHARLIE HADEN: No, I don't think there's a difference. I think it's a commitment to equality and to humanism and compassion in the world. It's a commitment. I mean, when you're a sensitive human being and you see the things that are going on around you that aren't human, you know, you have to speak out and do something about it. And I think that's what Louis Armstrong did. And, you know, Max Roach and Charlie Mingus did the same thing when they made the recordings they made about racism. And Archie Shepp. There's a lot of African American musicians that spoke out about racism, and I'm happy about that. AMY GOODMAN: You've won a lot of awards, Charlie Haden. You won the Downbeat critics and readers polls for unprecedented 14 consecutive years as number one acoustic bassist. You've won Grammy after Grammy. But your latest CD, your latest Liberation Music Orchestra CD, called Not in My Name [sic] didn't win a Grammy. CHARLIE HADEN: Not in Our Name. AMY GOODMAN: Not in Our Name. CHARLIE HADEN: And, you know, I was on tour with Pat Metheny in 2003, and we did an album called Beyond the Missouri Sky. It was a duet. We're both from Missouri. And it was all these beautiful Americana songs and really well received. And so we were doing a tour for this music, and we were in Italy and in Spain, especially. We were walking down streets in different cities, and we would see unfurled from balconies of the apartment houses, "Not In Our Name." And that's when Iraq had been attacked. People talk about a war in Iraq. There's no war in Iraq. It was an invasion and an occupation. And the people in Europe really cared, you know. And when I saw all these banners from the balconies saying, "Not In Our Name," that stuck with me. And when I did this record, that's what I called it. AMY GOODMAN: Not in Our Name. CHARLIE HADEN: Yes. AMY GOODMAN: And in Not in Our Name, you have this medley of songs you call "America the Beautiful." CHARLIE HADEN: There were so many songs that we wanted to do. And Carla composed a song. I composed a song. And the medley was "America the Beautiful" combined with "Lift Every Voice and Sing," which is the African American national anthem in the United States, very famous song and beautiful song. And then we did Ornette Coleman's "Skies of America." And we did — you know, there was another guy, Gary McFarland, who was a jazz composer/arranger back in the late '60s, who made an album called America the Beautiful. He was one of the guys that spoke out, you know. And we patterned one of the arrangements after his arrangement. And we did "Adagio for Strings." I wanted to do all American composers. "This Is Not America" by Pat Metheny, which was in the movie, The Falcon and the Snowman, and David Bowie sings it at the end. And then we did Carla's song, "Blue Anthem," my song, "Not in Our Name." We did "Amazing Grace," which I used to sing, you know, in church. And we did "Goin' Home," which has become kind of like a folksong in the United States, which was actually from the "Largo" from the New World Symphony by Dvorak. And "Adagio for Strings" by Samuel Barber. AMY GOODMAN: Do you think the title being Not in Our Name had an effect on its reception, in terms of the conventional, you know, awards? CHARLIE HADEN: Well, you know, I really don't have time to even dwell on those things. I know that a lot of those things happen, and I have so much to do that I don't really think about that. I know that it probably wasn't nominated for a Grammy because of its politics. But, you know, who am I to say? You know, I make the music, and what happens after I make the music, I hope, is a positive thing for people and causes them to start thinking about, this shouldn't be in our name either. But I've had, you know, many people come up to me and say, "It's really great that you did this," and "Thank you for doing this." And that's rewarding to me. We were just in South Africa playing at the Cape Town Festival, and I was there with my wife Ruth and Quartet West. And there was a gentleman there that was in the parliament, and he came up to me. He says, "Can I have coffee with you?" And so we went and had coffee, and he said, "You know, you politicized me when I was a young man. I listened to your first Liberation Orchestra recording, and I started reading about Che Guevara, and I started reading about the Spanish Civil War. I started reading about all these different things." And he said, "And I was living in a one-room shack with my family. Eleven kids, no running water, whatever, back in apartheid," you know. And he said, "Then I joined the ANC, and I was arrested, put in solitary confinement, and I thought about your music. It kept me going. And when I was released and Nelson Mandela freed me" — and he said, "I play your music all the time." He said, "It's because of you that I was politicized." He said, "I had to come and thank you for this, because you're here in Cape Town." And he said, "I wanted you to know what you did for my life." And he said, "I want you" — to Ruth and I, he said, "I want you and your wife to meet my wife and my sons." And it was so great, you know, and tears came to our eyes when he was talking about his confinement and what he had to go through. And he says, "Now I go to parliament every day, and I listen to your record with Hank Jones called Steal Away every morning at five." And that just knocked me out. So it's things like that that make everything worthwhile, all the sacrifices, all of the, whatever, criticism. But, you know, there's more enjoyment and there's more fulfillment than there is criticism, and that's what I'm happy about. AMY GOODMAN: Finally, Charlie, 50 years of making music and many years to come, is there anything you wish you had done, and do you plan to do it now? CHARLIE HADEN: I've been so lucky to play with great musicians, most of whom I wanted to play with and I sought out when I was in my younger stages, and, you know, I wouldn't do anything different, except I would seek out as many musicians to life the way I am and dedicated to beauty the way I am, because it's not really about categories, like jazz, it's about beautiful music and playing music from all over the world with other musicians who are dedicated, because it's up to us to bring beauty back into this world. It's up to people in the arts, the painters, the writers, the composers, the dance troupes, everybody, the actors, the people who write poetry. You know, it's up to us to try to make a difference in this world and try to make this planet a better to live for all the human beings and stop the cruelty and the devastation that's going on, you know, and have a great place. AMY GOODMAN: Do you think you can do that with your music? CHARLIE HADEN: I'm going to try. AMY GOODMAN: And do you think jazz is going to continue? CHARLIE HADEN: Jazz will always continue. It's an art form that's very, very powerful, very, very powerful, and has a powerful message of improvisation and spontaneity. And there's a lot of young people dedicated to it, and they're being born every day, you know. And it's not just in jazz. It's in all different kinds of music that young people want to express themselves in the language of whatever art form they're in. And that's the most important thing. I started the Jazz Studies out at California Institute of the Arts in 1982, and that's a campus that has all of the arts, you know, and I tell my students — I mean, there's young people from all over the world that come to study with me about the spirituality of improvisation. AMY GOODMAN: Jazz legend Charlie Haden. On September 11th, he and his Liberation Music Orchestra will join us here in New York at the historic Cooper Union Great Hall at Astor Place to launch Democracy Now!'s 10th anniversary 80-city tour.
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Thursday, 7/10/14Chilean Musician Ana Tijoux on Politics, Feminism, Motherhood & Hip-Hop as "a Land for the Landless"Chilean hip-hop artist and musician Ana Tijoux joins us in studio to perform some of her songs and talk about the political themes behind them. Tijoux was born in France in 1977 to parents who were jailed and later fled Chile under the dictatorship of Augusto Pinochet. "Hip-hop is the land of the people that don't have a land," she says. Tijoux returned to Chile in 1993 and in the late 1990s became known as part of the hip-hop group Makiza. As a solo artist, she has collaborated with musician Julieta Venegas on the hit song "Eres Para Mi," had her song "1977" featured on the TV series Breaking Bad, and won multiple nominations for both the Grammys and Latin Grammys. Her work explores topics frequently heard on Democracy Now!, from the words of Uruguayan author Eduardo Galeano to the secretive Trans-Pacific Partnership trade deal. In this interview, Tijoux performs a musical set, including "Antipatriarca," off her latest album, Vengo, and "Shock," a song inspired by Naomi Klein's book, The Shock Doctrine. She talks about motherhood, feminism and her collaboration with Palestinian hip-hop artist Shadia Mansour on the song "Somos Sur," or "We are the South." While here in New York City, Ana Tijoux performed Wednesday, July 9, at Central Park SummerStage. She performs Friday, July 11, at Club Europa in Brooklyn. AMY GOODMAN: This is Democracy Now!,, The War and Peace Report. I'm Amy Goodman, joined here in our Democracy Now! studios by the Chilean hip-hop artist and musician Ana Tijoux. Ana Tijoux, or Anita, was born in France in 1977 to parents who were jailed and later fled Chile under the dictatorship of Augusto Pinochet. She returned to Chile in 1993 and in the late '90s became known as part of the hip-hop group Makiza. As a solo artist, she's collaborated with the musician Julieta Venegas on the hit song "Eres para mí," had her song "1977" featured on the TV series Breaking Bad, and won multiple nominations for both the Grammys and the Latin Grammys. Ana Tijoux's work is deeply political, exploring topics we frequently discuss here on Democracy Now!, from the work of journalist and author Naomi Klein, The Shock Doctrine, to the secretive Trans-Pacific Partnership trade deal. Ana Tijoux joins me now in New York, where she'll be performing this evening at Central Park SummerStage and on Friday at Club Europa in Brooklyn. We welcome you to Democracy Now! ANA TIJOUX: Thank you so much. AMY GOODMAN: It's great to have you here for the first time. Talk about your music, what inspires you, Ana. ANA TIJOUX: I would say that music, my way to arrive to the music has been almost like a big crush, because I've got a lot of colleagues of mine that arrived to the music because—since they was very young. But I arrived because I used to like to write. And then, I don't know how I discovered that singing, it was better than writing. So it was in that way, and thanks to so many amazing musicians from Latin America that inspired me and pushed me to write. AMY GOODMAN: So, you were born in France to Chilean parents. Talk about your political education, how you came to understand what was happening in Chile and Latin America. ANA TIJOUX: I mean, I think, like, there is so many, like, prejudice about having a political education. And I would say that to have a political education is a vision with life and dignity of life. So, I had the chance to have amazing parents that always put on the table some subject and talk about it and have some reflection with the world. So it was not only about Chile, but about the vision about the world. And since today, we continue to talk about the same topics, basically; it's always the same history repeating one to another. In the same way, I feel that the music is an amazing weapon, an amazing tool, like to have this reflection with the world. It's a conversation, a dialogue with the world. And so, I would say that to have a political education has been like—is the DNA of my work and what I do. But also, I feel that music got to be free also and to be free of the political by himself. But I think there is a lot of ignorance about just political. We say "political," and everybody say, "No, no, no, no. Please, don't touch that. Don't go there. Like, make music, but don't make political." But I think it's got—had to do to be sensitive and sensible about what happened also, and I can make a difference between to be an artist and to be sensitive. I think they are—both of them is a marriage between both worlds. AMY GOODMAN: I want to ask you, Ana, about your latest record, your latest CD, Vengo, and one of the inspirations for it, a man we've had on Democracy Now! quite often, the great Uruguayan writer, Latin American writer, Eduardo Galeano. This is a clip from a comment he made a few years ago about why he writes. EDUARDO GALEANO: Trying to rebuild, to rediscover the human history from the point of view of the invisibles, trying to rediscover the terrestrial rainbow mutilated by racism and machismo and militarism and elitism and so many isms—that was the intention, at least, to speak about the nobodies from the nobodies' voices. AMY GOODMAN: "The nobodies' voices." Eduardo Galeano talking about what inspires him. Ana Tijoux, how did you discover Eduardo Galeano? ANA TIJOUX: My father gave me a book of him when I was six, Las Venas Abiertas de América Latina. And I remember— AMY GOODMAN: The Open Veins of Latin America. ANA TIJOUX: Yes. And my father gave me that book with an amazing dedicatory, saying, like, "Perhaps you will not understand this book right now, but it's a book that will make you open eyes about our history and our identity." And, of course, I didn't understand when I was six. Like, I was trying, but it was too complex. And I feel that it's almost—it's a terrible metaphor, but I would say, perhaps, it's this kind of Bible that talk about who we are and make you, like, to have a position about Latinamericanismo, you know? And it's an anthem, I feel like, that book. And all the books of Galeano have been like very important in my life also. AMY GOODMAN: So, why don't you start with one of the songs on your latest album, "Antipatriarca," "Antipatriarchy," and first, before you sing it, tell us what it's about. ANA TIJOUX: Of course. Like, I always feel like very ignorant about feminism, and I think it's got to do with this very machist education that we got and is in our DNA, in the deep of the DNA in the society. And sometimes we repeat these machisms without wanting to do it. So I always—I used to see feminism like in a very faraway of my life, and then I felt so stupid. And then I began to read, like, Gabriela Mistral and Simone de Beauvoir, and it was like, pfff!, where was my head? And also, like, with the education of my older kid— AMY GOODMAN: Gabriela Mistral is the first Nobel literature prize winner from Chile. ANA TIJOUX: Chile, yes. And then, also with the education with my kid, with Luciano, and trying to not repeat some stuff that we repeat with kids, and especially with boys, no? You know? There is this machism so involved in our society. Even in the revolutionary, all the revolutionary are guys. So— AMY GOODMAN: You mean the machismo, the machismo. ANA TIJOUX: Yes. And you see, OK, Camilo Cienfuegos, Che Guevara, Martí, Simón Bolívar—and where are the women? Like, it's like—so, I decided to make that song called "Antipatriarca." AMY GOODMAN: And can you just say a few of the lines in English, as we listen to it in Spanish? ANA TIJOUX: Yes, I will try. Like the chorus says, No sumisa — how can we translate this? Like, I'm not under— AMY GOODMAN: Not submissive and obedient. ANA TIJOUX: Not submissive, not obedient, a strong woman. No sumisa ni obediente, mujer fuerte — AMY GOODMAN: Independent and courageous. ANA TIJOUX: And courageous—you're better than me. AMY GOODMAN: If only I was in Spanish. ANA TIJOUX: My brain trying to work like trfrfrfrfrfrf. Mujer fuerte insurgente, independiente y ... romper las cadenas de lo indiferente. Break the chain of the indifference. Anyway, like antipatriarca and happiness. Like, you know, "antipatriarchy," you say? AMY GOODMAN: Antipatriarchy. ANA TIJOUX: Antipatriarchy. AMY GOODMAN: So now you can do it in the universal language of music. ANA TIJOUX: I promise I will make it in English one day better. So, with Perito. Yo puedo ser tu hermana tu hija, Tamara Pamela o Valentina Yo puedo ser tu gran amiga incluso tu compañera de vida Yo puedo ser tu gran aliada la que aconseja y la que apaña Yo puedo ser cualquiera de todas depende de como tu me apodas Pero no voy a ser la que obedece porque mi cuerpo me pertenece Yo decido de mi tiempo como quiero y donde quiero Independiente yo nací, independiente decidí Yo no camino detrás de ti, yo camino de la par aquí Tu no me vas a humillar, tu no me vas a gritar Tu no me vas someter, tu no me vas a callar Tu no me vas denigrar, tu no me vas obligar Tu no me vas a silenciar, tu no me vas a golpear No sumisa ni obediente Mujer fuerte insurgente Independiente y valiente Romper las cadenas de lo indiferente No pasiva ni oprimida Mujer linda que das vida Emancipada en autonomía Antipatriarca y alegría Y a liberar Y a liberar Y a liberar Liberar, liberar, liberar Yo puedo ser jefa de hogar, empleada o intelectual Yo puedo ser protagonista de nuestra historia y la que agita La gente la comunidad, la que despierta la vecindad La que organiza la economía de su casa de su familia Mujer linda se pone de pie Y a romper las cadenas de la piel Tu no me vas a humillar, tu no me vas a gritar Tu no me vas someter, tu no me vas a golpear Tu no me vas denigrar, tu no me vas obligar Tu no me vas a silenciar, tu no me vas a callar No sumisa ni obediente Mujer fuerte insurgente Independiente y valiente Romper las cadenas de lo indiferente No pasiva ni oprimida Mujer linda que das vida Emancipada en autonomía Antipatriarca y alegría Y a liberar Y a liberar Y a liberar Liberar, liberar, liberar Liberar, liberar, liberar Liberar, liberar, liberar. AMY GOODMAN: Ana Tijoux, and Pera Prezz on guitar. This is Democracy Now!,, The War and Peace Report. We're talking to Ana Tijoux, the Chilean hip-hop artist. Her latest album is Vengo, or I Come. Ana, talk about bringing hip-hop into your music, from hip-hop to Víctor Jara, and what that means. ANA TIJOUX: I always feel that because I began to listen to hip-hop in France, and I think that hip-hop is the land of the people that doesn't have a land, or was like, as me, was born in a different country. That's the role that I feel that make hip-hop in France for me, as my friends in school, from Algeria, Morocco, Cameroon, Congo. So, OK, we was born in France, but then I feel that hip-hop was almost like a family for us, like, and make an identity, and where we could like put our energy of trying to understand who we were or where we go. And at the same times, you can make and I can make like a difference between this music that has been the music of our country—in this case, Víctor Jara, Violeta Parra—all this amazing music that you listen and you become super-over-emotional, because— AMY GOODMAN: Tell us who Víctor Jara and Violeta Parra are. ANA TIJOUX: For us, I would say that it's almost like the mother and the father for me, lyrically speaking and musically speaking. Both of them born in different moment of Chile. And Violeta was a very free woman in her creation. And Víctor Jara also like very political engaged, and all his music like—it's like those kind of music that you listen and you are emotional like almost immediately, that touch a fiber in our society. AMY GOODMAN: He was murdered right after— ANA TIJOUX: Yes, yes. AMY GOODMAN: —Pinochet rose to power in those days after September 11, 1973. ANA TIJOUX: Yes, yes. He was in jail like in the Estadio Chile, that is named—that has his name right now, Estadio Víctor Jara. AMY GOODMAN: So, talk about what you're doing now as you travel with your music, the message you're trying to bring out. ANA TIJOUX: I mean, like, I think what is amazing about to have this possibility of traveling is to meet other culture and other—is about to have a vision of the world and share. It's a dialogue with—on life. I think every life is a dialogue with the rest of the crowd, you know? And even for us, I think, to come to North America has been amazing, like to meet—like, trying to understand this weird country for us, to be honest, you know? And at the same time feel that the act of resistance are very similar in some places, different of course because it's a different country. But so many law that has been applied here with the immigration, we know that are going to be the law that's going to be applied—it's a copy-paste for Latin America, you know? So, for us, even to have this possibility with the music to share this is also like to have—I think we are sociologists, very bad sociologists, but we're trying to have this vision with the music. AMY GOODMAN: You moved back to Chile in the early '90s under President Aylwin. It is now, what, 20 years later. You have a student movement that is extremely active. Can you talk about the influence of Naomi Klein's book, The Shock Doctrine, and the song that came out of it, for you? ANA TIJOUX: I mean, to be honest, I first see the documentary about Naomi Klein, and then I say, "Wow!" And it was almost like when you see a teoría, a theory, and so many stuff like—because I don't feel that—I'm not an intellectual, academic; I'm just a musician. And we work with emotion, and it's so beautiful when you see other people working in other places that can touch you and make you have a reflection, and then you make like some mixture with that and you make songs, you know? So when I see the documentary, I honestly saw many stuff about Chile and the situation of Chile and how we was a laboratory, and also how work Chile in so many ways. You know, it was like, "That makes sense! Of course!" And then I decided to buy the book, and that make much more and much more sense. AMY GOODMAN: So your song, "Shock"— ANA TIJOUX: Yes. Very simple song. AMY GOODMAN: —for The Shock Doctrine, became a kind of anthem for the student movement of Chile. Can you say the words in English before you sing it? ANA TIJOUX: I mean, this is a song that we made in Chile like in the middle of the protest. And as a mother, it was amazing to see all those kids like very clear about what they wanted and about a free and a quality education and very politicized. And I think they are, and they was, and they are, for us, a big inspiration, in all sense. I think they wake the whole country, in all sense. AMY GOODMAN: So, play the song, "Shock." ANA TIJOUX: OK, so this is "Shock." Venenos tus monólogos tus discursos incoloros no ves que no estamos solos !millones de polo a polo! Al son de un solo coro marcharemos con el tono con la convicción que !Basta de robo¡ Tu estado de control tu trono podrido de oro tu política y tu riqueza y tu tesoro no. La hora sonó, la hora sonó No permitiremos más, más tu doctrina del shock La hora sonó, la hora sonó (doctrina del shock) La hora sonó, la hora sonó (doctrina del shock) La hora sonó, la hora sonó (doctrina del shock) La hora sonó No hay países solo corporaciones quien tiene más, más acciones trozos gordos, poderosos decisiones por muy poco. Constitución pinochetista derecho opus dei, libro fascista. Golpista disfrazado de un indulto elitista cae la gota, cae la bolsa, la toma se toma la maquina rota. la calle no calle, la calle se raya la calle no calla, debate que estalla. Ya todo lo quitan, todo lo venden todo se lucra la vida, la muerte todo es negocio. Como tu todos, semilla, pascuala, métodos y coros. Venenos tus monólogos tus discursos incoloros no ves que no estamos solos !millones de polo a polo¡ Al son de un solo coro, marcharemos con el tono con la convicción que !!Basta de robo¡ Tu estado de control, tu trono podrido de oro, tu politica y tu riqueza y tu tesoro no. La hora sonó, la hora sonó No permitiremos mas, mas tu doctrina del shock La hora sonó, la hora sonó (doctrina del shock) La hora sonó, la hora sonó (doctrina del shock) La hora sonó, la hora sonó (doctrina del shock) La hora sonó, la hora sonó La hora sonó, la hora sonó Golpe a golpe, beso a beso. con las ganas y el aliento con cenizas, con el fuego del presente con recuerdo, con certeza y con desgarro, con el objetivo claro, con memoria y con la historia el futuro es !Ahora¡ Todo este tubo de ensayo, todo este laboratorio que a diario, todo este fallo, todo este económico modelo condenado de dinosaurio. Todo se criminaliza, todo se justifica en la noticia, todo se quita, todo se pisa, todo se ficha y clasifica. Tu política y tu táctica, tu típica risa y ética. Tu comunicado manipulado ¿cuantos fueron los callados? Pacos, guanacos y lumas, pacos, guanacos y tunas, pacos, guanacos no suman. ¿Cuantos fueron los que se robaron las fortunas? Venenos tus monólogos tus discursos incoloros no ves que no estamos solos !millones de polo a polo¡ al son de un solo coro marcharemos con el tono con la convicción Tu estado de control, tu trono podrido de oro, tu política y tu riqueza, y tu tesoro no. La hora sonó, la hora sonó No permitiremos más, más tu doctrina del shock La hora sonó, la hora sonó (doctrina del shock) La hora sonó, la hora sonó La hora sonó, la hora sonó (doctrina del shock) La hora sonó. AMY GOODMAN: "Shock," from the album La Bala. You not only did that for the student movement, but also for the immigrants in Arizona and in southern United States. ANA TIJOUX: Yes, because it was a tour that we had, and they communicated from Arizona from law of Sheriff Arpaio, of immigration that he was putting. And immediately we went, and so they invite me to sing. So, of course, like, let's go. Like, it was immediate. I think that's what the music is, no? To share it, and an invasion. AMY GOODMAN: And how do you feel your music is received in the United States? And how does it compare to Latin America? ANA TIJOUX: That's been amazing, because for me, at least, and I think for us, it's very new to understand like Latin American community also, for us, like this Chicano third generation that doesn't speak sometimes Spanish. And for us, it's like, "Why don't you speak Spanish?" So it has been very interesting for us to understand, like, and to have some crowd that say to you after, like, "You know what? I should speak Spanish." I say, "Of course." Like, I think that has been the most amazing situation. And also arriving with our language, because, to be honest, we don't speak—we don't sing, sorry, in English. And to arrive with our work and with our language has been an amazing experience. AMY GOODMAN: Your work, some were introduced to, because your song was played on Breaking Bad, the TV series. What effect did that have? ANA TIJOUX: That my grandmother felt that I'm great. AMY GOODMAN: That what? ANA TIJOUX: My grandmother say, "OK, you are somebody." No, no, I would say, like, for the media, it's amazing. And we are very proud, because this is an amazing series. It's not any series. Like, to be honest, I don't want to be populist about this, but we are very proud to have our music in a series that also trying to put the antihero, which is very interesting for us also. AMY GOODMAN: Say it again, trying to...? ANA TIJOUX: To put the antihero. It's not the typical hero in the series. AMY GOODMAN: The antihero. ANA TIJOUX: Yes. AMY GOODMAN: Talk about the musical instruments that you use. ANA TIJOUX: With this last album, it was different from the others because always I used to work with the DJ very—beats, DJ, BPM, MPC, which is a machine to make hip-hop. And then, with this last album, it begin to be almost like a deep necessity of asking to myself, like, "Why we don't use Latin American instruments? And in what moment we begin to be so blind about what happened musically in our country, even in country friends as Peru, Bolivia, Colombia, whatever?" So in this album, we decided to put gaitas, charangos, tiples, cuatro, and to really make a laboratory of different instrument and invite different friends to play music with us. And that was amazing. And I think that is a very interesting laboratory for us that is just beginning. AMY GOODMAN: Ana Tijoux, can you talk about your assessment of politics in the United States and President Obama? ANA TIJOUX: What I think? It's a very nice face. That is what I think. I mean, it's a nice face that doesn't change anything. We can see with—I mean, I don't live here, obviously. But every time that we come and we get the possibility to join with friends that are in communities in act of resistance, it's no difference of—it's a very violent country. That's my vision about this, like with a nice face. AMY GOODMAN: And your own country, Chile? Michelle Bachelet is back in power. ANA TIJOUX: I feel that's the same in Chile. That's— AMY GOODMAN: A woman who was tortured along with her mother, her father killed in prison. ANA TIJOUX: So, that doesn't say anything, I feel. I'm not agree at all with—I think it's a nice face, too. That the persecution against the Mapuche in Ngulu Mapu in the south are the same that what it used to be, so it's no different. It's a nice face, too. AMY GOODMAN: What are the powers that are in power in Chile, then, if you say it's not about the president? ANA TIJOUX: In people, in community, I feel, because I'm very pessimist, in theory, very, very, very. But I'm very optimist in practice, en la práctica, because we got the chance, with Peralo, to see, to go to some community that make people in ghettos that work in community and have their own center of autogestión, we say in Chile, where people are organized with themselves making—planting their own fruits, with making talleres. I don't know how we say this, I'm sorry. Making class of sociology, music, and you see some students coming. It's a place of resistance and beautiful resistance, but in places like—you know? And that's happened a lot in Chile, I feel. AMY GOODMAN: Talk about why your parents went to France. What happened to them in Chile? What did they do in Chile? ANA TIJOUX: They made so much amazing stuff. As so many young people, they was in resistance, and they was politically involved. And so, as so many students and other kids, because my father was a kid, literally, used to have 70 years old. And so they make—they called a tour of torture center, but as so many other parents of us, you know? And that's the story of the dictatorship in Latin America—Uruguay, Argentina, Chile. And so, they was expulsados; they take out from the country in 1976. AMY GOODMAN: Anita, Ana Tijoux, can you talk about your song "Fat Fish Can't Fly"? ANA TIJOUX: I mean, this is a song that I write for my kid, my older kid, Luciano, because I feel, as a mother—because we can have all this discourse, and I can talk so many stuff here in the camera, you know, about social and revolution. But then I feel that it's at home where we got to apply with the day by day with our kid. That's the realness, you know, the routine and whatever. So, I feel, as a mother, that sometimes—I don't know if I have too many questions with the world, but it's hard to be a mother in a way that sometimes I feel that it's you against the world, because everything is against you, trying to put some information to your kid or to give him some tool to have—to be a kid or a next man, to have a reflection with the world. So, for example—I don't know. I'm thinking about cellphone, iPad, pad-pad, pad-pad, and all this information that the world goes so fast, so fast, and it's very hard as a mother to try to say to a kid, "Go slow. Go slow," like, "Don't try to burn life, because life goes so fast away from your hand." And, "Yeah, Mama, whatever." So I decided to make this song, because at the end I feel that music, the message go much more easy also. And it's a song I talk to my kid and to kids, in general, saying that they can have the power, they can be the owner of corporative, they can be the owner of the world, but you know what? They can fly as you can fly. And that's the song, "Peces Gordos No Pueden Volar." AMY GOODMAN: "I'm another mother that sleeps little, dreams much, learns more from her children than the adults in the world. Then later she implores: True to your values you must be." ANA TIJOUX: I love the way—I should rhyme that in English. Bloom-bloom-bloom-bloom-bla-bloom. AMY GOODMAN: Well, again, the universal language. Why don't you play it for us? ANA TIJOUX: Voy a Tomar el viento a mi favor y a navegar hacia un viaje mejor y a contemplar la infinidad del sol con la certeza de un trato mejor Fiel a tus valores debes ir, caminar por esa senda y resistir para que tu conquista es ese buen vivir, aunque lo tengan todo tienen de ti, que los peces gordos no pueden volar Soy otra madre que duerme poco pero sueña mucho que aprende más de sus hijos que del mundo adulto cuando grande quiero ser un niño reírme contigo de un modo sencillo con las pocas horas que tengo contigo debo yo pelear con peces que quieren ser amigos que hablan al oido, a través de comerciales y que seducen mediante sus canales pero ya ves estamos tu y yo, construyendo un mundo para los dos Fiel a tus valores debes ir, caminar por esa senda y resistir para que tu conquista es ese buen vivir, aunque lo tengan todo tienen de ti, que los peces gordos no pueden volar Hijo yo sé, nada tiene sentido incluso lo que yo diga, no suena divertido o te digo que el mundo esta acabado los peces gordos, estan en todos lados con las pocas horas que tengo contigo debo yo pelear con peces que quieren ser amigos que hablan al oido, a través de comerciales y que seducen mediante sus canales pero ya ves estamos tu y yo, construyendo un mundo para los dos Fiel a tus valores debes ir, caminar por esa senda y resistir para que tu conquista es ese buen vivir, aunque lo tengan todo tienen de ti, Cuando grande quiero ser un niño reírme contigo de un modo sencillo Hijo yo sé, nada tiene sentido pero en el fondo de la historia, tu sabes que los peces gordos no pueden volar. que los peces gordos no pueden volar. AMY GOODMAN: "Fat Fish Can't Fly." I want to go right into another song— ANA TIJOUX: OK. AMY GOODMAN: —that's on your album, Vengo. ANA TIJOUX: OK. AMY GOODMAN: And it is "We are the South." Talk about your collaboration with the Palestinian hip-hop artist Shadia Mansour. ANA TIJOUX: Shadia. I mean, with Shadia, we got some friend in common. And I saw her video, and I was a super fan. I said, "Wow! She's amazing!" And all this Arabic, like, flow, you know? And I feel that we are not so many MC, female MC, you know? So every time that I see a female MC, I've got this very proud stuff, like, "Ah! A woman! That's amazing!" You know? And so, I meet some friend of her, and as a fan, I ask for her email, and I write her an email. And she knew about me also, and she knew about Víctor Jara, and she knew about some stuff about Chile. And then we begin to speak to one to another. So that's in those kind of email that we decide to make a subject about the song that we wanted to make together. And we decided to make a song that basically talk about the resistance in the South and to make a parallel between act of resistance in Chile and in Palestine. And also because in Chile we got one of the biggest Palestinian community in the world, so she was very interested to come. And the fact, we bring her. We made a concert, and it was sold out, people outside the concert. Like all the Palestinian community in Chile is big, big to her. We even got a soccer team with this, Club Palestino. So we had so many, like, a connection. And at the same time, she was telling me how Víctor Jara was important for her, and she knew some song in Spanish with the lyrics. AMY GOODMAN: What happened with this Palestinian soccer club in Chile? ANA TIJOUX: So, this Palestinian soccer team, that apparently is well known in Palestine, they decided to make a T-shirt and with the number of 11 in the back. And number 11 is made with the Gaza—with the [inaudible] of Gaza. It was 11, you know? And then, I think that it was the Asociación Chilena de Fútbol, I think, that decided to say that they couldn't have this—the T-shirt anymore. So they had to take out from the market. AMY GOODMAN: So they had the number in the shape— ANA TIJOUX: Yes. AMY GOODMAN: —of the map of Gaza. ANA TIJOUX: Yes, and all those Palestinian—sorry, Chilean, they are—most of them, they are Chilean. Like, there was one Palestinian. And so, we had the possibility to meet them with Shadia and know all the story. And they told us that in 2005, it was an idea of one player of this team to have that T-shirt. So they had to take out that T-shirt out of the market. And they tell me that everybody asks for the T-shirt all around the world, from Jordania—and they are selling this T-shirt all around the world, from the number, you know? AMY GOODMAN: So talk about "We are the South." Talk about the song. ANA TIJOUX: It's about to be the proud without entering in chauvinism, you know? It's got to do with identity and about very similar history sometimes that repeat in an act of resistance. And so, for us, it was very important to make a song that talk about this identity and this act of union and altermondialista also, in the beautiful fight of rebellion, beautiful rebellion. AMY GOODMAN: Let's go to the song, this time not you playing it live, but because you sing it with Shadia Mansour, we'll play a clip of the video. [video of "We are the South"] AMY GOODMAN: "Somos Sur," "We are the South." That's Shadia Mansour, the Palestinian hip-hop artist with our guest, Anamaría Tijoux, or Anita, performing. And that also is on the latest album, Vengo. I wanted to end by talking about the economy. It's hard to believe you put this all together, but another of your music videos has to do with the TPP, the Trans-Pacific Partnership, a very complicated, secretive agreement. ANA TIJOUX: Yes. AMY GOODMAN: How do you put it into music? And why does it matter to you? ANA TIJOUX: They called to me, to be honest. I didn't know at all about this, and an amazing woman called me in Chile, and she told me, like, "You know what? We are an organization that's trying to unblock this media about what is happening about this." And we joined to us—she had to make me a magíster classroom, because it's a very complex—it's a very complex economic that will affect all of us. And she asked me to make a song, so—and immediately I begin to read, and it was very immediate, in the same way like—it's like what I was saying. You read Galeano, it's like, "Oh!" Everything, I think, that is amazing about art, like there is so many stuff that inspire you. And so, we decided to make a song to help to promote and to show, through our music, what's happening. AMY GOODMAN: So this is "No to TPP." Translated in English, roughly it's: "Tell me who is the thief, if you steal everything without a reason. No to the TPP, and no to the fine print that is unseen. Spread the word, and tell your sister and your neighbor that there is a silent hurricane coming to decide our fate." ANA TIJOUX: No al TPP y no a la letra chica que no se ve Por la libertad y la salud de conocer la real etiqueta de lo que no se ve Corre la voz y cuéntale a tu hermana y tu vecino Que se viene un huracán silencioso a decidir nuestro destino Dime, dime quién es el ladrón Si tú todo lo robas sin control Dime, dime quién es el ladrón Si tú todo lo robas sin razón. AMY GOODMAN: "No to TPP," Ana Tijoux, the Chilean hip-hop artist. Your plans for the future? ANA TIJOUX: To be happy. My plans? Continue composing and, yeah, so many plans that sometimes—try to organize all the plan I've got in my head and trying to apply them. AMY GOODMAN: So you have two kids. ANA TIJOUX: Yes. AMY GOODMAN: Luciano, who is nine years old. ANA TIJOUX: Yes. AMY GOODMAN: And your little baby Emilia, who is what? One. ANA TIJOUX: Yes. AMY GOODMAN: So, what was it like having a daughter eight years after having your son? ANA TIJOUX: Very different. Very different, because the same with the machism. That's why I made "Antipatriarca," like seeing Emilia and reflection with Luciano and Emilia, and about people that I really like. And you think that they can be more reflexive or critical, but with Luciano, it's more like, "You have a girlfriend? You should have a lot of girlfriends. Emilia, you should have one boyfriend," you know? And so it has been amazing, like seeing that, the clothes, the color of the clothes—everything blue or purple—the toys. But it has been amazing like to have a little couple and to see them talk to each other. And, wow, that makes sense of this crazy world, I think, to the motherhood.
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