Milena Warthon closes the story of her album ‘Pop Andino’ with the release of the video clip for ‘Más Allá’, which was published two weeks ago and with which she wants to show the yin and yang of the same being. In an interview for La República, the artist —who began his musical career in 2018— tells details of his latest production, with which he addresses the crisis he went through in search of his cultural identity and his desire to continue empowering himself.
“Sometimes we believe that opposite poles cannot come together, but in the end we realize that it only wears us out by wanting to hide things from ourselves and that is what happens in the video clip: the hearts of both Milenas begin to go out.” , until she finds the Amaru (deity of the Inca era), who guides her to Pachamama, she gives her this message and at last they meet again and unite in a single heart,” she says.
With 7 years of career, with a silver seagull and several stages under her belt, Milena Warthon reflects, in this note, on the labels that society wants to impose on her for her role as a TikToker and for wanting to implement a different style within the Andean music. In addition, the 24-year-old singer talks about her intense work on social networks and her unique tour of Europe.
—If we check your Spotify, will we find artists like Karol G or the Jonas Brothers that have sneaked into your playlist?
—Anyway, there is music of all colors and flavors. I’ve had my Spotify since I was 16 or 17 years old. At that time I listened to pop, rock. I was also a big fan of Ariana Grande and One Direction. At one point I heard reggae and also my favorite songs by my favorite folk artists. And obviously reggaeton and cumbia.
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—Any concert you’ve missed?
-Many. Now for Group 5, I wanted to go, but in the end I couldn’t.
—How many hours do you use your cell phone?
—A lot, really.
—More or less than before?
—Less than 2021 or 2022, but I am changing. There are stages. Now I’m putting (time) back into the networks. I’m trying to edit my videos, my photos. I spend time like this.
Milena and her intense work in networks
—Are you dependent on your cell phone?
—I wouldn’t say that, sometimes I like to disconnect. I use it more for work, the cell phone is my work tool and yes, I like to watch tiktoks to get ideas of what else to continue doing. I not only make videos singing or dancing, but also trends.
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—Does Milena have free time?
-Now yes. Not before.
—But that you have nothing to do with music.
—I’m trying to make my life much healthier. At the beginning it was worth it and I don’t regret that excessive work on networks, I uploaded three videos a day, I killed myself making my videos. I like it, but there is a moment when one gets saturated. So since last year, I am trying to make a habit and also prioritize myself in various aspects.
-For example?
—Like trying not to put everything together and have more space, respect my weekends when I don’t have a show, respect that I already have something agreed upon with my friend, unless it’s something I can’t miss. Try to make it (work) not toxic because in the end you start to get ‘bug’ (anger) at work, because I can’t go out to socialize. Maybe I love doing what I do.
Milena Warthon defends her Andean roots
—Was it difficult to shake off that fame of being only a Tiktokera?
—In the beginning, yes. It was an internal struggle. When they say: “You’re just a TikToker,” it’s to disqualify you, so you think: “That’s a bad thing.” Then I realized that being a Tiktokera is a challenge and I have done a job to achieve what I achieved at that time. So, I tried to empower myself and I started by being clear about the values, the qualities that I have and the things that make me different as an artist and as a musical product; and try to exploit it. These are stereotypes and retrograde thoughts about the industry. During the pandemic people told me: “Why spend your time making tiktoks if you don’t make music”; and I said: “This is part of my music, it’s part of the promotion” (…). You have to sell your music to keep making music. In the end, it’s my lifestyle. Whether you like it or not, social networks allow me to survive in this and I am very proud of how I have developed as a communicator.
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—Some have said that you have appropriated an identity that does not belong to you.
—They accused me of cultural appropriation and it was a pretty hard moment because out of nowhere they throw a dart at you like that and, since you’re not prepared, you get sad. I questioned myself and said, “Am I really doing something wrong?” But then I started to analyze and that’s the good thing about ‘hate’, it makes me more empowered because I’m doing these things from the depths of my heart. I don’t do things to upset or disrespect anyone. Obviously, I can be wrong and I can also apologize (…), I express my Andinity and my cultural identity from my truth. And it is just as valid as that of all Peruvians.
—So, who is Milena Wharton?
—I am from Lima, I was born in the year 2000 and I am the representation of so many children of migrants. Lima, from the beginning, has been the city of opportunities and it has been hard to build it. In its disorder and, in all its madness, there is our grace too. There are many things to improve, but the city has moved forward because we are a town that identifies itself as being Chamba. People have gone out to look for jobs and study, and that is the case with my family. We are also Andean. My mother is an Andean woman, my father is an Andean man, so I don’t have to explain to anyone why I am Andean.Because it’s on my parents’ birth certificate.
—Have you felt rejection in the province?
-That’s the worst. Sometimes people tell me: “Milena, you have so many haters.” There is no point of comparison of the ‘haters’ that I have on social networks, with the people who love me on the networks as well and in the newspaper, I really surprise myself. After coming from Europe, where no one knew me, people asked me for photos everywhere and told me how they found out about my music. That’s what I’m left with. I have every right to tell my story and that is what I do on my album. It is a cultural heritage, an inheritance from my grandparents, from my parents, and I am empowered by that. My story is totally valid, just like any story.
—If you had the power to eliminate all your haters, would you do it?
—I would not eliminate them because they are part of the change process. ‘Hate’ causes these dialogues to be generated and that makes me proud of my project: it generates dialogue on topics that are not usually talked about, such as cultural appropriation. (There was) a whole debate about: Is Milena being cultural appropriation or not? What is an Andean woman like? Why did Milena study at the University of Lima if that is not Andean? All Peruvians deserve to have a quality education and that should not be a bad thing. It’s what I have to do, change is like that: turbulent and uncomfortable.
Milena Warthon feels like the ‘outsider’ of Andean music
—Do established Andean music artists take you into account in their festivals?
—Yes, I have gone on occasion. I know that Andean music has a market-level audience, a segmented audience and, sometimes, I am the ‘outsider’. There are many people who consume my music too. Artists like Antología, Pelo D’Ambrosio, Amaranta, Max Castro, William Luna, are from such a long career and from another generation.So, new generations opt for projects like mine, which is a new proposal. I always say: I make pop music with Andean colors. I make Andean pop and I have always made it clear.
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—Do you feel supported by them?
—Yes, I feel supported. Surely, there are many people in Andean music who don’t like what I do, but it’s not relevant enough for them to come and tell me in person. Only once did it happen to me on a radio that they asked me a totally inappropriate question.
Milena Warthon and a unique experience in Europe
—What did your trip through Europe leave you?
—Europe has been a journey of great learning in general. As a team we have had to endure each other for a month. We are friends, but it is one thing to be working for a few hours and another thing to be there 24/7 for 28 days. We have had to get used to each other. Another issue is sleep, we have had jet lag until the last day. We have been tired all the time (…). The nice thing was meeting people who give you a hand without asking for anything in return and seeing that your music crosses such distant places. Actually, I had no idea how many people knew me in Europe because they are such small communities and they don’t appear in the statistics, but even if there were five people, there were five people who loved me intensely (…), the fatigue and the hustle and bustle are worth it. completely. We will return anyway and surely many more people will see us.
—And the most anecdotal thing?
—There came a time when I couldn’t sing anymore. I really got very sick. First the drummer fell and then one after the other fell. In the end I fell. After the penultimate concert, which was in Berlin, I ended up with a completely swollen throat. Could not talk. So, in Madrid I gave a different concert, it was beautifully strange because I really had to gather up the courage—as my song says—to go out and sing. I sang horrible because I was super-phonic, but people appreciated it a lot. They allowed me to talk about what each of my songs was about and that is a luxury. It was totally intimate and people helped me sing.