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Speaker 1: Welcome to Latino, USA. I'm Mario Rosa, and today, dear listener,

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Speaker 1: we are thrilled to share with you the second episode

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Speaker 1: of a new podcast we've been producing here at Futuro Studios.

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Speaker 1: It's called Loud The History of Reggaeton, and I love

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Speaker 1: this podcast. It tells the true story about how young

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Speaker 1: people from Banama, Puerto Rico and beyond refused to be

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Speaker 1: quiet and instead created an irresistible musical culture that has

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Speaker 1: kept the world dancing for decades. Loud is produced in

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Speaker 1: collaboration with Spotify, so to hear the rest of the series,

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Speaker 1: go to Spotify. Also a quick warning to our listeners,

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Speaker 1: there's going to be some pretty explicit language throughout this episode.

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Speaker 1: But now I'm going to pass things off to the

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Speaker 1: host of the podcast, one of the originators of regaton,

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Speaker 1: herself La Caaota, la pot la viva eby Queen Take

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Speaker 1: it Away Queen.

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Speaker 2: It's nineteen eighty one, five nineteen years old at Gado

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Speaker 2: Franco Or is a TOAs Skinny Kid getting on a

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Speaker 2: plane from Panama City to New York to study business administration.

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Speaker 3: Hello jend Vi, Iitherminemirera the in Panama.

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Speaker 2: He and his friends have started us singing Jamaican dance

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Speaker 2: hall and regae Espanon.

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Speaker 4: In Panama.

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Speaker 2: They were had, their music was playing on the buses

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Speaker 2: and in the club.

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Speaker 4: Up in the air.

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Speaker 2: Frankie, do you imagine he's leaving all that behind, the parties,

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Speaker 2: the attention, the chance to be an artist.

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Speaker 4: It was time to get serious, get a real profession.

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Speaker 4: Ladies and gentlemen, Welcome to j RK log time at

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Speaker 4: a m at the temperature is sixty two degrees. New

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Speaker 4: York was a whole new remo.

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Speaker 2: Franito the hostel and muscle that don't give a fuck

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Speaker 2: attitude to sar In New York City, you got to

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Speaker 2: be on your game. As Frankito was holding down three

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Speaker 2: jobs just to get by us in the first pace

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Speaker 2: New York life, there wasn't time for music. He started

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Speaker 2: to forget about it. But soon, you know how it is,

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Speaker 2: music will pull him back in. Because what Frankito maybe

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Speaker 2: didn't count on is that he had just landed in

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Speaker 2: Lacuna the dance Hall, Brooklyn from Spotify and for Toto

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Speaker 2: Studio up in between and this is loud. The History

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Speaker 2: of Reggaeton Episode two, The Nueva or connection. This episode,

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Speaker 2: we're talking about New York City because New York Esna

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Speaker 2: Meskla tel Gambio.

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Speaker 4: It's an exchange.

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Speaker 2: And in this story is where Briqua's Panamanians and Jamaican

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Speaker 2: we all vibe and learn from each other's music. I'm

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Speaker 2: going to tell you how immigrants from Panama in Brooklyn

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Speaker 2: took reggae and dance on and Espanon to the next level.

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Speaker 5: It's Jamaican music produced in New York performed by latinos

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Speaker 5: so it's.

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Speaker 2: Had and how both dance and hip hop from New

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Speaker 2: York City traveled to my Isla Delecando and think how

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Speaker 2: New York became the crossroads that made reggedon possible. Franquito like,

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Speaker 2: most black Panamanians settled in Central Brooklyn, which includes neighborhoods

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Speaker 2: like Crown Heights and Flat Bush. The area is like

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Speaker 2: the West Indian United Nations. Black immigrants from all over

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Speaker 2: the Caribbean lived there. Jamaica, Trinida, it t and the

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Speaker 2: dancehold reggas scene in Brooklyn west popping.

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Speaker 6: Like in Panama. You get a little bit of it,

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Speaker 6: but when you came over here there was more in it.

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Speaker 2: You know this is Exxenia, and she's someone I am

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Speaker 2: very excited to introduce you to.

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Speaker 6: I'm Exena nikes Go. The name La.

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Speaker 2: Trevida Latrevida means the root girl. We never met, but

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Speaker 2: she's the first female artist of Elmovimento Spona Bionda de Verda.

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Speaker 4: And she got the name brook Girl for a reason.

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Speaker 6: The dance in the lyrics and I using I was like,

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Speaker 6: oh my god, I was wrong.

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Speaker 4: That's when I come now.

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Speaker 2: She's a Christian and she jokes that she should change

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Speaker 2: her name from the rook Girl to the Good Girl.

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Speaker 2: But back in the day she had an attitude rocking

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Speaker 2: chains and baggy clothes. She was in the same Brooklyn

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Speaker 2: dance hall scene as Franquito, and she told us about

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Speaker 2: the crazy parties they used to have.

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Speaker 6: It was little back in at These parties went till morning, son,

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Speaker 6: like you come out sunlight, what's upside?

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Speaker 7: Some clubs went to mid day.

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Speaker 4: The parties were every night of the week.

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Speaker 6: They had big, huge clubs, and they had the underground

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Speaker 6: places underground like basement and backyard parties. And you know,

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Speaker 6: like in the day, I guess it's a mechanic sample

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Speaker 6: whatever truck pucking lot whatever.

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Speaker 2: But then at night at nine it became a sweaty

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Speaker 2: dance whole party.

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Speaker 6: You're just going chattan and mic, you buy your drinks,

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Speaker 6: you know, and just ship.

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Speaker 4: It was just a cool ride, you know.

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Speaker 2: And these were like freestyle sessions. If you have skills,

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Speaker 2: you could get on the mic. Latrevida didn't see a

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Speaker 2: lot of women up there, but that didn't stop her.

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Speaker 6: I guess they was shy or they were afraid.

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Speaker 7: Well, I don't know. I had no fear.

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Speaker 4: I had no fear. She sounds just like me. Latrevida

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Speaker 4: just went for it.

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Speaker 6: Cut me a rude gal, I mean, no braga and

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Speaker 6: show off. If you're coming on me face, make gonna

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Speaker 6: go click off, rude girl, I may not take back.

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Speaker 6: No talk coming on me face and make going I

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Speaker 6: go back.

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Speaker 2: The crowd at these parties was mixed Jamaican, Pnomenians and Latrevida.

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Speaker 2: She could work in English and Spanish.

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Speaker 6: See page break bagget simplatin. Why not?

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Speaker 4: The puppy sat your mo so they look at I

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Speaker 4: love her. You know the female power that we have

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Speaker 4: there you go.

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Speaker 2: Latrevida actually had parties in her basement on Thursdays. And

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Speaker 2: just because these parties were held at the basement and

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Speaker 2: out of shops, that doesn't mean that they were for amateurs.

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Speaker 2: The biggest names in the dance hool music will show

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Speaker 2: up and spread when they went to New York, guys

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Speaker 2: like super Cad and Shaggy.

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Speaker 7: I Love my Name.

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Speaker 6: You surprised you the sessions those guys used to comfort

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Speaker 6: to Brooklyn to go to the spots.

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Speaker 2: Yes al ambiente where Panamanians and Jamaicans are hanging out

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Speaker 2: together getting to know each other. Of course, you know,

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Speaker 2: smoking bad in the basement where the dance hold and

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Speaker 2: Efaniel really takes off. And this is the world fran

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Speaker 2: Quito walks into. Right when he thought he was leaving

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Speaker 2: the dance fall behind and Panama, he gets stopped back in.

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Speaker 3: Sound systems, system and a bachelor.

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Speaker 2: So he said that in New York City he bought

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Speaker 2: a little sound system that he would bring around to

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Speaker 2: every party, which he called the Bachelor Sound and he

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Speaker 2: started to perform under the name Eleneral. Elneran hasn't given

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Speaker 2: an interview about his music for over a decade. This

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Speaker 2: audio is from an interview he recorded with a journalist

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Speaker 2: in two thousand.

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Speaker 4: And four Commando ma.

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Speaker 2: And Henerad says that he got his name because Panama

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Speaker 2: was run by Lee Ales for years, so it was

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Speaker 2: a way to say that he was the commander, the boss.

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Speaker 2: He took it to the next level by performing in

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Speaker 2: a military uniform called Melayahdono. But music was still a

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Speaker 2: hobby for him. He was working in businesses making good money.

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Speaker 2: He thought, maybe I record something just to give it

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Speaker 2: a shot.

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Speaker 7: Ya as, I guess I need a yellow But don't he.

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Speaker 4: Never imagine that anything could actually come of it.

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Speaker 2: By the late eighties, a lot of the Jamaican dancehall

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Speaker 2: industry was actually based.

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Speaker 4: In New York.

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Speaker 2: BVP Records was the world biggest distributor of reggae music

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Speaker 2: and it was run by a Chinese Jamaican family out

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Speaker 2: of Queens and trust me.

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Speaker 4: They have a lot of power to move records in

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Speaker 4: the industry.

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Speaker 5: There was Spanish people, you know, really interested in the

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Speaker 5: reggae and there wasn't any Spanish artists doing reggae, so

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Speaker 5: he ventured into it.

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Speaker 2: We're not Spanish, we are Latinos. But I get what

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Speaker 2: he means. This is Michael McDonald. He was to owner

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Speaker 2: back then He said that it was a Jamaican record

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Speaker 2: show worker at BP who noticed just how many Latinos

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Speaker 2: were coming in to buy these dancehall albums all in English,

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Speaker 2: and a light bulb when there was money to be made.

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Speaker 5: He was one of the first originaries and people didn't

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Speaker 5: really take him seriously. To be honest with you, I

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Speaker 5: guess this is a Jamaican thing they like to stick toward.

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Speaker 4: They know the way it went.

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Speaker 5: It took me to a televis surprise.

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Speaker 2: So in nineteen ninety, this record shop guy pulls Hennerdan

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Speaker 2: into the studio. There was a popular song at the

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Speaker 2: moment by little Lenny Cole and it was a tribute

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Speaker 2: to the power of the pussy and that song trust

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Speaker 2: Me for the time was Dirty recorded a cover of

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Speaker 2: the song in Spanish.

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Speaker 8: Boom Boom Mommy, Mommy, No Man Bango.

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Speaker 4: And that song.

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Speaker 8: Boom Boom Mammy, Mommy No man bang mat My Mama.

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Speaker 6: And that English tom was a very big meaning in

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Speaker 6: every area America Latin and they knew that song, so

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Speaker 6: for him to bring it across in Spanish it was

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Speaker 6: a bunj.

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Speaker 2: Latrevida remembers performing at shows Witheran where he was singing

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Speaker 2: to pom Poom.

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Speaker 7: It was an easy hit.

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Speaker 6: That was the song in English hit and you go

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Speaker 6: through It in Spanish, that was an easy hit.

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Speaker 4: That song Lo the fun Up.

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Speaker 2: I still remember what that song hit and landed in

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Speaker 2: Puerto Rico. It was in every corner, every birthday, every party, everything.

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Speaker 2: And tell a story about his first gig he played

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Speaker 2: in New York after that.

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Speaker 4: Song came out. He show up and the streets outside

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Speaker 4: was full of people.

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Speaker 2: He went up to the bouncer and he was like,

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Speaker 2: I'm here to sing tonight, I mean, and the bouncer

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Speaker 2: was like, yeah right, and.

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Speaker 4: I'm Prince, see Prince Prince.

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Speaker 2: Eventually he got into do the show and he was

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Speaker 2: blown away watching how the crowd reacted. He then realized

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Speaker 2: that people were hungry for this music. That night, he

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Speaker 2: decided to quit his job, and Heneral quickly followed with.

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Speaker 4: More son.

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Speaker 2: There was Buena Amueblo and those were huge too. After

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Speaker 2: Danced the Spanish was officially in style. I'm talking in

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Speaker 2: ninety ninety one ninety two. Most of the big artists

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Speaker 2: in that first way were black Central Americans in New York.

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Speaker 6: Latrevida, Abio, trabz La.

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Speaker 4: Trevida got to deal with Columbia Records Romance Romance.

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Speaker 2: Meanwhile, and Henera was getting bigd internationally. His songs became

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Speaker 2: the kind of hits that everybody knew from Mexico down

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Speaker 2: to Argentina. At first, Heneral said he couldn't actually travel

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Speaker 2: to the concerts. Yeah, and he had overstayed his visa

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Speaker 2: and was undocumented. He said that in his absence, a

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Speaker 2: rumor went around that he died. So when he got

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Speaker 2: his papers and started touring, it was like the resurrection.

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Speaker 4: Of Heneral Iran.

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Speaker 2: And he said he had to go on to be

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Speaker 2: to show people he was still alive and invite them

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Speaker 2: to the show. The music was all over America Latina,

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Speaker 2: but not everybody got it. This audio is from Henerani

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Speaker 2: when he appeared on a TV show and Chile. One

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Speaker 2: of those chows in the video and Henedal is super

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Speaker 2: tall and skinny, and he's wearing his purple general's uniform

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Speaker 2: and dancing so awkwardly with the TV host.

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Speaker 4: This interview kind of makes you cringe.

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Speaker 2: The host is saying that these are totally made up words, right,

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Speaker 2: He literally doesn't understand the music and acts likeneda came

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Speaker 2: from out of space. The whole thing seems like a

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Speaker 2: big joke today, this black Latin American doing the strange

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Speaker 2: thing called rapping. For Puerto Rican's it was completely different.

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Speaker 2: We love and understood dancehol Maybe it's because we're also

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Speaker 2: from the Caribbean, just because.

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Speaker 4: Of the New York connection we have. In nineteen eighty.

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Speaker 2: There were almost one million Bodiqueas living in New York City,

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Speaker 2: so music was always going back and forth on the

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Speaker 2: Wild Wai area. You know, those three and a half

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Speaker 2: hour domestic flight back and forth from someone to New York.

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Speaker 4: Those planes brought new sound to the island fast.

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Speaker 9: See.

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Speaker 2: Back in the day, it was normal if you grow

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Speaker 2: up in the city that your parents will send you

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Speaker 2: for the summer to stay with your grandparents and cousins

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Speaker 2: in Puerto Rico.

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Speaker 4: DJ Tony Touch was one of those.

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Speaker 10: I remember being surround about these trees and there it

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Speaker 10: was just a night and day between Eastern New York,

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Speaker 10: Brooklyn and grandmother chopping the head off a rooster right there,

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Speaker 10: talking like this is dinner.

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Speaker 2: Or maybe it was the other way around. You live

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Speaker 2: on the island, you will go in the summer to

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Speaker 2: New York and you will come back with the latest

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Speaker 2: music to show off to your friends back home. Here's

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Speaker 2: rapper Lisaan.

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Speaker 11: When I was traveling to New York to visit my

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Speaker 11: grandma everything, when I called back to Puerlo Rico, oh.

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Speaker 4: Forget it.

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Speaker 7: I was, Oh my god. I came from New York.

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Speaker 7: Was u with the Outfrey with the.

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Speaker 11: New mulesic and say hey listen, this is the new stuff.

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Speaker 2: And in nineteen ninety the new staff was Spanish danced.

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Speaker 4: Romance, okay romance and the World War area.

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Speaker 2: It was another sound in the eighties and nineties that

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Speaker 2: was very important to reggaeton, and that sound was hip hop.

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Speaker 2: We are going to talk about hip hop for a

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Speaker 2: second because it was a huge influence and moviemento, especially

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Speaker 2: in Puerto Rico. Most of the Puerto Rican artists in

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Speaker 2: the early way, like myself, started to do straight hip

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Speaker 2: hop and got into the reggae and dancehall vibe later.

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Speaker 2: And the reason Borricos have such a close connection to

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Speaker 2: hip hop is because.

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Speaker 4: We helped invent it.

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Speaker 10: We were there since day one.

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Speaker 2: That's my friend Tony Touch again, a legendary Briqua dij

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Speaker 2: from the New York hip hop scene.

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Speaker 10: I mean hip hop started in the Bronx, and it

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Speaker 10: started in the ghetto and these projects in the hood

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Speaker 10: and who lived in the hood Blacks and Puerto Ricans,

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Speaker 10: you know.

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Speaker 4: And many black Puerto Ricans as well.

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Speaker 2: In those early years of hip hop, Puerto Ricans were representing.

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Speaker 2: We have mcs, DJs, graffiti artists, and especially dancers. A

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Speaker 2: lot of the first bee boys were Puerto Ricans. And

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Speaker 2: what it was we were on hip hop films like

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Speaker 2: Wild Style and Bait Street that made an impact on

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Speaker 2: Tony Touch.

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Speaker 10: I see these kids on the movie screen that looked

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Speaker 10: like me, Puerto Rican, you know, because before I didn't

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Speaker 10: see it like black or white, you know what I mean. Like,

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Speaker 10: so you see Puerto Ricans in the movie or on

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Speaker 10: the screen, it's like wow. You know, it was inspiring for.

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Speaker 2: Me because of the New yor Rican connection. Puerto Rico

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Speaker 2: was one of the first places to get into hip hop.

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Speaker 2: I remember I first find out about hip hop through

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Speaker 2: my brother Jacob. He had staves of dast effects buster rhymes.

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Speaker 2: Even though he didn't understand the music.

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Speaker 4: Spoke to us. It was straight up, it was raw,

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Speaker 4: it was poetry, but with music underneath.

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Speaker 2: You know. It was music that can fit the feelings

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Speaker 2: that you have inside. So growing up in Anaco on

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Speaker 2: the West side.

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Speaker 4: Of Puerto Rico, I was all about the honey.

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Speaker 2: I walk around with my boom box and my little

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Speaker 2: Pelasoca gong and if any moment a cipher will start,

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Speaker 2: we bust it down back then if you have a

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Speaker 2: party and you didn't play rap, honey, nobody's going to

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Speaker 2: show up. So in the eighties, hip hop is huge

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Speaker 2: in Puerto Rico, but it's hip hop from the US

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Speaker 2: in English. The reason Puerto Rico got its own hip

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Speaker 2: hop has a lot to do with a guy named Becosi.

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Speaker 4: Guy saw Rico Wow, a rapper with a career in Spanish.

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Speaker 8: And at school I started seeing this movement at Bigo

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Speaker 8: ce dig S's The.

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Speaker 3: God Bok the Dawn of Spanish rap Puerto Rico.

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Speaker 4: When it comes to hip hop in Puerto Rico, because Si.

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Speaker 7: Was the king, I didn sack, but didn't not go sack.

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Speaker 2: He was one of the first people to do hip

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Speaker 2: hop in Spanish and do it so nice. The thing

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Speaker 2: that was so cool about it for us was that

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Speaker 2: we love rap music, but most of us they didn't

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Speaker 2: understand a word and all of a sudden with Brico,

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Speaker 2: we get the lyrics. It was like the movie went

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Speaker 2: from black and white to color. Is that his storyteller

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Speaker 2: and he have a way to put these words together

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Speaker 2: and take you along on the ride.

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Speaker 4: You're just there with him. Here's hip hop DJ Baron Lopez.

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Speaker 12: Because he guts these words that you would not expect

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Speaker 12: it on a wrap. He changed it to make it

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Speaker 12: interesting and funny but real.

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Speaker 4: His music was deep. That's why we know him as

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Speaker 4: a philosopher. The philosopher.

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Speaker 2: Because see on the DJ that discovered him. They started

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Speaker 2: to record a few songs on cassettes, super basic with

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Speaker 2: our studio or any real equipment.

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Speaker 4: This is the mid eighties, and the tapes.

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Speaker 2: Suto Moon Phenomena. They were copied over and over again,

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Speaker 2: pass hand to hand. They basically went by song honey.

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Speaker 2: Every guard was bumping the because here's the.

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Speaker 4: Because see and there were nobodies, just two kids who

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Speaker 4: made some tapes.

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Speaker 7: In when Navii and implemented.

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Speaker 2: Soon because met a young concert promoter named he books

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Speaker 2: them to open for Public Enemy. It's a real doing

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Speaker 2: for them. They are ahead and Joe has an idea.

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Speaker 13: And with all them, listen, let's record let's record I

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Speaker 13: had never we had never recorded before, but they said,

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Speaker 13: let's record this because this is really good.

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Speaker 7: And that ended up being.

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Speaker 4: Nero and Bigos.

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Speaker 7: So many Erro Cleve.

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Speaker 2: Laretta Finano, released by jes brand new label Prime Wakers

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Speaker 2: in eighty nine, wasn't the first hip hop and a

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Speaker 2: paniel record to hit Puerto Rico, but it's the record

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Speaker 2: that really started the fire.

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Speaker 7: It was huge.

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Speaker 13: You know, they would go straight from the truck out

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Speaker 13: to the stores because everybody was lining up to pick

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Speaker 13: them up.

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Speaker 2: When I hear like Recta Final, you literally are listening

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Speaker 2: to this young kid pouring words that are not using

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Speaker 2: the hood, you know, like the stuff that he was

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Speaker 2: putting together was amazing because he was rapping about real

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Speaker 2: life topics that were happening in the projects, the killing

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Speaker 2: addiction aids in a way that just spoke to people

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Speaker 2: as honest and real and nobody in Puerto Rico heard

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Speaker 2: anything like that before because he himself grew up in

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Speaker 2: the projects in Lasa Cassias. People forget that way back

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Speaker 2: in the day. There was serious povery in Puerto Rico

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Speaker 2: now too, but in the forties the slums were hardcore.

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Speaker 4: Just Google a fan Guito So.

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Speaker 2: In the fifties, the government started building these huge housing

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Speaker 2: projects for poor people Turki.

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Speaker 8: And Casarrio Seno Gandia pure in construction.

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Speaker 7: Corso's economics.

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Speaker 2: These projects are known as casaio. They're also called residentialists,

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Speaker 2: and they built the casa rios next to the middle

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Speaker 2: class neighborhoods. They thought it would create a less divided society.

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Speaker 2: But yeah, it didn't work out like that. Para mucho

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Speaker 2: the cassaillo, it's all about drugs, un violence, many black

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Speaker 2: or dark skin Puerto Rican living them, and there's a

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Speaker 2: lot of discrimination against a residente de casillo. I didn't

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Speaker 2: grow up in a casaio, but I always hung out there.

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Speaker 2: I knew people from all the casaios and the stuff.

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Speaker 2: Because he was rapping about we were living there. He

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Speaker 2: made a whole generation of kids from the hood say,

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Speaker 2: oh shit.

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Speaker 4: I can do that too. That's what happened to me.

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Speaker 2: I heard Bee Cole bruly ruin that first generation of

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Speaker 2: rapping Epanoon, and I decided that I wanted to be

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Speaker 2: a rapper. Because Cidi Neegro with Prime Breakers were the

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Speaker 2: stars of a new genre rapping Espanion and business was booming.

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Speaker 13: We were releasing like ten records a year. You know,

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Speaker 13: we would have two studios running in twenty four hours.

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Speaker 13: We would hire other studios just to keep up with

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Speaker 13: the music.

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Speaker 2: You know.

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Speaker 13: By then we were the biggest independent label in the market.

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Speaker 13: We were bigger than Fannia. We were the bomb.

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Speaker 2: In eighty nine, Crime Record put out the first hip

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Speaker 2: hop album by a woman in Latin America.

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Speaker 11: Lissaen Wanko saka Supremel album. They hear me in another

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00:27:15,800 --> 00:27:19,359
Speaker 11: show rapping and they tell me, hey, Lisa, do you

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Speaker 11: want to record an album? And I say what, who me?

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00:27:23,320 --> 00:27:26,960
Speaker 11: And they say yeah you, and I say, oh my gosh, yeah,

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Speaker 11: let's go.

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00:27:31,119 --> 00:27:34,960
Speaker 2: Lisaiam grew up with Biko and Hakashias and started out

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00:27:35,200 --> 00:27:36,480
Speaker 2: as his backup dancer.

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00:27:37,240 --> 00:27:40,080
Speaker 11: And I remember that that said my mom, Mommy, I'm

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Speaker 11: gonna record an album.

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00:27:41,600 --> 00:27:42,639
Speaker 4: And my mom look at me.

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00:27:42,680 --> 00:27:49,800
Speaker 11: And say, hey, yeah, it's so lochetto el Yo Juandolo leady, Hey,

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Speaker 11: you're gonna see me.

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Speaker 4: You're gonna see me Melissa.

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00:27:59,400 --> 00:28:06,440
Speaker 14: And then one of these signs biggest hit was too Pompom,

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Speaker 14: a cover of an al song with the same name

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00:28:09,840 --> 00:28:13,920
Speaker 14: that makes Merengi and rap but flipped as a distract

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Speaker 14: to a man who can't please.

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Speaker 4: Her because his pompoon you know, isn't big enough.

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Speaker 14: Not Peggestine.

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00:28:34,040 --> 00:28:36,520
Speaker 4: And the next artist frime record sign to.

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Speaker 8: Boom boom Mammy, Mommy, no man bang bang boom Mammy,

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00:28:43,000 --> 00:28:46,760
Speaker 8: Mommy no man bang boom Mammy, Mammy, no man, bang

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Speaker 8: my dada press gonna go to.

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Speaker 9: These were the roots of Momento, a dance on a

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00:28:57,920 --> 00:29:02,200
Speaker 9: final scene that started Inama a hip hop an eespanel

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Speaker 9: scene that was killing it in Puerto Rico.

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Speaker 2: Black sounds with roots from the English speaking world now

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00:29:11,560 --> 00:29:16,760
Speaker 2: available en Espanol New York made that connection happen. But

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Speaker 2: the next phase of reggaeedon history that happens in Puerto

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00:29:20,520 --> 00:29:23,600
Speaker 2: Rico in a dark, sweaty little club that is close

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Speaker 2: to my heart, the club where I got my star

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00:29:27,240 --> 00:29:29,760
Speaker 2: and that a Yankee got his start, and so many

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00:29:29,840 --> 00:29:31,440
Speaker 2: others were.

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00:29:31,360 --> 00:29:32,520
Speaker 4: Teenageers from the hood.

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Speaker 2: Even said a club that gave birth to a sound,

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Speaker 2: a club called De Nois.

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Speaker 4: You feel the music and the deep at the door.

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00:29:46,560 --> 00:29:47,080
Speaker 4: It was like.

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Speaker 2: On the.

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Speaker 4: It was like lack of meena. It was like the mecca.

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Speaker 4: It's we're all started. It was the energy was about

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00:30:01,760 --> 00:30:04,000
Speaker 4: this new music that you could only go there and

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00:30:04,200 --> 00:30:10,200
Speaker 4: listen to. That's next time on Loud The History of Reggaeton.

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Speaker 2: Loud The History of Reggaeton is a Spotify original podcast

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00:30:22,800 --> 00:30:27,360
Speaker 2: from Futuro Studios. This podcast was written and reported by

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00:30:27,480 --> 00:30:31,600
Speaker 2: Marlon Bishop and Louis Gayo and edited by Sophia palisa Ka,

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00:30:32,320 --> 00:30:36,800
Speaker 2: with help on this episode from audri Quin from Spotify

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00:30:37,320 --> 00:30:44,000
Speaker 2: executive producers Gina Bilbath, Adrian Aredondo, Jessica Molina and Julio

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Speaker 2: A Pabon. We're producing help from Dan Beha. A secutive

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Speaker 2: produced for Futudo Studios by Marlon Bishop, Produced by Louis Gaio,

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Speaker 2: Ginni Montalbo, Catalina Gatta, Eggleston, Ermins Ajala, Joaquin Cutler, Sandra Riano,

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Speaker 2: Nicole Rothwell and Daniela Tejogarson. Additional production by Christian Edrera,

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Speaker 2: Seva Tiander Bays, Nuniez Eszeglro, Rega Sandino and mon Diego Ramirez.

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Speaker 4: Fact check in by Tatiana Dias.

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Speaker 2: Sound design and mixing by Genni Montalbo and Stephanie Lebou,

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Speaker 2: with help on this episode from Rosanna Cawang.

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Speaker 4: Urting Song is by Max.

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Speaker 2: Original music by Ego and Danny crazy Town for the

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Speaker 2: Ego Team and Impulse Ell Intellectual music supervision by Big

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Speaker 2: Sin George Truly recorded at Hega Studio by Maluri in

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Speaker 2: Vernon Ell Heneral Interview.

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Speaker 4: Audio courtesy of Christophe Twiko.

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Speaker 2: Special thanks to Julio, Ricardo Barela, Luis Luna, Leana Ruis,

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Speaker 2: josh Lin Green, Antonio Serejidro, Sonia Clavel, Ricardo Montalbo, Jasmina Fifi,

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Speaker 2: O'Neil Anderson, Jessica diaz Uto, Kim Elloniah, Sarah Kayner, Vijan Garbi,

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Speaker 2: Jesse Hart, Sue Lou Brian Marquis, Lauren Monkey, Ashley Nesby,

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Speaker 2: andreas lincy Way Slipping and Your Dan Toulcinski for production support.

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Speaker 4: I'm your hosts Ivy Queen.

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Speaker 2: Make sure to follow loud the History of Reggaeton only

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Speaker 2: on Spotify.

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Speaker 4: Beach. I'm gonna learn this fucking English too,