Downs grew up there and in Minneapolis, Minnesota. She began singing ranchera music at an early age, and later sang at the fiestas of the towns in her mountain region, la Mixteca. She sang with the band Los Cadetes de Yodoyuxi and later with La Trova Serrana, a group of folk musicians from the Zapotec town of Guelatao, Oaxaca. At that time she met her musical collaborator Paul Cohen and began to create her own musical compositions, which tap into native Mesoamerican music of the Mixtec, Zapotec, Maya and Nahuatl cultures. Cohen went on to become both Downs's husband and her artistic director.
Downs is the daughter of Mixtec cabaret singer Anita Sánchez and Allen Downs, a Scottish/English-American professor of art and cinematographer from Minnesota. She grew up partly in the Mexican state of Oaxaca, partly in California as a teen, and Minnesota as an adult where she studied voice and social anthropology at the University of Minnesota. She also studied in a school of fine arts (Bellas Artes) in Oaxaca when she later returned to Mexico where she learned to weave.
In following the years, Downs and her band toured widely in Mexico, South America, the US and Europe. She was also heard in a duet with Caetano Veloso for the soundtrack to the movie Frida in a song, Burn it Blue, that was nominated for the Academy Award for Best Song and that she performed at the 75th Academy Awards. Other songs that she performed on the soundtrack are "Benediction and Dream," "Estrella Oscura," and "La Llorona." Other movies with a Lila Downs song are Tortilla Soup, Real Women Have Curves and Fados by Carlos Saura. She was also invited to the Twelve Girls Band's concert in Shanghai, where she sings in French and English. Downs is currently based in Coyoacán, a borough of Mexico City.
Downs 2008 album is "Ojo de Culebra / Shake Away" and includes "I Envy The Wind" (song) by Lucinda Williams and "I Would Never" by The Blue Nile. She also collaborates with artists like La Mari (singer) from Chambao (band) and Enrique Bunbury from Héroes del Silencio.
Getting closer to the "real" story, here's a poignant, fascinating bio of Lila Downs, by an excellent writer:
Lila Downs: With a Song in Her Soul
Lorenza Muñoz, Los Angeles Times Staff Writer
Lila Downs OAXACA, Mexico--Lila Downs knelt onstage, as if in prayer, in a dark auditorium, only a few dim lights reflected off her onyx-black hair and ruby-red lips. Before a hometown crowd, she directed her prayer-like song to La Llorona. Downs' powerful voice echoed off the stage. Suddenly she became La Llorona--a mythical woman said to haunt the river valleys of Mexico, weeping and moaning for her children whom she drowned in a fit of madness. Her story has been repeated for centuries in Mexican folklore, with a little variation but always the same tragic feeling.
The hushed audience watched her, transfixed, as she knelt in her traditional silk black and red blouse, a huipil, calling out in agony and adoration to the ghost of La Llorona:
You came out of the church one day Llorona and I saw you pass by Such a beautiful huipil you were wearing, Llorona that I thought you were the virgin. Oh my Llorona, Llorona dressed in a celestial blue And even if it costs me my life, Llorona, I will not stop adoring you.
Lila DownsShe ended her song, and for several seconds the audience members seemed not to breathe or move until they heaved a collective sigh. They had been transported to an imaginary place. They had just experienced Lila Downs at her best.
If Downs' performances are marked by anything, it is an uncanny ability to become the character of a song. Whether it is La Llorona, or a sensual jazz singer of "Smoke Gets in Your Eyes" in flawless English, or a coquettish Mexican singing a bolero, or a native Indian conveying the sad stories of Mexico's Mixtec, Nahuatl or Zapotec cultures in their languages, Downs discovers a part of herself in the essence in each song. She is a reflection of a 21st century world culture where ethnicity and national boundaries are blurred.
The 32-year-old is best known in Los Angeles for her electrifying performance at last year's World Festival of Sacred Music. Downs received a standing ovation that night, an honor given to only one other festival participant--the Dalai Lama.
Lila DownsShe has sung before packed houses at the Getty and at LunaPark. In 1998, she performed live on KPFK-FM (90.7). The CD of that performance, a modest endeavor with only acoustic guitar and piano accompaniment, has been the biggest-selling benefit album in KPFK history, said operations director Betto Arcos. At the Sacred Music Festival, "she was singing in Mixtec, Maya, Nahuatl and she stole the heart of not just Latinos but everyone," Arcos said.
A relative newcomer to the music scene, with only two albums released, Downs and her band recently signed a deal with Narada/Virgin records, a company that also distributes other global music acts and labels, including Peter Gabriel's Real World and David Byrne's Luaka Bop. Her first album for Narada, tentatively scheduled for release Aug. 29, will be original songs written by Downs inspired by border life. The music will include cumbias, rancheras and other eclectic mixes. Monday, Downs returns to Los Angeles for a performance at the John Anson Ford Amphitheatre. Downs' bicultural background, her exotic beauty and startling voice, in addition to the growing popularity of world music, could position her to reach international success.
"I was struck by her voice and the commitment that she has made to her cultural background--she integrates it in a very modern way that makes it accessible," said Richard Denhart, senior director of artists and repertoire for Narada. "I think of her as a developing artist. She really has no track record, and so it is a challenge to get her to the United States as much as possible to get her music out."
Indeed, having sung professionally for only seven years, she is still ironing out the kinks in her voice. Some critics say her eclectic song selection and arrangement obstruct the flow of her albums. To get to the next level, they believe, she must refine her performances and find a top-notch producer.
"She doesn't have a perfect voice, but she sure can perform," said Tom Schnabel, host of "Cafe L.A." on KCRW-FM (89.9). "Her strength is the way she can win a crowd. Look, Maria Callas used to blow notes right and left, but she would also blow an audience away. Same with Lila. She has a hell of a lot of stage presence. She can emote and be very dramatic."
Drama has been a constant presence in Lila Downs' life. There is an aura about her that suggests something ethereal. She is thin, with thick straight hair pulled tight into two braids often decorated by the brightly colored ribbons of her native Oaxacan Zapotec and Mixtec Indian culture--a look that has existed for centuries, but which painter Frida Kahlo popularized in the 1930s. Wearing no makeup, she dons only a dark cherry or red lipstick when she performs. Her skin, a light olive shade that allows for very light freckles to form on her nose, is in stark contrast to her dark hair, ink-black eyes and arched eyebrows. Her scent is of a musk oil, sensually perfuming the air around her.
Downs' mother, Anita, a willful, intelligent woman, decided at an early age that she would escape the chains of her ancient village. Born in San Miguel El Grande, deep in the mountains of Oaxaca, Anita was married off to an abusive man at age 15. One night as her husband snored off the day's drunken adventure, she escaped to Mexico City, literally barefoot, penniless and barely able to speak Spanish.
Being a quick study, Anita became fluent in Spanish, though never forgetting her native Mixtec. Being a striking beauty, she quickly found a job singing at a cabaret.
It was there one night in 1961 that Allen Downs appeared in her life. An adventurous professor of art and cinematography, Downs had come to Mexico to film the flight of the blue-winged teal from Canada to the Yucatan Peninsula. But when he set his eyes on Anita, Downs quickly forgot about the ducks.
"He had never seen a Mixtequita like me," recalled Anita, in slightly accented Spanish, laughing at the memory. "Even though he didn't speak Spanish and I didn't speak English, we understood each other."
There was one little snag in their love affair, however. Allen Downs was married. Within a few years, he secured a divorce, moved to Mexico City and married Anita. He wanted to have a baby right away. Wanting to make sure her husband was responsible and would stick around, however, Anita decided to wait. She waited seven years.
Finally, in 1968, their baby girl, named Lila, was born.
Lila lived a double life. Oaxaca was too remote for their daughter, so her father brought her as a teen to Southern California, where his brother lived. At Rowland Heights High School, she learned to read and write English perfectly. Anita opted to stay home in Mexico. So Downs spent most of her teenage years with her father.
When she graduated from high school, she came home to Oaxaca. But here, her identity crisis began setting in. She saw the uglier, racist, envious side of Mexico. Who was this strange child of a strapping, white American father and a petite, bronze-colored Indian mother? In a country still suffering from the scars of many conquests over the Indians, Downs was the personification of everything many Mexicans loathe and yet desperately want to be.
"It was very, very hard," Downs recollected. "I think what I do artistically had a lot to do with me as a person. I was very confused."
Her neighbors would tease her. "You're the little Indian's daughter," the children would taunt. "Yankee go home," they would write in graffiti on the family house.
She sang, but only to her mother. The notion of performing publicly was embarrassing; it reminded her of the way her mother had made a living standing on nightclub tables, surrounded by drunkards.
Suddenly one day, while taking a nap during a visit to Oaxaca, Allen Downs died of a heart attack at 68. Downs, 16 at the time, was the only other person in the house. His death is a topic she still finds difficult to talk about. She flew into a rebellion, angry that her father was dead, taking it out on her mother who in her eyes was helpless, almost submissive to the discrimination she faced in a society that resents its Indian ancestry.
"Up to that point I had spent time with my dad--the white guy," Downs said. "I realized that people treated me better because I was with a man--and [especially] a white man. And then suddenly I was left with my Indian mommy. I couldn't handle it. How could I deal with the fact that my mother speaks with a thick accent because her first language was Mixtec? I was ashamed of my Indian roots."
Lila Downs Two years later, she fled to her father's native state of Minnesota for college and buried herself in studies. She studied voice and anthropology until her junior year, but then she became disillusioned. She dropped out for about a year and became a Deadhead, living and breathing the cult-like fascination with the Grateful Dead. Soon she realized she had stopped feeling and thinking for herself. She was, she recalls, like a stoned, unbathed android, unable to put her own emotions to life. She stopped singing--not a note--thinking it a vain and superficial exercise.
Her mother, an elegant, finely kept woman, was horrified.
"I never thought she would dress like that--or that a human being would dress like that and smell like that!" Anita recalled, her eyes widening in disdain. "Her boyfriend had so much hair, he looked like a lamb."
To Lila, that stage in her life was inevitable. "It was good because it was like shedding a skin and going through a growing process which we all go through one way or another."
After two years of therapy and serious introspection, Downs snapped out of the Deadhead mode, returned to the University of Minnesota and received her degrees in voice and anthropology in 1991. But she still felt she was searching for something. She was still unable to sing. It was not until she returned to Mexico that she found the healing qualities of music.
Through music, Downs discovered herself, her Mexican and Indian heritage.
But her link would be soaked in the tragedy that has haunted the Indians of Oaxaca for centuries. Even before the Spanish conquest, her mother's people had been overrun, first by the Zapotecs--a neighboring Indian civilization--and then by the Aztecs, who changed their language, stole their gold and imposed their ways. Today, Oaxaca's enemy is poverty.
One day, home in Oaxaca, Downs was asked by her fellow Mixtecos to translate death certificates in English to their language. Many of their boys who had crossed the border into the United States searching for work had died. And though their bodies had been shipped back to their native land, their relatives wanted to know how they had died.
It was so powerful, being this translator of death. She had to sing about it, to honor these boys with so little time on Earth. She composed "Ofrenda" (Offering).
"It took a long time to decide that I wanted to sing," she said. "I needed something that was a little more intellectual and that motivated me. That is why I started to write."
In 1993, she resumed singing, performing in Oaxacan nightclubs, where she met Paul Cohen, an American saxophonist from the East Coast. They hit it off, becoming romantically involved and collaborating musically. Cohen is today the chief arranger of Downs' songs. With his encouragement she explored the grand Mexican ballads, the rancheras, the boleros, the ancient codices of the Mixtecs and Zapotecs and put them to music. Her mother encouraged her to dig deep for that emotion--sentimiento--she possessed but never really brought out.
Indeed, most audiences seem to forgive her occasional vocal missteps. This was true during a February performance in Oaxaca, where her most fervent fans have rare occasion to see her live. Although she lives in Mexico City, she is considering moving permanently to Los Angeles. Lately, as her fame has increased, her time at home in Oaxaca has been reduced to a few weekends a year. So, many of her friends and relatives, who had come to see their local girl sing on this cool night, brought their affection and love, showering her with flowers and accolades. Her fans, mind you, were not only Oaxacans. A group of visiting Minnesotans heard one of their own was singing that night.
"We flew in from Minneapolis and we are just as proud as peacocks!" said Marge Nordstrom as she shook Downs' hand backstage. "I'm a music teacher, so I know what I heard. We certainly hope you come to Minneapolis soon."
Downs graciously shook everyone's hand, accepted the roses she was handed by petite Indian girls looking up to her as a near-idol. Though smiling, her exhaustion and nervousness was visible on her face. "It is like dying a little bit every time you do pieces like 'La Llorona' because they mean so much to people," she said later. "It's like a love song to death."
The idea of fame makes her uncomfortable. It brings new questions: As her popularity increases, will she be able to handle the demands on her time? Will the new record company force her to sing music that is more popular but not as heartfelt? Without her heart and soul into it, she knows she could never continue singing.
"I never appreciated being a vocalist. I thought it was so superficial," Downs said. "You have to find the spirit to the songs, otherwise it doesn't matter how pretty you sing. I can't quite explain what it is, but I think it has something to do with getting to know yourself and feeling right about what you're doing."
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Discography
* Chacala, (2011 ? segunda parte de Ojo De Culebra - not released yet)
* Lila Downs y La Misteriosa "en París Live à Fip" (2010)
* Shake Away/Ojo De Culebra (Manhattan Records 2008)
* The Very Best Of El Alma de Lila Downs CD+DVD (EMI 2008)
* La Cantina (Narada 2006)
* Una Sangre (One Blood) (Narada 2004)
* Border (La Linea) (Narada 2001)
* Tree of Life (Yutu tata) (Narada 2000)
* La Sandunga (Narada 1999)
* Azuláo: En Vivo con Lida Downs (1996)
* Ofrenda (1994)
* The Very Best Of El Alma de Lila Downs (DVD Madrid en vivo) (EMI, 2008)
* Lotería Cantada (DVD November 2006)
Lila Downs has one of the world’s most singular voices and innovative approaches to music. She is the daughter of a Mixtec Indian woman, Anastasia Sanchez, who ran away from her village at 15 to sing in Mexico City cantinas and a University of Minnesota professor Allen Downs, who saw her singing and fell in love.
Lila grew up both in Minnesota and Oaxaca, and her music and vocal artistry has many influences, including the folk and ranchera music of Mexico and South America and American folk, jazz, blues and hip-hop. Many of her lyrics focus on issues relating to social justice, and often tell the stories of the workers who migrate from rural Mexico to work in the U.S. She studied classical voice and cultural anthropology at the University of Minnesota. “The Mexican American singer has a stunning voice, a confident multicultural vision grounded in her Mixtec Indian roots,” Los Angeles Times. “Ms. Downs has multiple voices, from an airborne near-falsetto down to a forthright alto and a sultry, emotive contralto,” New York Times.
She and her husband / longtime collaborator, Paul Cohen, have produced 10 studio albums, with “Pecados y Milagros” having earned both a Grammy and a Latin Grammy award, and achieving double-platinum in sales in Mexico. She received her first Latin Grammy for the 2004 release, “Una Sangre.” Her current project, “RAÍZ,” is a collaboration with Argentinian singer Soledad Pastorutti and Spanish flamenco singer La Niña Pastori. This album has garnered two 2014 Latin Grammy nominations for “Album of the Year” and “Best Folk Album.”
Lila Downs has performed at many of the world’s most prestigious festivals and venues including Jazz at Lincoln Center, Carnegie Hall and the Festival of Sacred Music – Hollywood Bowl. She has been invited to sing at the White House, and performed on the 75th Annual Academy Awards and the 2012 Latin Grammy Awards televised ceremonies.
Her music has also been included in several feature films such as “The Counselor”, “Tortilla Soup,” “Real Women Have Curves,” “The Three Burials of Melquiades Estrada,” Carlos Saura’s “Fados,” “Mariachi Gringo” and “Hecho en Mexico”.
Discography
2015 Balas y Chocolate
2014 Raíz / Sony Music Entertainment (2 Latin Grammy nominations)
2012 Pecados y Milagros (Latin Grammy / Grammy)
2010 Lila Downs y La Misteriosa en París Live À FIP
2009 El Alma de Lila Downs
2008 Ojo de Culebra (Shake Away) (Grammy Nomination)
2006 La Cantina
2004 Una Sangre (One Blood) (Latin Grammy )
2001 La Línea (The Border)
2000 Árbol de la Vida (Yutu tata)
1999 La Sandunga
1996 Azuláo: En vivo con Lila Downs
1994 Ofrenda
Minimum Wage
Lila Downs Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Crossed the border to the States
With a plastic bottle running
Cross the desert in a shake
Come to English only country
Hidin' from the minutemen
Come to make this place my home
Story of a lifetime
For the minimum wage
Well, they chased me through the desert
Then the agents strapped me down
Then they ask me why in Spanish
Why you keep on comin' back?
When I left my dad in Jersey
And my sister in Des Moines
They've been workin' in this country
Pickin' lettuce, washing floors
Story of a lifetime
For the minimum wage
Well, they raised me to eight dollars
'Cause I washed the dishes fast
Well, the boss, he got me workin'
On the porch and in the back
Then I wash the dish and rinse it
Then I go home late and sleep
Well, I need to be awake now
'Cause I walk out in my sleep
When I see that black van comin'
Then I know I'm sure to run
Goddamn them agents caught me
Cuffed me on the spot
For the minimum wage
No one forced the boss to hire me
But it's nearly been fifteen
When I left my baby cryin'
With a promise in my skin
On the outskirts of L.A.
I recite a native poem
Million hands, ten thousand years
It's the season for the crop
It's my people doin' the pickin'
In the valley of the dolls
It's a decent job to work at
Any day I'll take this job
Ethiopian, Colombian, Pakistani, Cantonese
Every man that I run into
All the kitchens on the strip
And they're pluggin' in them hours
Smilin' in their dreams
They´re a long, long way from home now
But they lookin' to be free
California, Alabama and Missouri, Oregon
They been workin' like their fathers were
A long, long time ago
For the minimum wage
For the minimum wage
For the minimum wage
For, for, for, for the minimum wage
It's a bumpy road to ride in
But I'll take it anytime
It's a bumpy road to take
But I'll take it day
It's a bumpy road to take
But I'll take it anytime
For the minimum wage
In "Minimum Wage," Lila Downs tells the story of a Mexican migrant who crosses the border into the United States to work for minimum wage. The song highlights the struggle and hardships of migrant workers who leave their homeland and families to pursue a better life in the U.S. At the same time, it raises the issue of illegal immigration and the oppressive systems in place that exploit and marginalize these people.
The first two verses describe the migrant's journey, leaving everything behind in search of a better life in the U.S. The third verse describes how the migrant is hired for minimum wage and works tirelessly, facing harassment and exploitation from their employer. The final verse talks about the larger picture of migrant workers from different ethnic backgrounds and their struggles working for minimum wage. Throughout the song, Downs emphasizes the humanity of these workers and their desire to be free and live a better life.
Line by Line Meaning
Traveled seven hundred miles
I traveled a great distance to come to America.
Crossed the border to the States
I crossed over the border illegally to enter the United States.
With a plastic bottle running
I had limited provisions and had to carry them in a plastic bottle while I ran across the desert.
Cross the desert in a shake
I crossed the desert quickly, fearing the dangers that lay ahead.
Come to English only country
I came to a country where English was the only language spoken.
Hidin' from the minutemen
I was hiding from a group of people who were trying to catch people like me who entered the country illegally.
Come to make this place my home
I came to America to make it my home even though I entered illegally.
Run a long, long way from then
I ran away from my past, hoping to start anew in America.
Story of a lifetime
This is the story of my life.
For the minimum wage
I am working for the lowest possible amount of money.
Well, they chased me through the desert
People chased me through the desert while trying to catch people like me who had entered the country without permission.
Then the agents strapped me down
Then, the immigration officers restrained me for questioning.
Then they ask me why in Spanish
They asked me questions in Spanish about why I kept coming back to the United States.
Why you keep on comin' back?
Why do you keep coming back to America illegally?
When I left my dad in Jersey
When I left my father in New Jersey after coming to America.
And my sister in Des Moines
And my sister in Des Moines, Iowa.
They've been workin' in this country
They have been working in America to make ends meet.
Pickin' lettuce, washing floors
They have been doing manual labor jobs like picking lettuce and washing floors to earn money.
Well, they raised me to eight dollars
My boss increased my salary to $8 an hour for washing dishes swiftly.
'Cause I washed the dishes fast
I was rewarded with a raise because I washed dishes quickly.
Well, the boss, he got me workin'
My boss assigned me work in the front and back of the restaurant.
On the porch and in the back
I worked both in the restaurant's front porch and the kitchen's back.
Then I wash the dish and rinse it
I washed dishes and then rinsed them to get them sparkling clean.
Then I go home late and sleep
I went home late and went to sleep after working hard all day.
Well, I need to be awake now
I need to stay awake now.
'Cause I walk out in my sleep
I have a bad habit of sleepwalking and need to stay awake to avoid danger.
When I see that black van comin'
When I see a black van coming, I know I must run.
Then I know I'm sure to run
I know that I need to run away to avoid being caught.
Goddamn them agents caught me
The immigration agents caught and arrested me.
Cuffed me on the spot
The immigration agents handcuffed me right away.
No one forced the boss to hire me
The boss wasn't forced to hire me; he did it of his own free will to get cheap labor.
But it's nearly been fifteen
But I have been working for the boss for almost fifteen years.
When I left my baby cryin'
When I left my crying baby behind to come to America.
With a promise in my skin
With a tattoo symbolizing my commitment to my child and my hope of providing a better future for my family.
On the outskirts of L.A.
In the outskirts of Los Angeles, California.
I recite a native poem
I speak a poem in my native language, reminiscing about my roots and heritage.
Million hands, ten thousand years
All the people who have worked in America's fields through the ages and all the future generations of laborers who will work in them are represented by these lines.
It's the season for the crop
It is time to harvest the crops.
It's my people doin' the pickin'
People from my community are the ones picking the crops.
In the valley of the dolls
In fields where the workers are far away from civilization and are never seen or heard by most Americans.
It's a decent job to work at
Working in the fields is a respectable job since it provides a livelihood for many people.
Any day I'll take this job
I will take this job any day since it provides a means to earn a living.
Ethiopian, Colombian, Pakistani, Cantonese
People from all over the world come to America to work and try to make a living.
Every man that I run into
No matter who I meet, they are in America, working hard to make ends meet.
All the kitchens on the strip
People of all races work in restaurants and participate in the service industry.
And they're pluggin' in them hours
People work tirelessly every day, putting their hours into laboring to make a living.
Smilin' in their dreams
People dream of a better life for themselves and their families while they smile in their sleep.
They're a long, long way from home now
Many people who come to America to make a living are far from their hometowns and homes.
But they lookin' to be free
Despite their geographic distance from home, they are hoping to be free from financial struggle and poverty.
California, Alabama and Missouri, Oregon
People come from all across the United States to work hard labor jobs.
They been workin' like their fathers were
These people are following in their fathers' footsteps, who labored in America.
A long, long time ago
Many generations of people have worked hard in America to make a living.
It's a bumpy road to ride in
The road to get to this point definitely wasn't easy.
But I'll take it anytime
But despite the hardships, it's worth it.
It's a bumpy road to take
The road ahead won't be easy either.
But I'll take it day
But I am willing to take it one day at a time.
For the minimum wage
For the lowest possible amount of money, I am willing to work hard and strive for a better life.
Contributed by Noah R. Suggest a correction in the comments below.
Roy Lee Patterson
on La Cumbia Del Mole
Lila will be in Los Angeles at the Orpheum, November, 10th, 2022