The Warning from left: Paulina Villarreal (drums/vocals), Daniela Villarreal (guitar/lead vocals), Alejandra Villarreal (bass/vocals)

Jordan Edwards/Popdust

Interview and Photos by Jordan Edwards

On Friday (June 28), The Warning released Keep Me Fed. Led by the singles "More" and "S!CK," it could be the album that propels the band to the front of rock's new wave.

Raised in Monterrey, Mexico, The Warning is made up of sisters Daniela (guitar/lead vocals), Alejandra (bass/vocals) and Paulina (drums/vocals) Villarreal. After a cover of Metallica's "Enter Sandman" went viral in 2014, they appeared on The Ellen DeGeneres Show. This boosted their audience on YouTube and led to more opportunities in the United States. They've spent the last 10 years shaping their sound, which has evolved into a mashup of '90s and 2000s hard rock styles.

Although they've been playing together as a band for more than a decade, their popularity has soared over the last few years. Riding the recent rock resurgence, the sisters have gained a huge multigenerational following. They recently notched their first top 10 rock single ("S!CK"), and last week, they performed on Jimmy Kimmel Live! (watch below).

They're not just gaining fans, they're earning respect. The sisters have played shows with legendary acts like Guns N' Roses, Foo Fighters, and Muse. Within the online drumming community, Paulina is considered a rising star. Last year, Drumeo named her Rock Drummer of the Year.

We met up with The Warning in Los Angeles to talk about their music and family bond.

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Día de los Muertos is about remembering the dead, celebrating their lives, and acknowledging the pain of losing loved ones.

It's a sacred day in Mexico and parts of South America, and it's very much not Halloween.

For Day of the Dead, we've compiled a selection of traditional and contemporary Mexican folk songs meant to honor the holiday, as well as everyone who has made the passage over to the other side.

You might know the last one, "Remember Me," from the film Coco, but Day of the Dead has inspired countless traditional songs, poems, and brilliant works of art. Ultimately, attendees at typical Day of the Dead celebrations will often play the kind of music that their departed loved ones enjoyed, so if you're looking to honor departed loved ones on this day, you might just want to spin their favorite tunes. That said, the Mexican folk music tradition is rich in tradition and sublime in sound, and some of these songs are too gorgeous not to share.

Remember, though, if you're not part of the culture that celebrates this holiday, be careful if, when, and how you decide to partake in this day. Make sure you're not appropriating these cultures, avoid wearing costumes, do some research on the holiday and its meaning and sacredness, and support Mexican artists and causes.

1. La Llorona

This folk song's origins are wrapped in obscurity, but it is known that the song originated a long time ago in the Isthmus of Tehuantepec. In 1941, the composer Andres Henestrosa popularized the song. There are numerous modern versions, with everyone from Chavela Vargas to Lila Jones lending their voices and finger-picking skills to the track.

The tune's lyrics are said to come from the original legend of La Llorona, the ghostly "Weeping Woman" of Mexican and South American folklore. Some of the verses were probably written during the Mexican Revolution, and today, it's frequently used to scare children into going to bed. Since it tells the story of a ghost (or a woman who won't allow her lover to leave her, depending on the interpretation), it's a natural fit for Día de los Muertos.

2. La Bruja

Just as La Llorona tells the story of a wicked, ghostly woman, so does La Bruja, which translates loosely to "The Witch." According to legend, La Bruja is a kind of witch that sucks blood like a vampire. Lyrically, like La Llorona, it's also been interpreted as being about a woman who goes out on the hunt for a man, though there are many legends about what its lyrics might be trying to say. Most of the song is from the perspective of someone getting stolen by a witch. Some believe it references the old folk story that witches would dance with candles on their heads, making it look like the candles were floating; others believe it has more ominous implications, but it's really up to the listener.

The song is often used as a children's rhyme, but it's also been gorgeously covered by many artists.

Vincente Chavarria | La Bruja | AEA

3. Calaveritas — Ana Tijoux, Celso Piña

This song was released by Chilean rapper Ana Tijoux to honor the dead, specifically those lost during the Pinochet dictatorship. The title, "Calaveritas," means "little skulls," and it's full of loving messages for those whose lives were lost. Recorded with Mexican musician Celso Piña, it's a blend of traditional, folk, and experimental sounds with a powerful message. "We all carry within us / one who died before us / who appears when night falls and the sun goes out," read some of the lyrics. It also includes a quote from a revolutionary named Pierre Dubois who opposed Pinochet during his regime: "It is not enough to say that justice takes time but it arrives. Justice that is not exercised when appropriate is already unfair."

Ana Tijoux -

4. Amor Eterno

This song was written in 1984 by Mexican singer Juan Gabriel and quickly became the most popular song for funerals in his native country. It's a rich, sad, and nostalgic piece, one that pays tribute to loves of old while acknowledging the pain of loss in the present. It's been covered magnificently by countless artists, but Silvana Estrada's version is incredibly moving in its delicacy and compassion.

Juan Gabriel - Amor Eterno (En Vivo [Desde el Instituto Nacional de Bellas Artes])

This well-known song has a way of reappearing in times of need. After the shooting in El Paso, Texas this summer, the song became a staple at funerals and memorial services. "How I wish that you still lived that your precious eyes had never closed so that I could see them eternal love unforgettable," go the lyrics, which ensure that there's never a dry eye when this song is played.

5. Remember Me, Coco

This movie beautifully portrayed Día de los Muertos and was tied together by the gorgeous ballad "Remember Me." In the film, the song is capable of crossing the boundary between life and death, forming an everlasting bond that keeps memories alive and inspires new generations to continue old legacies. It perfectly captures the message of Día de los Muertos: Even after our loved ones say goodbye, they're kept alive by memories and in song, and that's something to celebrate.

Carlos Rivera - Recuérdame (De "Coco"/Versión de Carlos Rivera/Official Video)

Benjamin Bratt - Remember Me (Official Video From "Coco") [Ernesto de la Cruz]

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Three Underrated Netflix Foreign-Films Worth Watching

The success of Roma should bring attention to the seriously underrated selection of foreign-language Netflix original films. Here are three other foreign films worth watching.

Happy as Lazarro | Official Trailer [HD] | Netflix

Roma has been quite the cinematic achievement for Netflix.

After a series of flops (think Bright and The CloverfieldParadox), Alfonso Cuarón's film represents an exciting step forward for the platform's original content. Roma's success should also bring attention to the seriously underrated selection of fascinating and impactful foreign language Netflix originals.

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Yalitza Aparicio, the First Indigenous Woman Nominated for an Oscar, Speaks Out

Aparicio, an aspiring teacher nominated for an Oscar for her starring role in Roma, may have found her largest classroom yet.

Yalitza Aparicio

Photo by Victor Chavez/Shutterstock

Yalitza Aparicio didn't mean for any of this to happen.

When she auditioned for Alfonso Cuarón's Roma on a whim—mostly to appease her pregnant sister, who insisted she go to the open casting call in her place—she never imagined it would launch her into the jet-setting life of a social media star, a press junket darling, and an Oscar nominee.

"There has never been a casting before in our hometown," Aparicio told Deadline in December. "I thought that it could be related to human trafficking, because they never do castings in Oaxaca." But she went anyway, and the rest is history.

When he first saw Aparicio, Cuarón knew instantly that she was his star. Things were less clear to her, an aspiring school teacher with no acting experience; she told the Times that she originally turned Cuarón's offer down, wanting to focus on teaching. But she had some time before application season, and after consulting with her family, she told Cuaron, "Well, I think I can do it. I have nothing better to do."

Flash forward to today, and now she is the first indigenous woman to ever garner an Oscar nomination. Before the nomination was announced, the New York Times asked Aparicio what an Oscar might mean to her. "I'd be breaking the stereotype that because we're Indigenous we can't do certain things because of our skin color," she said. "Receiving that nomination would be a break from so many ideas. It would open doors to other people—to everyone—and deepen our conviction that we can do these things now."

Certainly the Oscar nod, coupled with Aparicio's presence on the cover of Vogue and on the red carpet, will light the way for new faces who might not otherwise be able to entertain Hollywood dreams. Of course, indoctrination into Hollywood may not be the key to healing the disadvantages that violent colonization has always caused Indigenous peoples—changes to the structural forces that keep Indigenous people in poverty could do the trick—but Aparicio's emergence as a voice for her culture is at the very least a move towards counteracting traditional, constrictive beauty standards.

Roma, on the whole, operates in a tenuous duality; it is an indictment of stereotypes about indigenous people, but it also remains true to them. Aparicio's character spends the majority of her time picking up after the Spanish-speaking family whom she works for; her role is less of a tale of female empowerment than a document of the real. Her ascension to the limelight belies a similar underlying complexity, as her elevation to press and Instagram darling could be read as both a triumph of diversity in media and a tokenization of the Indigenous identity.

The film addresses the complexities of this issue by both addressing and not addressing it, portraying Aparicio's character Cleo as a three-dimensional but reserved and withdrawn character. It treats politics this way, too. Roma takes place against a backdrop of violence in the 1970s, which it shows only in short glimpses, mostly focusing instead on the minutiae of its characters' domestic lives.

But violence was very much present in Mexico of the 1970s—a fact that remains true of much of Mexico today. Aparicio is acutely aware of the tensions currently overwhelming much of her country. "Think about just the disappearance of students in Ayotzinapa [in 2014]—it's very recent," she told Vox of one of the recent acts of violence that has plagued Mexico, forcing many to flee to the U.S.'s borders in search of asylum. Ironically, one of Roma's stars, Jorge Antonio Guerro, has been denied a visa to the U.S. despite submitting letters of proofs to immigration services three separate times, according to Newsweek. He still hopes to be able to enter in time for the Oscars, as Roma itself took 10 nominations overall.

As for Aparicio, she still harbors dreams of being a schoolteacher. But she does see a correlation between teaching and acting, telling Deadline that "as a teacher, you educate. And films educate too, but they do it in a massive way."

Her performance in Roma is a master class of its own. She works the camera with such a natural elegance that it's easy to forget the learning curve she was up against. Not only has she never been on film before; she also had to master Mixtec, one of the Indigenous languages of the Oaxaca region that her character speaks on and off, and she had to learn to swim for the film's final beach scene.

In a way, with Roma she's just stepped into a much larger classroom, and she has plenty of words of wisdom and hope to share with the world. "I'm not the face of Mexico," Aparicio told The Times. "It shouldn't matter what you're into, how you look—you can achieve whatever you aspire to."

Eden Arielle Gordon is a writer and musician from New York City. She loves coffee, electric guitars, and subway rides to Coney Island.

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C. SHIROCK, aka Chuck Shirock, recently dropped a new music video for his song, "Confess Your Love."

Currently living in Nashville, Shirock is well-known as the founder, frontman, and composer for the band SHIROCK. After going through a bevy of personal changes, the singer opted to re-invent himself. He decided to go solo.

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