00:00 I do so much more than speak in Spanish.
00:02 I love in Spanish, I work in Spanish, I eat in Spanish, I drink in Spanish, and I damn
00:09 sure cry in Spanish.
00:11 I was in the studio working on "Cries in Spanish" before it was called "Cries in Spanish"
00:21 and I was like, "Dude, Danny would be perfect on this."
00:24 And so we're texting back and forth and I'm low-key hella nervous to send him the song
00:28 because I'm like, "What if he's like, 'Nah, I'll pass.'"
00:30 That happens, you know?
00:31 He listens to it, he tells me he loves it, and so I sent him the "Crying in Spanish"
00:36 meme and that just stuck with me.
00:39 And then he sent me a bunch of little meme gifts back.
00:44 And so it was just this conversation with gifts and memes.
00:46 And then we decided to name it "Cries in Spanish" because I was like, "This was the birthing
00:49 place of this collaboration."
00:51 "A veces me imagino que tuvimos el final que los dos queríamos.
01:02 Si aún fuera tu mora, ¿qué no haríamos?
01:05 Ay, cómo sería si tú y yo seríamos."
01:11 I think out the gate, "Te da melocolia," it makes you feel so many different emotions.
01:16 You're like, "This kind of sounds like a happy song and it's very simple," but then you're
01:21 hit with these heavy lyrics.
01:22 I think it goes to say that this is a very straightforward, conversational back and forth
01:47 that's happening between two people who had an idea of what that end goal was.
01:54 But you change, things change, and sometimes we get so attached to that that we're not
02:00 willing to leave space for something else.
02:02 And so it's definitely this push and pull that's already happening in the first verse.
02:07 "Según yo era tu droga, todo para ti.
02:14 Según no vivías un día sin mí.
02:19 Si eso era así, dime por qué no estás aquí."
02:26 The specific line to "Droga" was key for me just because it was drawing inspiration from
02:32 a situation that I wasn't in but had seen play out.
02:36 And it was very sad because there was two people who loved each other so deeply, but
02:41 there was someone who was really battling, I guess you could say bigger demons.
02:47 When you think, "Oh, I can't live without this person," but you're also not willing to
02:50 give up what's hurting you, where does that leave the other person?
02:54 Where does that leave you?
02:55 "Según yo era tu vida, te hacía feliz.
03:00 Según te quedabas conmigo hasta el fin.
03:05 Si eso era así, dime por qué no estás aquí."
03:12 When someone hits you with this concept, heavy concept of, "I can't live without you."
03:18 No, life does go on.
03:20 Clearly it does because you're over there, I'm over here, and things are fine.
03:24 It's not amazing, it's not what we thought it was going to be, but it's fine.
03:28 I'm alive, you're alive.
03:30 But I think there's also this stubbornness of, "So tell me, why aren't you here?"
03:34 A scripted show, we know how it ends, but we didn't get to see it all the way through.
03:50 It could also be a non-scripted series.
03:53 We don't know how this ends, and I really want to find out, and that's really hard to
03:56 let go of.
03:57 It's those little distinctions of, "That's how we speak to one another, our terms of
04:15 endearment, our terms of honesty, on the real though."
04:21 That's how we express ourselves, so that's where it was coming from.
04:24 We were joking, I was like, "Okay, what's the equivalent to, on the real though?"
04:29 It's like, "No, it would be, 'La neta?'
04:32 La neta."
04:46 So when you listen to the melody of the second verse, and it just continues almost on the
04:51 same wave, but it starts to expand this way, vocally, with all of the backgrounds and the
04:57 harmonies and then the moments we're singing together.
05:00 It's almost like I can't even catch my breath.
05:02 You're having this honest conversation, right?
05:04 And the realization starts hitting you, and it's just going, and it's a run-on sentence.
05:08 And by the end of it, you're like, "Wow, that's really how I feel."
05:11 That feeling of understanding that this can't be no more, and although I love you so much,
05:17 I know that I have to let you go.
05:20 I know that this can no longer be the way that it was.
05:23 Yeah, it was very powerful.
05:24 I remember when we sang it live together for the first time.
05:27 It was such a dope moment, because it was just flowing.
05:30 That second verse just flows so nicely.
05:32 I remember when I sang it two years ago, I was like, "Damn, this is hitting really heavy."
05:38 And then fast forward, the album's out, and it's everybody's favorite song.
05:41 We started performing it live on the tour, even before it came out.
05:44 And there was nights where the song's not out, and people were singing it.
05:47 I'm like, "Damn, little did I know this was going to be that one that everybody's like,
05:52 'Ooh, this is my song.'"
05:53 "Esquinas" is my pride and joy.
05:57 It's my third album.
05:58 And it's crazy to think about, because there was definitely a time in my life where I thought
06:02 I would never be allowed to release an album.
06:06 I'd been signed for so long, since I was 14 years old.
06:09 And when the first one finally came, it kind of took that pressure off of me and made me
06:14 feel like, "Okay, I'm only going to get better from this point."
06:17 And then the second album came, and it was a genre-bending style album where I was really
06:23 allowed to be more myself in the sonics of the music.
06:26 And by "Esquinas," it was like, "There she is."
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