Even a “defense letter” for a pair of female nipples on a cover had to be completed by Mirren Iza, the soul of the music project that has produced music like Tulsa for nearly 20 years, most of its time. For the most recent single, I Don’t Want To, is played on Spotify. Make history. The Gipuzkoa woman smiles now that she experienced the release of that song ahead of her next album, Amadora, which will be released sometime in the autumn and which will coincide with the start of a tour with young musicians from the Liverpool Institute for Performing matches. Arts (LIPA), a tour that makes a mandatory stop at Jimmy’s Jazz Room in Gasteiz this Saturday the 10th.
“It’s such a crazy thing that if you cover your nipples you can upload a supersexual image of a woman. So, does the nipple bother you in this case because it’s not in service of your desire at the moment or what? moment It’s Offensive to You, Because It’s an Older Woman’s Breast?shows his latest song.
The glitch began when he submitted the issue to the forum and it returned an automated message, generated by an algorithm, that contained links to their policy on nudity. “We had to write a letter saying that those nipples were justified by the character,” he recalls, “happy” that everything was resolved, though he admits that writing that letter “already was a disgrace.”
In I don’t want to make history, Iza (Hondarribia, 1979) recounts in songs one of the episodes of her next protagonist, Amadora, “who embarks on a journey of transformation, because she is destined to love and how treats that vital design” to take a step back in favor of man.
“Many women have inspired me, among them my sister and my mother, women who were not educated enough to make history, especially the previous generation, who were more educated to be the angels of the house and great individuals in the house. support,” he explains.
She agrees that “there’s a vast world around mature women to write and sing about, because masculine desire and women have always been represented based on that desire.” “Then what happens to the woman in music when she is wanted as a subject?” she thinks.
“Somewhat like in cinema it happens that there are some artists who keep their careers, in music I don’t even tell you, not only are there no songs about them, but also that family reconciliation There is an internal issue beyond that it happened to me, whether pop is something for young people”, he argues.
“The Punk That I Take In”
He has rebelled against that idea. “It’s the punk I carry inside me that drives me to keep going, considering I love seeing older women still on stage and understanding that, if I keep going, I I would encourage others as well, apart from the fact that I feel this way and I still have a feeling to say something”, he added.
While waiting for the rest of the album, in the next few days he embarks on a tour in which he will compile the best production from the self-titled album that started as Tulsa in 2006 and which extends to the most recent Ese éxtasis (2021), this time with “new colors” such as airs and singers thanks to the fruits of their musical exchange at the hands of the Artistas en Ruta (AIE) program and the Liverpool Institute for Performing Arts (LIPA).
At that school, founded by Paul McCartney, for a week last May he gave master classes to a group of students who rehearsed his repertoire. First they played together at Liverpool and now they will continue their journey through Madrid (7), Zaragoza (8), Pamplona (9) and Vitoria (10). “You have to go to these things, because they always change you and deeply, it doesn’t matter if they don’t understand the lyrics. You have to get over your fear of traveling to non-Spanish speaking countries a little bit”, she Says about experience.
However, he believes that this type of initiative falls short of achieving a steady export of music in Spanish to other countries. “It doesn’t allow that, because it remains something exclusively for them. The SGAE Foundation or other institutions of this type should support it more, unless there is something that we can do to reduce the level of expenditure to artists a little bit.” allows to maintain”, he says.
“I want to work from Liverpool, for example in tech. There’s a difference between your passion for music being born in a friend’s garage or in an academic environment. Mine was in a garage and opportunities like this can be found elsewhere. Can take it”, he celebrated.