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Speaker 1: Hey, this is Huli Calorella from In the Thick and

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Speaker 1: Latino Rebels Radio, and we're thrilled to share with you

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Speaker 1: the first episode of a new podcast we've been producing

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Speaker 1: here at Fututo Studios about the history of reggaeton music.

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Speaker 1: It tells a true story about how young people from Panama,

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Speaker 1: Puerto Rico and beyond refuse to be quiet and created

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Speaker 1: an irresistible musical culture that has kept the world dancing.

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Speaker 1: And it's hosted by one of the originators of reggaeton

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Speaker 1: music herself, Evy Queen. The podcast is called Loud the

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Speaker 1: History of Reggaeton and it's produced in partnership.

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Speaker 2: With Spotify, So the rest of the episodes are gonna

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Speaker 2: drop weekly only on Spotify. So if you want to

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Speaker 2: hear more, head over to Spotify and click follow, and

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Speaker 2: in the meantime, enjoy this episode of Loud the History

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Speaker 2: of Reggaeton.

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Speaker 3: Okay, picture this.

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Speaker 4: It's nineteen ninety five and I'm about to have the

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Speaker 4: most important audition of my life, an audition to rap

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Speaker 4: with the Hoard is on the ground crew and someone

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Speaker 4: It was the moment that I was going to decide

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Speaker 4: if I was gonna make it in the music or

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Speaker 4: go back to my hometownels and nobody. So I show

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Speaker 4: up at the spot. It's at the Ya Negro's place,

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Speaker 4: his home studio. When I walk in, all the guys

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Speaker 4: are there in my casino and all of them are

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Speaker 4: staring at me, and one of them call out, can

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Speaker 4: I hear samamavi cha?

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Speaker 3: Who the fuck is that?

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Speaker 4: I am dressed all bag He's like, oh boy, you

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Speaker 4: know me pantalone and so that was my style back then.

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Speaker 3: There are clouds of we smoke.

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Speaker 4: I see somebody living in the studio looking kind of embarrassed,

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Speaker 4: just saying case five, fuck up. The ja Negro will

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Speaker 4: get on those big megaphone and screen. It's Ilaka in

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Speaker 4: a care So it's my turn. Ideas Negro is at

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Speaker 4: the consola and he's like, show me what you got

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Speaker 4: my bungalow headphones. I'm nervous as hell, but I'm not

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Speaker 4: trying to show you, you know. So I do something

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Speaker 4: kind of crazy. I turned my microphone around, turned my

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Speaker 4: back doors Negro and face the wall.

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Speaker 3: I just let it.

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Speaker 5: Loosement no no, at your goal lap another reggae.

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Speaker 3: I turn around.

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Speaker 4: I'm not sure how I did the Negro look at

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Speaker 4: me straight in the eye inst you and say felay, congratulations,

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Speaker 4: You're in. You could say that was the day that

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Speaker 4: Evey Quinn was born.

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Speaker 3: Finanmente.

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Speaker 4: I was at that place that I knew I belonged

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Speaker 4: all alone for comune that made Melina and made me

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Speaker 4: a household name.

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Speaker 3: Tivy Queen, Givy Queen.

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Speaker 6: I got a hell of a banger with Ivy Queen

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Speaker 6: on that record.

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Speaker 7: Everyone loved TV Queen and still do.

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Speaker 8: From that day on.

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Speaker 3: I was one of the people who was part of

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Speaker 3: creating a.

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Speaker 4: Genera people who came from nothing and struggled and made

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Speaker 4: something new, something fresh. I'll go with you something for

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Speaker 4: the whole world to dance, okay, And from Spotify Studio

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Speaker 4: and Fortudo Studios, I'm Evy Queen and this is Loud.

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Speaker 4: The History of Reggaeton, Episode one.

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Speaker 3: The song.

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Speaker 4: Today Regeton is the biggest music on the planet. We

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Speaker 4: are at the top of the charts Raso, Premio del.

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Speaker 8: Mundo and grat Bad Party.

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Speaker 4: And artists from everywhere are walking with our beat. But

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Speaker 4: a lot of you don't know the story and where

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Speaker 4: this music really comes from.

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Speaker 3: But don't worry.

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Speaker 4: I got you.

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Speaker 3: It's a story that touches on race.

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Speaker 8: You don't see black people in media.

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Speaker 3: You don't see black people on television.

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Speaker 9: Sex, this internal sexualista about life and a kaya you.

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Speaker 6: Know, and a lot of projects came out of drug money.

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Speaker 6: That was just the way, you know, that was the

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Speaker 6: only way for some people.

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Speaker 3: Is just party music.

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Speaker 4: But the real story behind Regaeton is a story about resistencia, resistance,

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Speaker 4: about how kids who were young and poor, black or

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Speaker 4: dark skinned, kids who were discriminated against in every way,

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Speaker 4: how we refuse to be quiet, how we got loud.

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Speaker 4: Take my story for example. I grew up on the

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Speaker 4: west side of Puerto Rico and a little town called

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Speaker 4: a Jaco. I wanted to be an artist and so

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Speaker 4: I was little, but I struggled a lot. After my

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Speaker 4: parents get divorced. It was never enough money in the house.

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Speaker 4: I will help my mother's help candies to help out.

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Speaker 4: I left school to be a mom to my brothers

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Speaker 4: and sisters. But at the same time, tanto ge sine.

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Speaker 4: I have always had something to say, and so I

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Speaker 4: started a rap on the street corners. Then I battled

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Speaker 4: in the project and later at the underground rubs.

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Speaker 3: The cops we had to be cool with the drug dealers,

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Speaker 3: but not to close. Don't forget they came out.

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Speaker 4: We fight back against the rich people, the polite because everyone.

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Speaker 3: Who wanted us to stay in our place.

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Speaker 4: Because we wanted to be hurt, no matter what it took.

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Speaker 4: And it's the podcast. We're gonna hear about some of

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Speaker 4: the top artists in the game. And the old jis

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Speaker 4: who laid the foundation.

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Speaker 10: Is like the blueprint. You know what I'm saying. You know,

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Speaker 10: he's the one that took it to the next level.

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Speaker 4: He blew up.

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Speaker 8: When tale comes, he got that flow of salcetto. He's

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Speaker 8: that Yankee forever, you know what I mean.

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Speaker 11: He's the boss.

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Speaker 4: He is Cuchamo's Exclusive interviews from the legends themselves, Baby,

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Speaker 4: and we are going to tell you the story of

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Speaker 4: how we invented a whole new sound that was creative

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Speaker 4: and sexy and turned the music industry on its head.

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Speaker 4: We are going to spend time in Puerto Rico, New York, Columbia,

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Speaker 4: but to tell the story right, we have to start

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Speaker 4: in Panama.

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Speaker 12: People are under the wrong impression that reggaeton was born

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Speaker 12: in Puerto Rico, and it was born in Panama.

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Speaker 4: This is a jumbo, the legendary Panamanian producer behind the guento.

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Speaker 12: People think that reggaeton started out with that yankee from

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Speaker 12: Puerto Rico and no, actually it's from Panama, like a

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Speaker 12: decade before.

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Speaker 4: And this is such the most popular Panamanian are is

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Speaker 4: off today in Eleano. We did reggae in Spanish first,

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Speaker 4: he said, even if others made a more.

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Speaker 13: Commercial Adroo my comaro, he said, regeton po.

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Speaker 4: Complete calo and he says, who did it first is

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Speaker 4: a sensitive topic, especially for Panamanians.

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Speaker 3: A lot of people don't give credit to the Panamanians,

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Speaker 3: but it all started with them.

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Speaker 4: If it wasn't for reggae and dance hold Espanon, there

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Speaker 4: wouldn't be no reggaeton, end the story. I still remember

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Speaker 4: the first time I went to Panama in the mid nineties.

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Speaker 4: I remember I was so excited to be at the

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Speaker 4: first place of the music that I love, the home

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Speaker 4: of artists like Eli and Nanda Woman. I remember seeing

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Speaker 4: the canal from the plane and Panama was dope. I

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Speaker 4: remember the streets were full of people, full of life,

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Speaker 4: and it was so multiculture. There were black people, Chinese people, Indian, Arabs,

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Speaker 4: and of course the music.

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Speaker 3: Panama.

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Speaker 4: El gruz America is this narrow little country that bridge

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Speaker 4: between North and South America, between the Caribbean. Yell pacifico

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Speaker 4: and you hear everything there, sal same and Cumbia like

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Speaker 4: anywhere else in Latin American, but also calipso, soca music

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Speaker 4: from Haiti saul music. But there's one sound that is

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Speaker 4: everywhere in Panama.

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Speaker 8: Reggae and dan so that started in Panama.

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Speaker 3: This is Renato.

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Speaker 8: My name is Leonardo Renato, older Mora.

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Speaker 14: To describe myself, well, I was the the first guy

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Speaker 14: that started to sing and promote Spanish reggae.

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Speaker 4: You could say Lenanto is a true originator of our

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Speaker 4: movie Miento and the main.

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Speaker 3: Character of our story today.

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Speaker 4: And Renato, he got a lot of personality when we

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Speaker 4: interview him.

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Speaker 3: He got on a.

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Speaker 4: Bee boy track suit, he was wearing sunglasses indoors and.

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Speaker 3: He told stories a mile a minute.

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Speaker 14: It's different stuff that came in and make this big

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Speaker 14: bam and there it is reggaeton.

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Speaker 4: There's also this thing about Renato that you have to

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Speaker 4: know to understand where his music come from, because technically

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Speaker 4: Renato didn't actually grow up in Panama.

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Speaker 14: I came from the Canal Zone because I used to

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Speaker 14: be on the part that used to belongs to the

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Speaker 14: USA in Panama, where the canal was on the army basis.

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Speaker 4: The Canal Zone was a tiny American controlled area around

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Speaker 4: the Panama Canal. His mother worked in the cafeteria of

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Speaker 4: the US Army base that was there. Canald Panama, believe

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Speaker 4: it or not, is very important to the story. Soloje

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Speaker 4: towns on Nigos always wanted to have a canal between

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Speaker 4: the Atlantic and the Pacific, and Panama was the best

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Speaker 4: place to build it.

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Speaker 3: For Guela Patama, Pekina.

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Speaker 4: In nineteen o four they started working on it and

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Speaker 4: to protect the investment, the US created the Canal Zone

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Speaker 4: so they can have control around it.

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Speaker 15: But it's the Americans who matter now. Thousands of them

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Speaker 15: live like colonial settlers in the neat little towns of

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Speaker 15: the canal Zone, a strip of land forty miles long

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Speaker 15: and five miles wide on each side of the canal.

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Speaker 3: This is a cheesy old clip about the zone.

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Speaker 4: The whole place was made to look like a typical

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Speaker 4: American's wood wheel, but right in the middle of a tropical.

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Speaker 15: Compared with the bustling and not very orderly republic. Next

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Speaker 15: to all, the canal zone on the other side of

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Speaker 15: the wire fence is neat and tidy and rather than military.

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Speaker 15: In fact, the whole place is run like a little

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Speaker 15: bit of America.

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Speaker 4: And to build this little bit of America, they needed workers,

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Speaker 4: preferably English speaking, so they hire around one hundred thousand people,

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Speaker 4: mostly from island like Jamaica Barbados, to help dig the canal.

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Speaker 14: We had a lot of Jamaicans, you know what I'm saying.

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Speaker 14: We had a lot of Jamaicans.

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Speaker 4: And some of those Jamaicans were Renato's great grandparents. After

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Speaker 4: the canal was finished, those workers and their families stay

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Speaker 4: around for decades and decades, families like Renatos, you know

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Speaker 4: what I'm saying.

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Speaker 8: I was born in a nice, beautiful environment.

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Speaker 14: We had a house, we had a lot of places

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Speaker 14: to do sports, and I grew up nice.

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Speaker 3: But life was about to change for Renado Eltra Toraq.

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Speaker 4: In nineteen seventy, the Americans will return the Ganas Song

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Speaker 4: to Panama, which means the West Indian families living in

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Speaker 4: the song will be out of jobs.

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Speaker 14: So my grandma decided to move out and she came

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Speaker 14: to Rio Bajo.

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Speaker 4: Rialvajo was mostly a black and West Indian neighborhood in

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Speaker 4: Panama City. Many people from the song moved there, and

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Speaker 4: Renato did not like Rihovaa. First he get there when

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Speaker 4: he was seventeen, and it was different. Instead of big

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Speaker 4: American style houses, it was crowded and cramped. People could

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Speaker 4: get roped in the street.

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Speaker 3: And to make it.

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Speaker 4: Worse, Renato could barely communicate with people.

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Speaker 14: My dad and my grandma and my mom. Everybody used

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Speaker 14: to speak English. Then I had to learn to speak Spanish.

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Speaker 4: Eventformente he settling, and then he started to make new friends.

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Speaker 4: Two friends in particular that are important in the story,

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Speaker 4: Regaissan and Franqito.

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Speaker 3: The way they describe it.

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Speaker 4: There of what these three kids have in common, that

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Speaker 4: they were kind of nerds.

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Speaker 14: We were like the decent guys around the place in

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Speaker 14: real bad We were like the good kids.

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Speaker 3: Here's Reggae San talking about Renato.

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Speaker 11: So that's not even my friend, that's my brother.

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Speaker 3: And here's Franchito as moto Renato salad.

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Speaker 4: Renato sang Franqo, Tolo Tenian Auelos and family from Jamaica

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Speaker 4: and the Islands. And the three friends have something else

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Speaker 4: in common. They love reggae and dancehol music. In the

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Speaker 4: early eighties, dancehol blew up in Renato's neighborhood.

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Speaker 14: When we started in rial Bajo, they had a lot

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Speaker 14: of discos, you know what I'm saying, and so middle

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Speaker 14: class black people used to go to those disco and

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Speaker 14: white stoo now but more middle class Black people used to.

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Speaker 8: Go to the disco.

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Speaker 3: One of those sounds at the discos was dancehall.

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Speaker 4: It was the new style of reggae that started in

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Speaker 4: Jamaica in the late seventies, but it really took off

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Speaker 4: in the eighties. The generation after Bob Marley. The stary

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Speaker 4: came out of little clubs and elbon known as dance holes.

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Speaker 4: That's where the name comes from. And compared to Bob

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Speaker 4: Marley is like the drama on the bass when a

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Speaker 4: little harder and faster.

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Speaker 8: It was good songs, you know, dance songs because they

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Speaker 8: had this rhythms.

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Speaker 3: Instead of singing.

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Speaker 4: It was like toasting, which is that half singing half

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00:15:42,120 --> 00:15:50,960
Speaker 4: rapping style that artists like Yello Man didst It sounds

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00:15:51,040 --> 00:15:57,280
Speaker 4: tandrico and what reggae roots was very political. Dancehold was

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Speaker 4: like a little more what Jamain can call slackness, songs

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00:16:02,080 --> 00:16:06,560
Speaker 4: about sex, partying, or songs about the regular life in

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Speaker 4: the hood.

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Speaker 8: Boss young Man, I'm too Much Girlfriend.

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Speaker 4: Renato started tagging alone to the disco that played again

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Speaker 4: Dancel with an older kid from the neighborhood who was

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Speaker 4: a DJ, and one day, at three in the morning,

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00:16:28,200 --> 00:16:30,840
Speaker 4: his friend hands him the mic and tells him go

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Speaker 4: HiPE the crowd.

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Speaker 8: So he used to told me, like, hey, man, say something.

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Speaker 4: But when Renato rabbed the mic, he suddenly frees up

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Speaker 4: and he can think of what to say, and his

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Speaker 4: friend has to help him.

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00:16:44,520 --> 00:16:47,160
Speaker 8: Tell women to, you know, move their butts, and everybody

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00:16:47,200 --> 00:16:49,200
Speaker 8: lift their hands and you know, do that stuff.

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Speaker 3: I said, okay, Arenato says, the crowd is friending him.

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00:16:53,600 --> 00:16:55,640
Speaker 14: That's how it started, you know, and I start doing

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Speaker 14: that stuff. So a friend of mine told me, hey,

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Speaker 14: why don't you do any Spanish?

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00:17:00,120 --> 00:17:02,560
Speaker 4: I got on when he hypes the crowd in Spanish,

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Speaker 4: the crowd loves it, and.

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00:17:06,880 --> 00:17:11,359
Speaker 8: I am playing reggae and I'm telling the people to

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Speaker 8: leave their hands.

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Speaker 4: This a hit that was the beginning of Lenaldo's career

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00:17:19,480 --> 00:17:25,880
Speaker 4: as an EMC on a DJ. After that moment, Lenato

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00:17:26,080 --> 00:17:30,359
Speaker 4: is suitable. Started an experiment with not just piping the

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Speaker 4: crowd but performing the actual songs in Spanish.

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Speaker 11: We used to sing on top of the Jamaican rhythms.

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Speaker 3: That's regga sam again Donado's friend.

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Speaker 13: Or behind the side A was a side B and

284
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Speaker 13: side B was instrumental. So most of these Jamaican songs

285
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Speaker 13: we used to try to translate kind of like.

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Speaker 11: This all no bed from morning roun go goola fresh

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Speaker 11: gola first, go.

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Speaker 13: Gola, hold on no beard from evening rang he can

289
00:18:03,960 --> 00:18:06,439
Speaker 13: turn it over in Spanish and say by science by

290
00:18:07,000 --> 00:18:09,040
Speaker 13: la maes.

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00:18:08,560 --> 00:18:12,639
Speaker 4: Fresco wow and regue sance. Because they came from West

292
00:18:12,680 --> 00:18:14,720
Speaker 4: Indian families, it was easy for them.

293
00:18:15,040 --> 00:18:19,080
Speaker 13: We all speak patois, we all speak English, so we

294
00:18:19,240 --> 00:18:22,440
Speaker 13: had the communication with reggae. Whatever you was hearing in

295
00:18:22,600 --> 00:18:26,600
Speaker 13: English that you could not understand, we hit it back

296
00:18:26,840 --> 00:18:31,159
Speaker 13: in Spanish and you could understand. So mostly most of

297
00:18:31,240 --> 00:18:35,280
Speaker 13: the music, that's what we was doing, translating for the

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00:18:35,400 --> 00:18:36,639
Speaker 13: people to understand.

299
00:18:37,680 --> 00:18:41,600
Speaker 4: They didn't realize it, but these translations of songs at

300
00:18:41,720 --> 00:18:45,640
Speaker 4: parties were the first steps in the new hanedal known

301
00:18:45,920 --> 00:18:49,320
Speaker 4: as regain Espanon. And this is where the third member

302
00:18:49,400 --> 00:19:01,520
Speaker 4: of their crew comes into the picture. Frankeno La Loo

303
00:19:02,119 --> 00:19:06,240
Speaker 4: Franchito was one of the best improvisers. He says Panaminium

304
00:19:06,320 --> 00:19:10,159
Speaker 4: were great freestylers because they already had a tradition of

305
00:19:10,280 --> 00:19:13,800
Speaker 4: doing calypso music, which was all about making up lyrics

306
00:19:13,880 --> 00:19:14,399
Speaker 4: on the spot.

307
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Speaker 7: Cas Regazam started to do dance, hold shows and Spanish

308
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Speaker 7: together with Franqito.

309
00:19:28,840 --> 00:19:32,000
Speaker 13: Some people used to call us don Quixote and sopanzacause

310
00:19:32,040 --> 00:19:35,720
Speaker 13: he was started and I was short, so he he

311
00:19:35,920 --> 00:19:36,919
Speaker 13: was crazy on the stage.

312
00:19:37,600 --> 00:19:41,359
Speaker 4: Y I. Franquito had the first gig at a party

313
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Speaker 4: in a Panama city SERVERB and.

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Speaker 11: I could remember. It was a Saturday night.

315
00:19:46,440 --> 00:19:51,640
Speaker 4: It was old school reggae and Frankito was a sensation.

316
00:19:52,440 --> 00:19:53,840
Speaker 4: This guy was going places.

317
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Speaker 13: He came out, he started taking his shirt off. Gerret

318
00:19:58,520 --> 00:20:01,119
Speaker 13: was screaming and he could have said something, Oh, you

319
00:20:01,200 --> 00:20:03,320
Speaker 13: have to see the black pres league. I'm the black

320
00:20:03,480 --> 00:20:06,200
Speaker 13: edy spread and he started and they was just screaming.

321
00:20:06,800 --> 00:20:10,439
Speaker 3: But it wasn't only the girls loosening it over their music, but.

322
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Speaker 13: The guys would come like they like it, but they

323
00:20:12,880 --> 00:20:15,120
Speaker 13: get tough, like Yo, man, I like that man.

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Speaker 11: That was good. I like what you did.

325
00:20:18,000 --> 00:20:21,399
Speaker 4: The party was lit and San Dio and Regassam started

326
00:20:21,440 --> 00:20:25,919
Speaker 4: thinking this dancehold in Spanish thing, maybe it could go somewhere.

327
00:20:26,520 --> 00:20:29,000
Speaker 11: Yeah, and then we start taking it serious.

328
00:20:36,920 --> 00:20:39,960
Speaker 4: The parties were full on all. But this next part

329
00:20:40,280 --> 00:20:45,400
Speaker 4: is where this new sound really started to spread. Regaisson, Frankito, Renaldo.

330
00:20:46,040 --> 00:20:49,639
Speaker 4: They wanted to get their music heard beyond the neighborhood,

331
00:20:50,800 --> 00:20:54,800
Speaker 4: so they started recording on cassettes and they're selling them

332
00:20:55,200 --> 00:20:58,440
Speaker 4: not only at the parties, but somewhere that they knew

333
00:20:58,520 --> 00:21:00,760
Speaker 4: will take their music all over the town.

334
00:21:02,000 --> 00:21:05,440
Speaker 13: Renato and myself we used to record a lot, and

335
00:21:05,800 --> 00:21:09,840
Speaker 13: he used to sell the cassettes to the bus drivers.

336
00:21:10,800 --> 00:21:14,000
Speaker 4: It all went down on the buses. But these weren't

337
00:21:14,280 --> 00:21:19,040
Speaker 4: any ordinary buses. These are the yellow Rose red Devils.

338
00:21:21,040 --> 00:21:22,440
Speaker 3: Okay, they picture this.

339
00:21:22,680 --> 00:21:26,840
Speaker 4: It's like an old American school bus painting in crazy

340
00:21:27,000 --> 00:21:31,800
Speaker 4: colors that has lights and it's all cover in new rooms.

341
00:21:32,280 --> 00:21:33,600
Speaker 8: Panama buses was beautiful.

342
00:21:33,800 --> 00:21:36,240
Speaker 14: They used to put my Ka Jackson's face on the buses,

343
00:21:36,800 --> 00:21:40,879
Speaker 14: Mike Tyson, Roberto Durang and they were beautiful with a

344
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Speaker 14: lota likes, you know.

345
00:21:42,400 --> 00:21:44,760
Speaker 3: And of course big ass speakers.

346
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Speaker 14: So everybody had these big equipments in the bus and

347
00:21:51,359 --> 00:21:53,280
Speaker 14: it was like you're having a planty in a bus.

348
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Speaker 10: Yeah.

349
00:21:59,240 --> 00:22:01,080
Speaker 8: Man wanted it to be on that bus.

350
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Speaker 11: Yeah, you know what I mean.

351
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Speaker 8: Even though it was gonna be full, I was gonna

352
00:22:04,800 --> 00:22:05,480
Speaker 8: be unconstorable.

353
00:22:05,520 --> 00:22:06,360
Speaker 11: It's gonna be sweaty.

354
00:22:06,960 --> 00:22:10,520
Speaker 4: This is Rack and Ridge and Ragadoon from Loracas, a

355
00:22:10,640 --> 00:22:14,720
Speaker 4: Panamanian American duo based in Auckland. Even though they are

356
00:22:14,800 --> 00:22:18,080
Speaker 4: from the later generation Nan Renato, they have the same

357
00:22:18,240 --> 00:22:20,400
Speaker 4: experience on the Diablos Bosses.

358
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Speaker 10: Every route had different styles of music, you know what

359
00:22:23,720 --> 00:22:26,240
Speaker 10: I'm saying. So this one route would have like nothing

360
00:22:26,320 --> 00:22:29,240
Speaker 10: but old school reggae music playing. But the mix was

361
00:22:29,280 --> 00:22:32,119
Speaker 10: so good that before you leave the bus, you're like, hey, hommy,

362
00:22:32,720 --> 00:22:33,440
Speaker 10: what mix was that?

363
00:22:34,000 --> 00:22:36,800
Speaker 4: So then you go down to the street to the

364
00:22:36,840 --> 00:22:40,520
Speaker 4: people hosting cassettes and request the mix from that bus.

365
00:22:40,800 --> 00:22:42,880
Speaker 8: Yo, where can I get the tanda boos from this route?

366
00:22:42,960 --> 00:22:44,359
Speaker 11: You know what I'm saying. I want this route, I

367
00:22:44,440 --> 00:22:45,120
Speaker 11: want that route.

368
00:22:45,480 --> 00:22:48,840
Speaker 4: The music was so good that people will get up

369
00:22:48,960 --> 00:22:52,920
Speaker 4: into the aisle and start dancing right in the middle

370
00:22:52,960 --> 00:22:56,600
Speaker 4: of their community. And back in the eighties, well, Renato

371
00:22:56,760 --> 00:23:00,760
Speaker 4: was so smart. He will record and personalize songs for

372
00:23:01,080 --> 00:23:04,920
Speaker 4: specific bus drivers, Like one driver wanted his own hype

373
00:23:04,960 --> 00:23:05,960
Speaker 4: songs for his route.

374
00:23:06,280 --> 00:23:08,840
Speaker 14: These guys call me, Hey, the bus driver wants a song.

375
00:23:08,880 --> 00:23:11,119
Speaker 14: I said what, Yeah, he wants a song, saying that

376
00:23:11,200 --> 00:23:12,359
Speaker 14: he's the best bus driver.

377
00:23:12,600 --> 00:23:16,440
Speaker 4: I said okay, And so Renaldo makes the song for

378
00:23:16,560 --> 00:23:21,640
Speaker 4: the driver, get paid and then his home keep ringing.

379
00:23:23,240 --> 00:23:25,440
Speaker 8: Then know the bus drivers, Hey I want a song,

380
00:23:25,560 --> 00:23:30,800
Speaker 8: and then hey, I want a song, and so on.

381
00:23:31,240 --> 00:23:33,920
Speaker 4: He wasn't just very popular only with the bus driver.

382
00:23:34,480 --> 00:23:37,720
Speaker 4: His music wins the love and the heart of the

383
00:23:37,800 --> 00:23:39,320
Speaker 4: people writing in the buses.

384
00:23:40,080 --> 00:23:42,760
Speaker 3: He spread honey, that's how it.

385
00:23:42,960 --> 00:23:45,080
Speaker 8: That's so famous because it was like it was a

386
00:23:45,240 --> 00:23:45,920
Speaker 8: radio station.

387
00:23:50,760 --> 00:23:55,399
Speaker 4: Through the bosses Renato Issu Musica travel from city to

388
00:23:55,560 --> 00:23:59,960
Speaker 4: city all over Panama. The bus routes promoted and spread

389
00:24:00,200 --> 00:24:19,920
Speaker 4: a new innovated sound, Panamanian reggae and Espanoli, Rega San Francis, Renando.

390
00:24:20,040 --> 00:24:23,560
Speaker 4: These three guys whose families were was Indians from the Canal.

391
00:24:23,720 --> 00:24:27,840
Speaker 4: Song was just teenagers having fun. But little did they

392
00:24:28,000 --> 00:24:31,360
Speaker 4: know they were creating a new sound, one that will

393
00:24:31,480 --> 00:24:35,879
Speaker 4: grow and grow over the years. But Regasson say that

394
00:24:36,280 --> 00:24:38,440
Speaker 4: not everybody in Panama gard.

395
00:24:38,680 --> 00:24:42,120
Speaker 13: Especially the community, not the Black community, but the Spanish

396
00:24:42,200 --> 00:24:43,480
Speaker 13: community didn't.

397
00:24:43,640 --> 00:24:46,520
Speaker 11: They used to say what music is that? Where's from?

398
00:24:46,800 --> 00:24:48,760
Speaker 11: Oh that's black people music, or.

399
00:24:48,800 --> 00:24:54,680
Speaker 4: They call it something else. The hinted Chombo is a

400
00:24:54,840 --> 00:24:58,160
Speaker 4: word very specific to Panama. They started as a slur

401
00:24:58,320 --> 00:24:59,800
Speaker 4: for black people of West.

402
00:25:01,160 --> 00:25:04,040
Speaker 12: Back in the day, it was considered as the N word.

403
00:25:04,480 --> 00:25:08,280
Speaker 12: Black folks used to consider it offensive, very offensive.

404
00:25:08,880 --> 00:25:11,960
Speaker 4: That's El Chumbo again, who took the word at his

405
00:25:12,240 --> 00:25:12,840
Speaker 4: artist's name.

406
00:25:13,720 --> 00:25:16,600
Speaker 12: And the origins of the word is pretty hard to

407
00:25:16,720 --> 00:25:19,720
Speaker 12: pinpoint exactly where it came from. Back in the day,

408
00:25:19,800 --> 00:25:24,080
Speaker 12: around the early nineteen hundreds, thieves in the Panamanian Canal

409
00:25:24,200 --> 00:25:28,480
Speaker 12: Zone area used to jump fences after they committed their crimes,

410
00:25:29,040 --> 00:25:31,959
Speaker 12: and the police used to call them jump boys.

411
00:25:32,800 --> 00:25:36,560
Speaker 4: So jomp boy became tumble and became a bad word

412
00:25:36,680 --> 00:25:40,280
Speaker 4: to talk about black people. Listen, there are other story

413
00:25:40,320 --> 00:25:41,680
Speaker 4: about where the work comes from.

414
00:25:42,119 --> 00:25:42,720
Speaker 3: That's just one.

415
00:25:46,800 --> 00:25:49,720
Speaker 4: Getting called chombo was kind of a thing that black

416
00:25:49,760 --> 00:25:53,840
Speaker 4: Panamanians had to deal with on the daily. In general,

417
00:25:54,240 --> 00:25:57,800
Speaker 4: they got discriminated against a lot for being black and

418
00:25:57,920 --> 00:26:02,680
Speaker 4: also for having English speaking groups. They were sometimes treated

419
00:26:02,880 --> 00:26:06,440
Speaker 4: as if they don't belong to Panama. Even though their

420
00:26:06,560 --> 00:26:11,880
Speaker 4: families had lived in Panama for generations. Over history, West

421
00:26:11,880 --> 00:26:16,680
Speaker 4: Indian Panamanians have their citizenship denied or taken away. At

422
00:26:16,720 --> 00:26:20,040
Speaker 4: one point, politicians even want to kick out the community

423
00:26:20,240 --> 00:26:24,800
Speaker 4: from the country. For black kids, Danzel and reggae became

424
00:26:25,040 --> 00:26:28,520
Speaker 4: a kind of defiance, a way of saying like, we're

425
00:26:28,560 --> 00:26:30,040
Speaker 4: going to be as black as we want.

426
00:26:33,520 --> 00:26:34,560
Speaker 11: The Rasta.

427
00:26:35,320 --> 00:26:38,639
Speaker 4: This is Frank, the third of the three friends. He

428
00:26:38,880 --> 00:26:42,760
Speaker 4: and the others grew out their dread lucks, like making

429
00:26:42,840 --> 00:26:46,320
Speaker 4: their connection to Jamaica, playing for all to see, and

430
00:26:46,920 --> 00:26:54,879
Speaker 4: it got a reaction. Young taxi, he says, bosses and

431
00:26:55,000 --> 00:26:56,320
Speaker 4: taxes wouldn't pick them up.

432
00:26:57,520 --> 00:26:58,440
Speaker 3: Made a lot of dread.

433
00:26:58,320 --> 00:27:02,280
Speaker 4: Locks and the cops will literally stop them and cut

434
00:27:02,320 --> 00:27:20,000
Speaker 4: their dread logs off. The it racimo, the racism. They

435
00:27:20,119 --> 00:27:22,680
Speaker 4: put that into the music and talk about it on

436
00:27:22,800 --> 00:27:27,240
Speaker 4: the mic. Reggaislan says he understood dancehund and reggae as

437
00:27:27,280 --> 00:27:31,320
Speaker 4: a kind of resistance. It's music that says see so

438
00:27:31,440 --> 00:27:31,840
Speaker 4: in Negro.

439
00:27:33,119 --> 00:27:33,720
Speaker 11: It's an honor.

440
00:27:33,880 --> 00:27:38,240
Speaker 13: Pride for me is that I could identify myself as

441
00:27:38,280 --> 00:27:43,040
Speaker 13: a black West Indian, Black Panamanian. Watch that you singing

442
00:27:43,119 --> 00:27:47,840
Speaker 13: this music because it's the only way that black, poor

443
00:27:48,760 --> 00:27:53,920
Speaker 13: struggling people used to drag tests to fight against the government.

444
00:27:54,600 --> 00:27:58,520
Speaker 4: So it's not a coincidence that Renato released his first

445
00:27:58,840 --> 00:28:03,399
Speaker 4: real record was This for the Police Kenneth Love Policia.

446
00:28:04,880 --> 00:28:08,359
Speaker 4: Here's how it happened. Renaldo was working as a dijit

447
00:28:08,480 --> 00:28:12,000
Speaker 4: drawing parties when one day he heard a dance whole

448
00:28:12,119 --> 00:28:13,720
Speaker 4: song that really stuck with him.

449
00:28:14,359 --> 00:28:16,960
Speaker 14: And I heard the song what they held the police

450
00:28:17,080 --> 00:28:20,280
Speaker 14: can do and what they held the police can't do.

451
00:28:20,480 --> 00:28:22,600
Speaker 8: I can't and don't do that.

452
00:28:22,960 --> 00:28:26,560
Speaker 3: It was a Jamaican song against police brutality.

453
00:28:26,359 --> 00:28:30,800
Speaker 8: And I said, ah, I'll do something like that, yes,

454
00:28:30,920 --> 00:28:31,840
Speaker 8: and so in.

455
00:28:31,960 --> 00:28:34,800
Speaker 4: The mid eighties, Renato released a cover of the song

456
00:28:34,880 --> 00:28:42,640
Speaker 4: in Spanish called El Denny Renato. It was one of

457
00:28:42,720 --> 00:28:46,960
Speaker 4: the first studio recordings of a reaganes final song. See

458
00:28:47,040 --> 00:28:51,280
Speaker 4: For decades, Panama was controlled by military government and the

459
00:28:51,440 --> 00:28:54,880
Speaker 4: Denny were the secret police agents of the generals.

460
00:28:55,480 --> 00:28:56,520
Speaker 8: Well at the time, Danny.

461
00:28:56,560 --> 00:28:58,640
Speaker 14: Everybody was afraid of the Danny because there were the

462
00:28:58,720 --> 00:29:01,560
Speaker 14: hard cops that would break down your doors and go

463
00:29:01,680 --> 00:29:02,680
Speaker 14: in your house and stuff.

464
00:29:03,440 --> 00:29:09,160
Speaker 4: In the song, Renato impersonated the officer and it's not flattering.

465
00:29:10,600 --> 00:29:12,840
Speaker 8: At the job, wondered I.

466
00:29:15,520 --> 00:29:19,240
Speaker 4: So basically he said, I can coff you and hit

467
00:29:19,320 --> 00:29:22,320
Speaker 4: you with a baton. Then he's calling the cops. Al

468
00:29:22,360 --> 00:29:29,680
Speaker 4: by coining now that it was white cobs that would

469
00:29:29,760 --> 00:29:34,000
Speaker 4: target the black kids. It was this but this that

470
00:29:34,120 --> 00:29:41,960
Speaker 4: you could dance to love after man Reggazstan remembers what

471
00:29:42,200 --> 00:29:44,320
Speaker 4: L Danny meant for the new genre.

472
00:29:44,800 --> 00:29:51,200
Speaker 13: L Danny it was a huge radio playve that all

473
00:29:51,320 --> 00:29:52,720
Speaker 13: we had in reggae.

474
00:29:53,880 --> 00:29:58,200
Speaker 3: Sing That same year, Renato drops super Simo hit.

475
00:30:01,040 --> 00:30:04,480
Speaker 14: I made the first reggae hit in Latin America like

476
00:30:04,640 --> 00:30:12,720
Speaker 14: Chica loss can.

477
00:30:10,120 --> 00:30:13,560
Speaker 9: Yeamy chicave yes la Chica.

478
00:30:15,520 --> 00:30:20,840
Speaker 14: So I made this song about soap opera, you know, novellas.

479
00:30:20,840 --> 00:30:23,360
Speaker 14: We call it novelas, and they put it in the

480
00:30:23,480 --> 00:30:25,720
Speaker 14: buses and it was a big.

481
00:30:25,680 --> 00:30:30,040
Speaker 9: Hits mastal yes la.

482
00:30:32,480 --> 00:30:39,160
Speaker 8: Yea Chica, Yes la yea Chica love.

483
00:30:41,880 --> 00:30:42,840
Speaker 3: I love it, I love it.

484
00:30:42,960 --> 00:30:45,480
Speaker 4: In this song, he refers to the novela that he

485
00:30:45,600 --> 00:30:48,560
Speaker 4: used to watch with his grandma, including one called The

486
00:30:48,640 --> 00:30:53,640
Speaker 4: Chica Cafe the Brown Eye Girl. In the video, he

487
00:30:53,840 --> 00:30:57,120
Speaker 4: make it clear that his brown eyed girl isn't one

488
00:30:57,200 --> 00:31:01,560
Speaker 4: of the blancas you've seen on TV. Instead, so he

489
00:31:01,640 --> 00:31:05,480
Speaker 4: put a black Panamanian woman in the video like kind

490
00:31:05,560 --> 00:31:08,640
Speaker 4: of making another statement his own.

491
00:31:08,520 --> 00:31:16,960
Speaker 9: Statement, yea cafe, yes lachica.

492
00:31:18,520 --> 00:31:23,120
Speaker 4: Yemchica black and sim blew up all over the radio

493
00:31:23,200 --> 00:31:27,240
Speaker 4: station in Banama and eventually other countries in Latin America.

494
00:31:27,320 --> 00:31:30,080
Speaker 14: TA mean the song is in Colombia selling and it

495
00:31:30,240 --> 00:31:33,040
Speaker 14: was number one for about what one year?

496
00:31:33,200 --> 00:31:35,880
Speaker 8: Number one and what in Colombia.

497
00:31:36,880 --> 00:31:41,120
Speaker 4: Renaldo made the first ever reggae en Espanol hit and

498
00:31:41,320 --> 00:31:43,280
Speaker 4: set the whole genre into motion.

499
00:31:44,320 --> 00:31:44,640
Speaker 3: Pedro.

500
00:31:44,920 --> 00:31:48,360
Speaker 4: To be honest, a lot of people have forgotten about him.

501
00:31:49,200 --> 00:31:51,200
Speaker 4: Here's Raka Rich from the Racas.

502
00:31:51,560 --> 00:31:53,800
Speaker 10: But even though we are the creators of the sound

503
00:31:54,080 --> 00:31:56,920
Speaker 10: in Panama, of the genre, I feel like people still

504
00:31:57,040 --> 00:31:59,520
Speaker 10: don't know that Panamanians were the ones who started the

505
00:31:59,560 --> 00:31:59,920
Speaker 10: whole thing.

506
00:32:00,520 --> 00:32:03,360
Speaker 3: Rack A Ridge still gets frustrated about it.

507
00:32:03,760 --> 00:32:06,960
Speaker 10: When you create something and you know you don't capitalize

508
00:32:07,000 --> 00:32:09,880
Speaker 10: on it and other people capitalize on it, it doesn't

509
00:32:09,920 --> 00:32:12,479
Speaker 10: feel good, you know what I mean. And it's kind

510
00:32:12,520 --> 00:32:14,160
Speaker 10: of like you know what they say about you know

511
00:32:14,200 --> 00:32:16,200
Speaker 10: the votures. You know, people coming and see what you

512
00:32:16,320 --> 00:32:19,440
Speaker 10: do and then they maximize out of it and everybody,

513
00:32:19,680 --> 00:32:21,560
Speaker 10: you know, even though you created it, and nobody knows.

514
00:32:21,400 --> 00:32:25,320
Speaker 4: Who you are, and hinte that's the truth. Without Renato

515
00:32:25,400 --> 00:32:28,800
Speaker 4: and the other original artists from Panama, they wouldn't be

516
00:32:28,960 --> 00:32:32,960
Speaker 4: no Regatton. But Renato is some bitter about that, just

517
00:32:33,040 --> 00:32:36,600
Speaker 4: the opposite. And when he looked back, it's just amazing

518
00:32:37,120 --> 00:32:40,800
Speaker 4: that an English speaking kid from the canal soon will

519
00:32:40,840 --> 00:32:43,880
Speaker 4: be so important to start in Driganapannon and.

520
00:32:43,960 --> 00:32:44,720
Speaker 8: I love it, you know.

521
00:32:45,240 --> 00:32:48,880
Speaker 14: I'm so happy man, because you did something that everybody's

522
00:32:48,960 --> 00:32:51,360
Speaker 14: going to talk about it for years and we are

523
00:32:51,480 --> 00:32:54,600
Speaker 14: so glad. I'm glad man, I'm glad for that Yankee. Yeah,

524
00:32:54,640 --> 00:32:58,560
Speaker 14: I'm glad for even Queen. I'm glad for all these

525
00:32:58,640 --> 00:32:59,800
Speaker 14: artists that are making it.

526
00:33:00,440 --> 00:33:03,960
Speaker 4: Which is in Renaldo. I am so glad too and

527
00:33:04,360 --> 00:33:10,320
Speaker 4: proud of your work. Renaldo is one of the old GI's.

528
00:33:10,840 --> 00:33:13,200
Speaker 4: But there's so many more we're gonna hear about. In

529
00:33:13,280 --> 00:33:19,000
Speaker 4: this sision of loud, you will find out how Don't

530
00:33:19,040 --> 00:33:22,680
Speaker 4: got fire from Panama to New York to Puerto Rico

531
00:33:23,000 --> 00:33:23,800
Speaker 4: to Columbia.

532
00:33:24,360 --> 00:33:27,440
Speaker 8: Wow, man, that thing took New York by starm.

533
00:33:27,960 --> 00:33:29,680
Speaker 6: It came to a moment where if you wanted to

534
00:33:29,760 --> 00:33:32,120
Speaker 6: be big, you had to go to Columbia. Get a

535
00:33:32,160 --> 00:33:34,360
Speaker 6: couple of hits, Big and Columbia. From there you would

536
00:33:34,400 --> 00:33:35,240
Speaker 6: jump around the world.

537
00:33:35,720 --> 00:33:37,800
Speaker 3: We will take you from the Sweaty Club.

538
00:33:37,800 --> 00:33:43,400
Speaker 8: You feel the music and the beat at the door, to.

539
00:33:43,520 --> 00:33:44,880
Speaker 3: The fancy award shows.

540
00:33:45,560 --> 00:33:49,400
Speaker 14: They gonna come on stage with the fucking beig pimpsuit.

541
00:33:52,520 --> 00:33:54,959
Speaker 13: The MTV award stage is different.

542
00:33:55,240 --> 00:33:57,480
Speaker 8: It's like we have a rise world.

543
00:33:58,200 --> 00:34:00,960
Speaker 3: We will go behind the scenes of the biggest hits.

544
00:34:01,280 --> 00:34:04,840
Speaker 13: Gasolina is an idea that literally when we first heard it,

545
00:34:05,200 --> 00:34:06,719
Speaker 13: at first we almost laughed.

546
00:34:07,600 --> 00:34:15,600
Speaker 9: Mirabal con cot con con con con con, come and.

547
00:34:15,680 --> 00:34:17,920
Speaker 3: Give it to you straight about the real ship that

548
00:34:18,040 --> 00:34:18,520
Speaker 3: went down.

549
00:34:18,920 --> 00:34:22,400
Speaker 13: I mean, guys would go from literally, you know, riding

550
00:34:22,480 --> 00:34:24,759
Speaker 13: the bus to get to the studio to having a

551
00:34:24,800 --> 00:34:28,000
Speaker 13: BMW overnight and then the BMW wasn't.

552
00:34:27,920 --> 00:34:33,440
Speaker 11: Enough everybody having a good time that momento. Oo, man

553
00:34:33,960 --> 00:34:37,160
Speaker 11: about have it right here. I mean the Knapster and

554
00:34:37,239 --> 00:34:42,880
Speaker 11: Petrieira was the worst time. Like everybody was in bankrupt everybody.

555
00:34:43,400 --> 00:34:46,560
Speaker 3: All our friends from the beginning, they're all dead.

556
00:34:48,120 --> 00:34:49,399
Speaker 8: This ship is here to stay.

557
00:34:49,480 --> 00:34:53,440
Speaker 12: I was like, this is completely, completely, completely going to

558
00:34:53,560 --> 00:34:55,120
Speaker 12: change the landscape of.

559
00:34:55,239 --> 00:34:59,640
Speaker 3: Music too mas. But first.

560
00:35:02,760 --> 00:35:08,880
Speaker 4: Back to a group of three friends in Panama. In

561
00:35:09,000 --> 00:35:11,839
Speaker 4: nineteen eighty five, Franchito, the toe one in the group

562
00:35:11,880 --> 00:35:15,120
Speaker 4: of friends, broke some news to Regaissan oh.

563
00:35:15,120 --> 00:35:18,080
Speaker 11: Sam, I said, guess what he said, I'm going to America.

564
00:35:18,480 --> 00:35:21,160
Speaker 4: He got a scholarship to study in New York, where

565
00:35:21,200 --> 00:35:22,239
Speaker 4: his mother was living.

566
00:35:23,360 --> 00:35:25,440
Speaker 13: I said to him, you know what, you better perform

567
00:35:25,520 --> 00:35:27,480
Speaker 13: and do it. He said, man, I'm going to try

568
00:35:27,520 --> 00:35:29,879
Speaker 13: to do that, and if I make it big, you're

569
00:35:29,880 --> 00:35:30,440
Speaker 13: coming with me.

570
00:35:31,800 --> 00:35:34,400
Speaker 4: Once in New York, Franchito will choose a new artist

571
00:35:34,480 --> 00:35:39,520
Speaker 4: and for himself, one that you probably heard of. He

572
00:35:39,600 --> 00:35:50,880
Speaker 4: will call himself El Hener al Commando Maximo.

573
00:35:54,280 --> 00:35:57,040
Speaker 11: He's considered the father of Reggaetona.

574
00:35:57,560 --> 00:35:59,919
Speaker 8: Elenidan is like the blueprint. You know what I'm saying.

575
00:36:00,200 --> 00:36:01,360
Speaker 11: You know, he's the one that took it to the

576
00:36:01,400 --> 00:36:01,879
Speaker 11: next level.

577
00:36:01,960 --> 00:36:14,800
Speaker 3: He blew up, Elenett.

578
00:36:14,800 --> 00:36:17,919
Speaker 4: I'll get on a plane from Panama to JFK, where

579
00:36:18,040 --> 00:36:20,240
Speaker 4: Spanish language Dance for Revolution.

580
00:36:20,440 --> 00:36:21,440
Speaker 3: Is about to take place.

581
00:36:21,880 --> 00:36:27,080
Speaker 13: It's Jamaican music produced in New York and performed by Latinos.

582
00:36:27,320 --> 00:36:28,759
Speaker 11: You know, so it's hot.

583
00:36:29,280 --> 00:36:31,520
Speaker 4: Like in Panama you get a little bit of it,

584
00:36:31,600 --> 00:36:34,080
Speaker 4: but when you came over here it was more in it.

585
00:36:34,280 --> 00:36:34,520
Speaker 4: You know.

586
00:36:36,120 --> 00:36:36,600
Speaker 3: Forget it.

587
00:36:36,719 --> 00:36:39,040
Speaker 6: I was Oh my God, I came from New York,

588
00:36:39,840 --> 00:36:44,160
Speaker 6: up with the outfrey with the new music.

589
00:36:45,080 --> 00:36:47,440
Speaker 8: Say hey, listen, this is the new stuff.

590
00:36:48,560 --> 00:37:00,040
Speaker 4: Next time on Love The History of Reggaeton Now The

591
00:37:00,200 --> 00:37:03,560
Speaker 4: History of Reggaeton is a Spotify original podcast.

592
00:37:03,320 --> 00:37:04,680
Speaker 3: From Futuro Studios.

593
00:37:05,120 --> 00:37:08,840
Speaker 4: This podcast was written and reported by Marlon Bishop and

594
00:37:08,960 --> 00:37:13,319
Speaker 4: Luis Gaio and edited by Sophia palisa Ka, with help

595
00:37:13,400 --> 00:37:19,040
Speaker 4: on this episode from Audrey Quinn. From Spotify executive producers

596
00:37:19,320 --> 00:37:25,360
Speaker 4: Gida bilbag Adrian Aredondo, Jessica Molina and Julio A Pabon.

597
00:37:25,880 --> 00:37:28,400
Speaker 3: We're producing help from Dan Bejaw.

598
00:37:28,960 --> 00:37:33,280
Speaker 4: A secutive produced for Futuro Studios by Marlon Bishop, produced

599
00:37:33,320 --> 00:37:39,200
Speaker 4: by Catalina Gada Eggleston, Ermes Ajala, Joaquin Cutler, Sandra Riano,

600
00:37:39,640 --> 00:37:45,040
Speaker 4: Nicole Rothwell and Daniela Tejogarson. Additional production by Christian Egrera,

601
00:37:45,400 --> 00:37:50,320
Speaker 4: Seva tender Bays, munnez Selrod, Rega Sandino and Juan Diego Ramirez.

602
00:37:50,800 --> 00:37:53,080
Speaker 3: Fat check in by Tatiana Dias.

603
00:37:53,320 --> 00:37:57,040
Speaker 4: Sound design and mixing by Ginnie Montalbo and Stephanie lebau.

604
00:37:57,680 --> 00:38:01,760
Speaker 4: Urting song is by Max, Music by Echo and Danny

605
00:38:01,800 --> 00:38:05,759
Speaker 4: Crazy Town for the Ego Team and Impulse Ell Intellectual

606
00:38:06,480 --> 00:38:11,560
Speaker 4: music supervision by Big Sin George Truley, recorded at Haga

607
00:38:11,640 --> 00:38:14,320
Speaker 4: Studio by Maluri in Vernon, Ell Henerra.

608
00:38:14,480 --> 00:38:17,480
Speaker 3: Interview audio courtesy of Christophe Twiko.

609
00:38:18,080 --> 00:38:23,560
Speaker 4: Special thanks to Julio, Ricardo Barela, Louis Luna, Lileana Ruis,

610
00:38:24,200 --> 00:38:32,040
Speaker 4: Josh Lincun, Antonia Serehidro, Alejandra Martinez, Sonia Flavel, Ricardo Montalvo,

611
00:38:32,400 --> 00:38:38,560
Speaker 4: Jasmina Fiffi, O'Neil Anderson, Jessica Diaz, Urtalo quimu Ello, Leah,

612
00:38:39,160 --> 00:38:45,920
Speaker 4: Sarah Kayner, Vijan Garbi, Jesse Hart, Sue Lou Brian Marquis,

613
00:38:46,440 --> 00:38:54,040
Speaker 4: Lauren Monkey, Ashley Nesbi, Andrea Silenzi Way Slickin and Jordantocinski

614
00:38:54,400 --> 00:38:55,520
Speaker 4: for production support.

615
00:38:57,239 --> 00:39:00,680
Speaker 3: I'm your hosts Ivy Queen. Make sure to.

616
00:39:00,719 --> 00:39:15,080
Speaker 4: Follow Loud the History of Reggaeton only on Spotify. T

617
00:39:17,920 --> 00:39:19,680
Speaker 4: Thank you, Shade Tea