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namor-shuri · 1 year

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Marvel Studios: Voices Rising - The Music Of Wakanda Forever [Series]

Episode #1: "Nigeria: Past is Present" [available on Disney +] [w/ time stamps to follow along]

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▻ "Soundtrack's like this just don't happen anymore, with the high percentage of the songs that are embedded in the movie, and to this level of cultural specificity." - Ryan Coogler [Director] [0:00]

▻ "Here you have a story that intertwines people [Wakandans & Talokanil] of beautiful, rich ethnicities. What do you do with that as a composer? You use it!” - Letitia Wright [Princess Shuri] [0:14]

▻ We learn that Ryan Coogler and Ludwig Göransson first started off as friends, meeting one another at a film school [USC]. They then hit it off from their joint love of Swedish music. "They make magic together, and they seem to just pick up where the other has left off. They just have this seamless way of getting in each other's heads and hearts, and it ends up creating such incredible music.” - Lupita Nyong'o [Nakia] [1:51]

▻ The first Black Panther soundtrack is heavily inspired by Chadwick Boseman's Black Panther and his overall character. After his passing, they had to go back to square one. "I couldn't really imagine what the movie [soundtrack] would feel or look like without Chadwick in it. So, I'm basically going into this experience starting from scratch." - Ludwig Göransson [Composer] [2:42]

▻ They [Ryan and Ludwig] chose to go to Nigeria, Lagos to recruit artists and composers, it being a major hotspot for music in the world currently. "What Lagos is to music right now is what London was to music in its heyday. What New York was to hip-hop in the 90's. I genuinely believe the most exciting music in the world is being made in Lagos." - Seni Saraki [Music Consultant] [3:16]

▻ "Ludwig came to Lagos, because he, as a creative, understands the need to feed off of the energy of a particular place." - Fireboy DML [Artist] [4:04]

▻ There were a huge mixture of both contemporary artists [ie. singers, rappers, etc] and traditional artists [ie. musicians, instrumentalists for the score such as, but not limited to: Jedalo Percussion Ensemble, Fusion Nigeria] coming together to create this soundtrack. Instruments such as, but not limited to, the: sato drum, sakara drum, iyaálù bata, omele bata, kakaki horn, ojà flute, goje were all used on the traditional side. "Everyday we had different sessions with musicians that would come from different tribes from the Igbo, from the Hausa, from Yoruba and they would have their own instruments and different types of set of drums." - Ludwig Göransson [Composer] [5:57] Ryan and Ludwig are seen workshopping ideas of scenes and where musical segments may exist in the movie during these musical sessions [7:28]

▻ "He [Ludwig] and Ryan had been talking about it for years. ‘Let's write songs just for this film.’ There's no licensed tracks." - Monica Sonand [Score Supervisor] [9:39]

▻ “The generation that I'm in right now is speaking Afrobeats. We are all doing our own things individually, but as a unit together, we are pushing the culture. This is Afrobeats. This is Niger. This is Lagos. We're taking that old culture with us to the world." - Fireboy DML [Artist] [10:48] His song “Coming back for you" was used towards the end of the movie in the scene where Shuri is shown planting the heart-shaped herb [12:15]

▻ Ryan and Ludwig wanted to have artists who sang in Xhosa [the language of the Wakandans] so they did their research and flew out artists from South Africa to Nigeria to meet with them. The music style “Amapiano” had the sound that they were looking for, which plays on most South African radio. "It's so unique and it comes out of the club scene there [South Africa] and it makes you want to dance. What I love about that music [Amapiano] is that it feels futuristic to me." - Ludwig Göransson [Composer] [15:05]

▻ Ryan, Ludwig and artist Bloody Civilian are shown brainstorming Bloody’s beats pack she made for them, discussing where her track may exist. She showed them her song “How to kill a man. “I was very nervous, but the environment felt safe and everyone's creativity was just going. It didn't really feel like work at some point." - Bloody Civilian [Artist + Producer] [23:04] Her final track in the movie “Wake up" ft Rema is about "pushing yourself regardless of the things that try to pull you back." - Bloody Civilian [Artist + Producer] [24:33]

▻ Some of the African producers involved were ecstatic to have representation of a variety of African artists and sounds on this Marvel movie and it’s soundtrack. "I think the album sounds like Wakanda!" - Osarumen Osamuyi [Music Producer] [25:28]

▻ "I've been able to travel here [Nigeria] with Ryan, one of my closest friends. Doing something like this together where we can share this experience has been such a blessing." - Ludwig Göransson [Composer] [25:52] "It was really important for us [Ludwig and him] to come to West Africa. Myself being African-American, a lot of my heritage is from here like most African-Americans. The biggest take away for me is the personal connection that I have myself. I'm constantly looking at people saying ‘that person looks like my cousin, that person looks like my friend, that person looks like my brother.' That experience is one that's very different from being a black man that was born and raised in a predominantly white country. Folks born on the continent often take for granted to just walk down the street and everybody looks like them. That wasn't my truth. That wasn’t my reality. It's a very strange experience to fly for thousands of miles and land somewhere you've never been, but it feels like home. There's a beauty to that, but also a sadness that comes with it.” - Ryan Coogler [Director] [26:06]

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Soundtrack: [tracks referenced in this episode]

ʀɪʜᴀɴɴᴀ: ʟɪғᴛ ᴍᴇ ᴜᴘ / ʙᴜʀɴᴀ ʙᴏʏ: ᴀʟᴏɴᴇ / ғᴏᴜᴅᴇᴏ̨ᴜsʜ + ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ᴄᴏɴ ʟᴀ ʙʀɪsᴀ / ᴛᴇᴍs: ɴᴏ ᴡᴏᴍᴀɴ ɴᴏ ᴄʀʏ / ᴀᴅɴ ᴍᴀʏᴀ ᴄᴏʟᴇᴄᴛɪᴠᴏ + ᴘᴀᴛ ʙᴏʏ: ʟᴀᴀʏʟɪ’ ᴋᴜxᴀ’ᴀɴᴏ’ᴏɴᴇ / ғɪʀᴇʙᴏʏ ᴅᴍʟ: ᴄᴏᴍɪɴɢ ʙᴀᴄᴋ ғᴏʀ ʏᴏᴜ / ʙʟᴜᴇ ʀᴏᴊᴏ: ɪɴғʀᴀᴍᴜɴᴅᴏ / ʀɪʜᴀɴɴᴀ: ʙᴏʀɴ ᴀɢᴀɪɴ / ᴛᴏʙᴇ ɴᴡɪɢᴡᴇ + ғᴀᴛ ɴᴡɪɢᴡᴇ: ᴛʜᴇʏ ᴡᴀɴᴛ ɪᴛ, ʙᴜᴛ ɴᴏ / ᴅʙɴ ɢᴏɢᴏ + sɪɴᴏ ᴍsᴏʟᴏ: ʟᴏᴠᴇ & ʟᴏʏᴀʟᴛʏ [ʙᴇʟɪᴇᴠᴇ] / sɴᴏᴡ ᴛʜᴀ ᴘʀᴏᴅᴜᴄᴛ + ᴇ-40: ʟᴀ ᴠɪᴅᴀ / ᴀᴍᴀᴀʀᴀᴇ: ᴀ ʙᴏᴅʏ, ᴀ ᴄᴏғғɪɴ / ᴠɪᴠɪʀ ᴏ̨ᴜɪɴᴛᴀɴᴀ: ᴀ́ʀʙᴏʟᴇs ʙᴀᴊᴏ ᴇʟ ᴍᴀʀ / sᴛᴏʀᴍᴢʏ: ɪɴᴛᴇʀʟᴜᴅᴇ / ᴏɢ ᴅᴀʏᴠ + ғᴜᴛᴜʀᴇ: ʟɪᴍᴏɴᴄᴇʟʟᴏ / ᴄᴋᴀʏ + ᴘɪɴᴋᴘᴀɴᴛʜᴇʀᴇss: ᴀɴʏᴀ ᴍᴍɪʀɪ / ʙʟᴏᴏᴅʏ ᴄɪᴠɪʟɪᴀɴ + ʀᴇᴍᴀ: ᴡᴀᴋᴇ ᴜᴘ / ᴀʟᴇᴍᴀ́ɴ + ʀᴇᴍᴀ: ᴘᴀɴᴛᴇʀᴀ / ᴅʙɴ ɢᴏɢᴏ + sɪɴᴏ ᴍsᴏʟᴏ: ᴊᴇʟᴇ / ᴄᴀʟʟᴇ x ᴠɪᴅᴀ + ғᴏᴜᴅᴇᴏ̨ᴜsʜ: ɴᴏ ᴅɪɢᴀs ᴍɪ ɴᴏᴍʙʀᴇ / ɢᴜᴀᴅᴀʟᴜᴘᴇ ᴅᴇ ᴊᴇsᴜ́s ᴄʜᴀɴ ᴘᴏᴏᴛ: ᴍɪ ᴘᴜᴇʙʟᴏ

Score: [tracks referenced in this episode]

ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ᴡᴀᴋᴀɴᴅᴀ ғᴏʀᴇᴠᴇʀ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ᴛ’ᴄʜᴀʟʟᴀ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ʏɪʙᴀᴍʙᴇ! / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ɴᴀᴍᴏʀ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ + ʙᴀᴀʙᴀ ᴍᴀᴀʟ: ᴡᴇʟᴄᴏᴍᴇ ʜᴏᴍᴇ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ + ʙᴜsɪsᴡᴀ: ᴡᴇ ᴋɴᴏᴡ ᴡʜᴀᴛ ʏᴏᴜ ᴡʜɪsᴘᴇʀ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ + ᴊᴏʀᴊᴀ sᴍɪᴛʜ: ʜᴇ ᴡᴀsɴ’ᴛ ᴛʜᴇʀᴇ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ + ᴠɪᴠɪʀ ᴏ̨ᴜɪɴᴛᴀɴᴀ: sɪʀᴇɴs / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ɴᴀᴍᴏʀ’s ᴛʜʀᴏɴᴇ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ʏᴜᴄᴀᴛᴀ́ɴ / ᴠɪᴠɪʀ ᴏ̨ᴜɪɴᴛᴀɴᴀ: ᴀ́ʀʙᴏʟᴇs ʙᴀᴊᴏ ᴇʟ ᴍᴀʀ [ғɪʟᴍ ᴠᴇʀsɪᴏɴ] / ғᴏᴜᴅᴇᴏ̨ᴜsʜ + ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ᴄᴏɴ ʟᴀ ʙʀɪsᴀ [ғɪʟᴍ ᴠᴇʀsɪᴏɴ]

Episodes: 1 2 3

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staying-elive · 1 year

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If anyone hasn't yet watched Voices Rising: The Music of Wakanda Forever, I highly recommend doing so this weekend!

This will disappear from Disney+ on May 26th as part of Disney's purge.

It's only three episodes, less than 90 minutes all up. A wonderful insight into the effort and talents of the artists involved. I miss behind the scenes docos so much! 😭

I hope it'll still exist in some form after (Blu Ray features?) But it doesn't sound like any of these 50 shows will have a physical media release. (Willow is another surprising one being purged!)

#go watch it!#voices rising #black panther #black panther wakanda forever #i miss behind the scenes docos so much #disney plus #disney purge #mcu #marvel

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avengerscompound · 1 year

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Marvel's Voices: Wakanda Forever (2023)

#marvel #avengers #marveledit #comicedit #tchallaedit #blackpantheredit #shuriedit #t'challa #black panter #shuri #okoye #Marvel's Voices: Wakanda Forever #616 #juni ba #dotun akande #marvel comics #avengerscompoundedit

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comicwaren · 1 year

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This week on Marvel Comics (15th February 2023):

Avengers Forever Vol. 2 #014

Captain Marvel Vol. 10 #046

Fantastic Four Vol. 7 #004

Hulk Vol. 5 #012

Invincible Iron Man Vol. 5 #003

Marauders Vol. 2 #011

Marvel’s Voices: Wakanda Forever #001 (One-shot)

Mary Jane & Black Cat #003

Monica Rambeau: Photon #003

Murderworld: Moon Knight #001 (One-shot)

Nightcrawlers #001 (NEW!)

Spider-Man Vol. 4 #005

Star Wars Vol. 3 #031

Star Wars: Bounty Hunters #031

Wasp #002

Wolverine Vol. 7 #030

X-Men Vol. 6 #019

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graphicpolicy · 1 year

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Marvel celebrates Black History Month with Variant Covers, Backup Stories, and more!

Marvel celebrates Black History Month with Variant Covers, Backup Stories, and more! #comics #comicbooks

Marvel has announced some of the exciting things coming as it celebrates Black History Month this February with various new series centered about Black heroes and creators and a new edition of Marvel’s Voices anthology series, Marvel Voices: Wakanda Forever. Fans can discover more about the stories and creators that await in Marvel Voices: Wakanda Forever, check out all four Black History Month…

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cheekyoreo · 2 years

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me 0.5 seconds into lift me up by rihanna

#rihanna #lift me up #wakanda forever #black panther: wakanda forever #i’m emotional #it’s been so long #it’s unbelievable how much i’ve missed her voice #so good #rihanna i love you #marvel #ucm #black panther

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smashpages · 2 years

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This is the variant cover for Marvel’s Voices: Wakanda Forever (February 2022) by Ejiwa “Edge” Ebenebe.

#marvel's voices #marvel's voices: wakanda forever #black panther #comics #comic books #variant covers #ejiwa “edge” ebenebe

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caffeinejournalist23 · 4 months

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Why the World Needed 'Wakanda Forever'

I have seen almost every Marvel movie in theaters on opening weekend.. and I have NEVER cried so hard and I have never felt SO CONNECTED to fellow movie-goers.

!!!! SPOILERS AHEAD!!!!

So before we get into the deep-dive, let's do a quick recap of the smash hit sequel. Also disclaimer: as I am drafting this post, I have only seen Wakanda Forever once on opening night - I will most likely see this again in theaters (and/or I'll definitely re-watch it once it drops on Disney+) so if I'm missing some parts in this first initial review/deep-dive I will revisit it in a later post!

All OG Marvel fans are aware of how meaningful the iconic Marvel Studios comic-film intro can be - and Wakanda Forever uses this at full force; the theatre is heavily quiet as montages of Chadwick roll within the letter formations, and we see what looks like newspaper articles repeating T'chala's name, announcing his death. The deafening silence contrasts the intro that was used to honor the passing of Stan Lee - which opened 'Captain Marvel.' At my theater, no one said a word during the intro, then many clapped respectfully as the sequence concluded. Shuri tries to gauge T'Chala's health status via the suit, and she says to her mother after the funeral "how could I have not detected an illness was killing him" - which alludes directly to Chadwick Boseman's death; he passed from terminal cancer and no one was even aware he had been battling it all these years. In the bird's-eye view of the city during the funeral procession, we see a mural of T'Chala on a tall city wall; it is eerily similar to the mural in [x] honoring George Floyd. The film skips ahead one year. The Queen and Shuri are on an isolated beach to burn their funeral attire - meant to symbolize the end of the grieving period and the need to move on - when Daddy Namore (sorry, Daddy? Sorry - he's so hot) approaches the women from the water and offers a deal - that Wakanda ally itself to Namore's kingdom of [x] against the other countries attempting to steal their vibranium, or they go to war.

This movie is needed by the WORLD on so many levels; for one, this film is fully embracing the privilege and opportunity it serves for representation. A lot of the filming takes place in Haiti and Peurto Rico - nations which tend to be represented poorly and stigmatized as impoverished third-world nations; to quote a TikToker who goes by the name of [x], the shots filmed in Haiti demonstrate beauty and dignity - rather than perpetuating a negative poor image. When I think if Haiti, for a long time the only thing I could think of was that terribly destructive hurricane back when I was in elementary school - I think we might've had a fundraiser/donation drive at school to help aid survivors. I had been taught and primed to think that Haiti was destroyed in that hurricane, and heard no other narrative. The same can be said for Peurto Rico - I'm a film connesiuer and I can't think of a single film that enlightened me about what PR is like; the only thing I know/affiliate PR with (prior to this movie at least) is that it's a good vacation spot - according to a friend who took a spring break there.

This movie also brings a blood-deep taboo conversation to the fore-front; race war. Unfortunately, despite the similarities amongst colonized minority cultures, war and violence are not immune - as a multi-racial person myself, I can attest that race war is not solely reserved to white Americans and Blacks.

#wakanda forever #black panther #bucky x shuri #the black panther #wakandans #marvel #marvel cinematic universe #race war #representation matters #black voices #brownvoices #black directors #pocfilm

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superpoweredfancast · 1 year

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Marvel Voices Wakanda Forever #1 Review

Marvel Voices Wakanda Forever #1 Marvel Comics Written by Karama Horne, Adam Serwer, Murewa Ayodele, Dr. Sheena C. Howard and Juni Ba Art by Alitha E. Martinez, Todd Harris, Dotun Akande, Marcus Williams and Juni Ba Colors by Rachelle Rosenberg, Jordie Bellaire, Dee Cunniffe and Chris O’Halloran Letters by Joe Sabino The Rundown: Writers and artists celebrate the characters and world of…

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#comic book review #marvel comics #marvel voices wakanda forever

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namor-shuri · 1 year

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Marvel Studios: Voices Rising - The Music Of Wakanda Forever [Series]

Episode #2: “Mexico: Con La Brisa” [available on Disney +] [w/ time stamps to follow along]

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▻ During the early stages, Ryan and Ludwig talked about how they can make this music [relating to Talokan] as authentic as possible. This brought them to Mexico City. Ludwig met with Camilo, the coordinator in Mexico City who helped put together musical sessions with artists. “I think the biggest challenge was for us to find musicians of our time who understood a little about what was happening in the Mayan Peninsula in the past. And there are very few specialists.” - Camilo Lara [Musician + Producer] [2:43]

▻ We are introduced to Alejandro Méndez [from Grupo Tribu] who is “one of the greatest connoisseurs.” - Camilo Lara [Musician + Producer] [3:07] “Tribu is a group that emerged around the seventies. We initially started out doing rock. A type of fusion between rock and traditional Mexican instruments. A colleague and I from the group got a degree in archaeology and now we have the opportunity to access the excavations. There is a great legacy of information that is hidden or buried. That seems to us worthy of having these instruments also recovered, put back into circulation, because they are means of human expression.” - Alejandro Méndez [Musician] [3:20]

▻ Various Mayan instruments are played with such as, but not limited to: turtle shells, Teponaztli drum, seashells, “Flute of truth”, “Death whistle” and more. “People don’t know what the music sounded like. People don’t know exactly how the instruments were played. But we want to be as close as we could because we know what the instruments were [in the Codex].” - Ludwig Göransson [Composer] [4:08] Alejandro and various experts spent time with Ludwig experimenting with the sound of Mayan instruments and recording sound bites. These sounds eventually layed the foundation for the final score and parts of the soundtrack.

▻ “The seashell. I already knew we were going to use it because it was in the script. It is a big part of Namor’s character.” - Ludwig Göransson [Composer] [6:11] “Seashells being played like you would play French horns. And hearing a guy breathe through a seashell, sticking his hand in it. It’s like brash and bombastic, and confident and weird. It does something new to you. It’s also romantic. He [Alejandro] kind of played Namor’s sadness. It eventually evolved to playing his grandeur and the power of all of that with the sadness. The idea of things that hurt you or do damage to you, you can decide to let those be the things that make you strong.” - Ryan Coogler [Director] [6:29]

▻ The “Death whistle” has an arresting and unique sound to it. “This is how it has been named by accident, although it is not really a whistle that is dedicated to death. The wind blow of the wind is what generates life with an ancient Mexican mythology.” - Alejandro Méndez [Musician] [8:40] Ludwig loved the sound and wanted that to symbolize Namor’s power. We see that this instrument is used in the scene where Namor punches M’baku and shatters his breastplate, propelling him backwards [9:17]

▻ “For me, this character [Namor] is demanding. We are reclaiming our origin. We’re talking about old grandparents, our old grandparents. And reconciling ourselves with that part. Doing this thing called techno futurism. Based on who we are, on our ancestors, on our grandparents. I think it’s a very important step because the stories you hear and literature and movies, and everything else taught us to be ashamed of who we are. And it’s time to stop feeling like this. The universe they built to sustain the story is very profound. It’s not just going to make it sound nice, but also give it meaning.” - Tenoch Huerta [Namor] [10:29]

▻ “Since Mayan is the native tongue in the movie, it’s just right that we also get Mayan speaking artists as part of the soundtrack.” - Ludwig Göransson [Composer] [11:32] We are introduced to hip hop artist “Pat Boy”. “All roads led us to a legend of hip-hop in Mayan named Pat boy. Pat has been essential for hip-hop in that area to grow, and above all, that it is sung in Mayan and with pride. He has a collective called Mayan DNA.” - Camilo Lara [Musician + Producer] [11:44] Their hip-hop track “Laayli' kuxa'ano'one” is an exploration of traditional and modern sounds.

▻ Ludwig catches up with actor Tenoch Huerta in his stomping grounds, and goes over recorded tracks with him in a studio. “Where did the Mayans go? Did they get on a UFO? No, they’re here. Where did the Aztecs go? Nowhere, we’re still in Mexico City. We need to start giving them a name and give them a face, and begin to give them a human sense. And stop putting them in museums so that they can be in popular imaginations, in current imaginations. So that they can be in fiction, on the screen, in books, in music, everywhere. And no longer be immovable statues you can’t talk about. No way. Because it’s us. Because we’re alive. And we didn’t go anywhere.” - Tenoch Huerta [Namor] [14:33]

▻ It took Ludwig and Camilo some time to tailor down the list of artists they felt were the future of Mexican music, who felt fresh and with an edge. Morning recording sessions were spent with traditional artists [ie. musicians, instrumentalists] and night sessions with contemporary artists [ie. singers, rappers, etc] “I didn’t dedicate myself to music as a child, nor did my family. At the age of 18, I found out that there is a career in music production in Monterrey. A classmate heard me sing and told me ‘you sing really nice, let’s make some music’ and that’s how I started.” - Foudeqush [Artist] [16:47] Ludwig sat down with Foudeqush and discussed writing a song that is based off of the Sun [thinking about when Namor shows Shuri the world of Talokan]. Ludwig played with sounds as she wrote melodies and prompted her to “Write as if you’re trying to describe the Sun to someone who has never seen the Sun.” - Foudeqush [Artist] [17:18] The track “Con La Brisa” was born. We learn that this track was written and recorded before either one of them was able to watch the official Talokan tour scene, which made this creation even more special.

▻ “With the first film, although there’s some brilliant women, that film was very much from a male perspective. And this film shifted that when Chadwick passed away. We made the decision that it’ll be Shuri’s story. And after that, it became clear that this was going to be a movie about mom’s flat out, through and through. And that was exhilarating for me. It represented a new opportunity to reflect on a very profound human relationship that frankly, there’s not enough movies about.” - Ryan Coogler [Director] [19:25]

▻ Ludwig met with artists Vivir Quintana and Mare Advertencia Lirika. Vivir’s song “Canción Sin Miedo” became an anthem for the feminist movement in Mexico and after listening, Ludwig was immediately struck by “her vocals and her voice and the confidence she had in her voice.” - Ludwig Göransson [Composer] [20:27] “It’s [the musical scene] still plagued by violence in Mexico. One of the things that saddens me is that despite us women succeeding in music, we have to make protest music. I think that there’s a lot of visibility lacking towards music made by women in Mexico.” - Vivir Quintana [Musician] [20:49] Ludwig had both Vivir and Mare sing and rap over a track, experimenting with the emphasis on their voices. “I am used to having to scream at the world in order to be heard. And this song implies that challenge. If we’ve always been yelling, how do we also negotiate with our voice now? I don’t need to yell. I don’t need to speak in a loud voice to consider my words valuable.” - Mare Advertencia Lirika [Artist] [22:48] The collaborative track “Árboles Bajo El Mar” sparked ideas of transformation and was eventually used during the scene of Namor’s birth.

▻ We learn that Tenoch Huerta’s father practically forced him into acting workshops when he was younger. He enjoyed it a lot but having no representation in Mexico of actors with darker complexions, he didn’t have high hopes of becoming an actor. He wondered why his father pushed him in this direction and “My dad said ‘I saw something in you.’ And that’s it. I don’t know what he saw or didn’t see. But he saw me. And that’s what was important. Imagine everything I owe to him. When I was a child, I never saw myself on screen. And that’s what I hope for. That boys, and girls, children, don’t feel so alone. That they know that there was never anything wrong with them. What was wrong was the eyes that were seeing them. I want them to be able to dream. I want this character to make them dream. If I can do that, I wouldn’t ask anything more from life.” - Tenoch Huerta [Namor] [28:29]

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Soundtrack: [tracks referenced in this episode]

Score: [tracks referenced in this episode]

Episodes: 1 2 3

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