The Warbler

G: So, I’m very excited to welcome our guest today, who is none other than Haikaa – welcome!

J: Haikaa, welcome!

H: Thank you. It’s great to be here. Thank you so much for having me on the show.

J: Well, thank you for coming. We’re very happy to have another artist here, on the...

G: Many thanks for coming today, um...

H: My pleasure.

G: Um, I would like to start by asking you, ‘how many countries have you lived in’? Because you are a very multicultural individual and you have a lot of very interesting experiences.

H: Alright, um, I’ve actually been to many countries but I consider that I grew up and was, you know, and...and most influenced by three...three countries – um...Brazil, er, America and Japan, I think. Those were the ones that were very important in my formative years. I think many of my values – er, who I am as a person – were defined by these very distinct cultures. So, I would say that, yeah – Japan, Brazil and the US.

G: But you grew up in Japan, did you? 

H: I did. I did. I...I...I went to high school in Japan. So, I spent, you know, from the age of 13 to 17 living in Japan, so that was...that was very, um, important in terms of, like, who I became as a person.

J: So, but you were born in Brazil?

H: I was.

J: So, how did you get to US?

H: I was born in Brazil and then I went to an American school here from the age of 11.

J: Ok.

H: So, that’s, sort of, my first contact with the American la...um...culture. Um, when I was in Japan, I was in an international school but with still a lot of American friends. And then I went to college in America. In Boston.

J: Um, ok. Ah, in Boston?

H: Yeah.

J: East Coast?

H: In the East Coast, yeah.

J: Did...did you find it difficult to relate to your peers in...when...while you were moving from country to country?

H: I did. I don’t know if you guys have ever come across the term ‘3rd Culture Kid’?

J: No.

G: I don’t think I have.

H: Yeah. 3rd Culture Kids are like bewildered animals like me! Like, you have your Japanese parents, born in Brazil and then you grow up in America...

J: Somewhere else, yeah.

H: ...in the 3rd culture. Um, and there’s a common trait to 3rd Culture children, or...um...3rd culture adults, as a matter of fact. That they’re usually very sociable. They can blend very easily but they find it hard to have lasting relationships. You know? Because you’re, kind of, like a nomad. I still feel like that.

J: Right.

H: I mean, you know, I...I...I have had very significant and very profound relationships in my life. I’ve been very lucky. But, um, in general, people who...um...are brought up like that, among many different cultures, do have...er...some level of difficulty connecting with the group because ultimately the group does always consider them an outsider.

J: Right.

G: So, when did you start then? Just...just to...

H: When did I start? I started...um...my first professional work was in 1991!

G: Ok.

H: I was an artist with Sony, Japan.

G: Wow.

H: With a band called Girls’ Club. Er...so, fast-forward to 2006...

J: Is...is this like The Spice Girls or something like this?

H: It was! It was called Girls’ Club.

J: That’s why I’m asking.

H: It was exactly like that but it was a global thing.

J: Ok. Right.

H: Cos one of the girls was half-Spanish, half American. The other girl was French-Canadian. The other girl was from Taiwan. The other girl was...was half Swiss, half Japanese.

J: So, you...you actually have quite a long history of all of these global initiatives?

H: I do. I do. Yeah, I do. It has a lot to do with the school where I went, in Japan.

J: Right. So...so what’s the most...erm...fulfilment you get from making music? What’s...what’s the drive in that?

H: It’s really...it’s a good question! It’s...it’s very interesting actually. I think that 2006 I quit music.

G: Ok.

H: I said – “I’m never gonna sing ever again.” So, like, when I quit it found me again. Like – “No, Honey – you can’t!” You know?

J: So...so, you say that there’s...there’s something else that connected you to music?

H: I think so. I don’t think it’s something that you choose. I think it chooses you. And...unless you do it....unless you pay attention to it, you won’t be happy.

J: Well, if you heard me sing ‘Happy Birthday’, you would know it definitely didn’t choose me!

G: Yeah, I wouldn’t recommend him...I’m not recommending him for a duet! No.

H: Let’s hear that! Would you? James – Happy Birthday!

J: It’s up on...it’s on one of the other pods.

G: Have you been practicing?

H: So, anyway, the fulfilment part, I think, has to do, I think, with the...with my, personally, my real... realization that I don’t choose Music, Music choose me. And you gotta...and I won’t be happy unless I do it. You know, and I think that when you have ideas...when you have music...when you have words that wanna come out and you give it your attention...er...I think Time ceases to exist for a few moments of creation. So, I do enjoy the songwriting part very, very, very much.

G: Very cathartic, no?

H: Yeah, it is. It is. I’m sure you feel that when you are writing all your scripts?

G: Absolutely. Yeah, you just feel much better when you are doing it, you know?

H: Yeah, you feel much better when you are doing it and it doesn’t matter what the outcome is, if people are ever going to listen to it. It’s just something that is very personal and, at the same time, it is very universal, cos you feel connected to something that is...is...is bigger than yourself and I think that that’s...it is...it is very fulfilling to...to experience that.

J: That brings me, actually, to one of my questions because...um...you have a...a website...

H: I do.

J: And you have some music on there. You...you perform several...several songs and one of those things, well, I don’t know if it was only one thing that I saw but I had... I had the idea that there was this idea about global music – a global song. So, how...what was your inspiration for that? Was that part of your...your...your whole journey?

H: It is. It was. The idea of global... I think it’s interesting. It’s another one of those...er...paradoxes of...of human nature. I think that we’re all, erm, very, very different on the outside and I think those differences are very important, and they make our lives more rich, but in essence we are very, very similar. So, I think that the idea, erm...I think you...you’re referring specifically to a song called Work of Art. And so, the song, the...the lyrics go – ‘I am a work of art.’ In the sense that, you know, all the colors are, you know, within us – make us who we are – the dark side and the bright side, and we have to car...come to terms with all those. And I felt that it was a very...er...essential and human, you know, message that I wanted to...feeling – angst – yearning...that I wanted to express. And so that’s, you know, that was the title track of my...my...um...2010 album – Work of Art. And then, you know, I set out on this sort of journey to write the song in as many languages as I could because I felt that it would be like a glob...a universal thing.

J: Right. And...and how many languages did you actually make that...that song in?

H: I ended up recording it in 21 languages...

J: 21?

G: Wow.

H: ...yeah, including 2 native id...idioms...er...out of one of which is called Lushootseed, and there were only four speakers left...er...in the world, at that time when we recorded, who were fluent.

G: So, how did that work, then? How did you memorize all the words for each of these new languages?

H: Oh, I did a lot of homework!

G: Did you have, like, a personal coach to...?

H: I didn’t. Many times the lyricist – himself or herself – taught me how to speak the language.

J: Right.

H: And, because I do have this background in language and interest in phonetics, you know, I...I worked with them and many times they were...er...you know, worked remotely during...with me during the recording sessions, and they would coach me through...

J: Right.

H: ...as I was singing, erm, each part of the song.

G: Because, in some languages, I’ve heard that it’s impossible to hear a sound because unless you are exposed to it up to the age of two-years old it will...two different sounds for...er...a Chinese person will actually sound like one sound to...er...maybe a western person who’s not been exposed to those two different frequencies, so...

H: Oh, it totally happened to me.

G: So, then how...how do you...how do you just guess, or...?

H: Yes, I just...I just did my best. Lushootseed – the native language from Washington – their language was born out of mimicking sounds of nature. So, like, you have to let saliva accumulate on top of your tongue and then blow air. So, it’s just really, really, very new to...to...to the whole vocal apparatus to produce those sounds and certainly I failed many times as I was trying to do this, and I’m sure there were many sounds that I just couldn’t make because, as you said, my ears just can’t capture them.

G: And it looks like it was extremely well received, too, looking at the number of views on your website.

H: It was. It was great. I think people, because...and it was funny because it was completely non-commercial and, you know, the person that I was working with at the time – quote/unquote ‘manager’ – said “People are never going to listen to an 8-minute video sung in 21 languages,” and – not true, right? And so that...that project we got special mention by the United Nations Alliance of Civilizations, which is a UN branch that deals with diversity, and so it was played in their annual event in Qatar. So, it was just...just really rewarding...

J: Nice.

H: ...to...to be a part of that.

G: Fantastic.

J: Er, I actually...I wanted to ask you about a different initiative that...that you have. It’s about an app that...that I believe that you made.

H: Right.

J: It’s the ‘Hey Amigo’ app.

H: Right.

J: Tell me a little bit about that. How did that get started and...and what do you do with ‘Hey Amigo’?

H: Ok, Hey Amigo...um...is an app that came out, um...we got the inspiration from a...when my...my deceased husband, er, my first husband was actually diagnosed with cancer. And for three years I was his full time caregiver. And so just, you know, going to the hospital and knowing that we were going through a lot and looking around and seeing that people around us were going through so much more, because they...you know...they didn’t have people to accompany them in medical procedures that require the presence of another person. They didn’t have...um...the means to commute, you know, to and from the hospital. So, you would see people, you know, really, really struggling to even get to, like, a chemo session that’s supposed to keep them alive. So, because we...we already had this background in humanitarian projects...er...going through that I was very inspired to, sort of, you know... ‘When life throws lemons at you, you make lemonade.’ I think that...that was definitely the spirit of, you know, ‘gotta do something positive out of all this suffering’. And so we had this idea to create an app to connect cancer patients with volunteers, who could provide assistance – free assistance – er, for car rides and accompaniments. So, somebody who could...who could go with...with the patient to these countless appointments and procedures and even surgery.

J: Right.

H: And so, it was basically about two years of volunteer work. The app was ready. We launched it in Google Campus. Um, Doctor Leandro enrolled it on an innovation award...um...and...and we got first place in this innovation award and we were meant to begin pilot programs in March 2020! And then...

J: And then Coronavirus.

G: Good lord.

H: And then we have this app, which is an app of social connection in times of social isolation. So, that had to be put on hold for a while but we’re resuming work on that. Um...

J: So...so hopefully that should come out pretty soon?

H: Yes – yes, to begin implementing these pilot programs because this is something that’s never been done before.

J: Right.

H: So, it...it’s sort of like an Uber but it’s the...within...within a controlled environment.

G: Sounds amazing. So, you’ve recorded how many CDs? How many albums?

H: Er, actually, I recorded one album, and then I released another 4 singles, and then right now, I’m on...I’m on my to releasing a new, maybe an album, maybe an EP. I don’t know yet. An EP is shorter. It would be like 4 songs. Just because, um, to promote music these days it’s better if you have singles than if you have an album.

J: Well, Haikaa, thank you, thank you very, very much for...

G: Did he pronounce it correctly, or not?

H: He did! He did.

G: He did? I didn’t. So, that’s terrible. That’s...I’m embarrassed now.

J: But...but thank you for coming here. I...it’s...

G: No, thank you very much indeed. It’s been wonderful having you here.

J: No, I had a great time.

H: Thank you. It’s been my pleasure. I really...I really am very happy to be here with you guys, with your listeners and...er...you know, talking about the things that I love to do.  

End of Part 2

​

************************************

J: So, Gee, I believe it’s your turn this week to lay out the guru for us? So, hit me with your best shot.

G: I’m gonna do some guru and I am gonna do some expressions.

J: Oh, good.

G: So...so, all of these expressions relate to parts of the body.

J: Ok.

G: So, I’ll give you...give you the expression, and you can give everybody the explanation of what it means, yeah?

J: Ok, so if we start with rock-cock, we say?

G: Well, yes, that’s a part of the body, I guess. Um, ‘to give a heads up’. What does that mean?

J: Erm, to call someone’s attention to – or to warn somebody that something’s coming.

G: Excellent. Very good. Um, to get...to get something off your chest? To get it off your chest.

J: Desabafar. Which...which means you...you would like to....something’s pressing on you, and you’d just like to get it out. It’s more of an emotional lift than anything else.

G: Yes. It’s when you’ve got all this stuff inside you and you just want to release it because it’s really annoying you, or whatever, yeah. Um, this one’s a bit of a business one, actually – to bottom something out. What does that mean?

J: Well, in financial markets, they refer...anytime you have...because you have highs and lows in financial markets. Anytime, let’s say, a crisis hits, and the market bottoms out, then you’ve hit rock bottom or you...you’ve...you’ve hit your lowest level.

G: That is true. That’s when the market bottoms out. But ‘to bottom something out’, in an active sense – what are you doing?

J: If you want to bottom something out? I guess, you’re going through the floor? Or something like this?

G: You’re investigating it. You’re getting to the bottom of it. That’s the idea.

J: Ah, I’ve got you.

G: So, this is something you’ll see in business quite a bit. It’s kind of a strange expression, really.

J: But I think that you might use that a little bit more in England than you would in the States.

G: That’s one of the things I was curious about actually, cos I don’t know how many of these are common in the States.

J: We...we could say you dive deep into something, but that...

G: To do a deep dive. Yes.

J: To do a deep dive. Or you might say to investigate something, or you...

G: What about the others? Are they...they common in the US?

J: The other things, yeah, we use all the time. Sure.

G: Er, next one. Er, something that’s tongue-in-cheek. What does that mean?

J: You’re not taking it seriously. It’s kind of a joke.

G: Yeah, you say it but you don’t really mean it, no? It’s just said to, sort of, irritate the other person or... Alright, I’ll give you two more. Er, to play it by ear.

J: To play it by ear is something you don’t know exactly which way you’re going...how you’re going to address it but according to the situation, you’ll act adequately.

G: So, you’ll sort of decide as you go along, so to speak?

J: Exactly.

G: Yeah, very good. I guess that’s a musical origin, that one.

J: It’s not pre-planned, anyway.

G: And the last expression is to be an old hand at something.

J: Now, that’s very English. I would say that to be an old hand is something that you have a lot of experience doing.

G: Exactly. To be an old hand, you are very experienced at it. And there’s at least another...

J: 500!

G: ...hundred or so, just about parts of the body, where they came from.

J: Ah, yeah, no, those are great.

G: That’s enough to be going on with.

J: I liked it. Very nice, Gee.

G: So, that’s the Guru.

J: Thank you very much.

​

************************************

G: So, um, so what have we got next time, Gee...er...Jay?

J: So, next time, like...like I said, we...we will have our...our first intro into the mini-series.

G: Good.

J: So, we have at least three guests lined up. We’re trying to get more. And, usually these are women in relatively high positions, so directors...er...global...er...VPs that are volunteering their time to talk to about the experiences they’ve had in their professional life, what it takes to be a woman and be a leader – let’s say the prejudices or the preconceptions that we normally have aren’t necessarily true. And we will continue with being The Samba Buzz as we are.

G: The Samba Buzz. So, thank you for listening today. Um, if you want to get a transcript, we are a bit behind but we will put a transcript up eventually, and it’s on our site, which is:

J: Er... www.thesambabuzz.com

G: And, do feel free to write in if you got any questions about grammar or if we’ve offended you with our rock-cock, or anything else that’s been said today, then we wanna know!

J:  Well, as far as I know, I haven’t offended anybody with my rock-cock but... er...

G: See you next time!  

************************************

H: This is Rain in the Desert, and the song is coming out this year. It’s going to be one of my new singles. Ok, so, let me tell you the story, briefly. So, this is the oompah-oompah rhythm – comes from Forró, which is my favorite Brazilian music. So... (sings)... Because I was raised as a child in the North-East of Brazil because my dad is a farmer, and he actually took irrigation to the North-East.

G: Wow.

H: Yeah. In the 60s. Based on what he read in Reader’s Digest about Israel. So, the song is called Rain in the Desert because rain in the desert is an analogy to impossible dreams coming true.

G: Nice.

H: Alright?

************************************

The End

​