1 00:00:07,360 --> 00:00:09,000 Speaker 1: Dear Latino USA listener. 2 00:00:09,320 --> 00:00:11,959 Speaker 2: Before we start, you should know that if you want 3 00:00:11,960 --> 00:00:16,120 Speaker 2: to listen to this episode ad free, just join Plus 4 00:00:16,600 --> 00:00:18,959 Speaker 2: and you can join for as little as seven dollars 5 00:00:19,000 --> 00:00:23,040 Speaker 2: a month. Joining also gets you behind the scenes access 6 00:00:23,160 --> 00:00:27,120 Speaker 2: and yes, some cheese may so click the link in 7 00:00:27,200 --> 00:00:31,400 Speaker 2: the episode description and after you do that, then click play. 8 00:00:31,800 --> 00:00:43,200 Speaker 1: Let's go to the show. Hey, dear listener, it's Maria 9 00:00:43,320 --> 00:00:43,959 Speaker 1: nojos am. 10 00:00:44,400 --> 00:00:44,680 Speaker 3: Now. 11 00:00:45,000 --> 00:00:47,760 Speaker 1: You might remember a series that we shared on our 12 00:00:47,800 --> 00:00:52,120 Speaker 1: feed and on our website a few years ago. It 13 00:00:52,200 --> 00:00:54,880 Speaker 1: was called Loud The History of Reggaeton. 14 00:00:55,520 --> 00:00:58,040 Speaker 2: It was a ten part series produced by our very 15 00:00:58,080 --> 00:01:00,200 Speaker 2: own Futuro Studios and Spotify. 16 00:01:01,280 --> 00:01:03,000 Speaker 1: The host of the series. 17 00:01:02,920 --> 00:01:08,520 Speaker 2: Was one of the originators of reggaeton itself. Yes, La 18 00:01:07,840 --> 00:01:17,400 Speaker 2: La Viva Evie Queen. Now Loud became a huge podcasting success. 19 00:01:17,880 --> 00:01:20,080 Speaker 2: It got a lot of praise, It got a lot 20 00:01:20,120 --> 00:01:23,120 Speaker 2: of critical acclaimed. The show was fun, it was edgy, 21 00:01:23,160 --> 00:01:26,360 Speaker 2: it was unique, but it was also really deep because 22 00:01:26,400 --> 00:01:29,800 Speaker 2: the series told the true story about how young people 23 00:01:29,840 --> 00:01:36,039 Speaker 2: from Panama, Puerto Rico and beyond refused to be quiet. 24 00:01:36,440 --> 00:01:40,160 Speaker 2: They are the ones who created an irresistible musical culture 25 00:01:40,560 --> 00:01:44,560 Speaker 2: that has kept the world dancing even up until today. 26 00:01:45,120 --> 00:01:45,400 Speaker 1: Now. 27 00:01:45,640 --> 00:01:49,840 Speaker 2: After Loud's release, the series vanished from our feet, and 28 00:01:50,160 --> 00:01:52,600 Speaker 2: to be honest with you, that was beyond our control. 29 00:01:53,000 --> 00:01:55,280 Speaker 2: But you all noticed and you wrote to us. You 30 00:01:55,360 --> 00:01:58,560 Speaker 2: wanted it back, and of course so did we. Believe me, 31 00:01:58,640 --> 00:02:02,720 Speaker 2: we wanted it back. Well, the good news never give up, 32 00:02:02,800 --> 00:02:06,600 Speaker 2: because Loud is back. We are so happy to be 33 00:02:06,680 --> 00:02:10,600 Speaker 2: sharing this series with you again. So go stream it, 34 00:02:10,720 --> 00:02:11,760 Speaker 2: tell a friend about it. 35 00:02:11,880 --> 00:02:14,760 Speaker 1: Binge it. Oh yeah, there's one more thing. 36 00:02:15,600 --> 00:02:18,920 Speaker 2: In case you didn't hear Loud the first time, or 37 00:02:18,960 --> 00:02:21,680 Speaker 2: maybe you forgot, you should know there is a lot 38 00:02:21,720 --> 00:02:23,320 Speaker 2: of explicit language and a. 39 00:02:23,280 --> 00:02:36,680 Speaker 1: Lot of mature content from Fuduro Media. It's Latino Usa. 40 00:02:36,880 --> 00:02:42,160 Speaker 2: I'm Maria Jojosa today the first episode of Loud titled 41 00:02:42,320 --> 00:02:45,200 Speaker 2: The Zone, and I'm gonna have the mic over now 42 00:02:45,280 --> 00:02:47,480 Speaker 2: to the legend herself. 43 00:02:47,440 --> 00:02:48,080 Speaker 1: Ebie Queen. 44 00:02:52,000 --> 00:02:53,160 Speaker 4: Okay, picture this. 45 00:02:54,520 --> 00:02:57,760 Speaker 5: It's nineteen ninety five and I'm about to have the 46 00:02:57,800 --> 00:03:01,600 Speaker 5: most important audition of my life, an audition to rap 47 00:03:01,639 --> 00:03:05,480 Speaker 5: with the hotties on the ground crew and someone. It 48 00:03:05,639 --> 00:03:07,679 Speaker 5: was the moment that I was going to decide if 49 00:03:07,720 --> 00:03:09,920 Speaker 5: I was gonna make it in the music or go 50 00:03:10,040 --> 00:03:12,280 Speaker 5: back to my hometownels and nobody. 51 00:03:12,720 --> 00:03:16,079 Speaker 4: So I show up at the spot. It's at the 52 00:03:16,200 --> 00:03:18,400 Speaker 4: Ja Negro's place, his home studio. 53 00:03:19,200 --> 00:03:21,519 Speaker 5: When I walk in, all the guys are there in 54 00:03:21,560 --> 00:03:24,480 Speaker 5: La Marquesina, and all of them are staring at me, 55 00:03:25,639 --> 00:03:28,600 Speaker 5: and one of them call out, can I hear samamavi cha? 56 00:03:29,160 --> 00:03:32,600 Speaker 5: Who the fuck is that? I am dressed all baggy, like, 57 00:03:32,639 --> 00:03:35,120 Speaker 5: oh boy, you know me pantalone and so that was 58 00:03:35,160 --> 00:03:36,040 Speaker 5: my style back then. 59 00:03:37,640 --> 00:03:39,240 Speaker 4: There are clouds of smoke. 60 00:03:39,920 --> 00:03:42,800 Speaker 5: I see somebody living in the studio looking kind of embarrassed, 61 00:03:43,880 --> 00:03:47,160 Speaker 5: just saying case five, fuck up. The Negro will get 62 00:03:47,200 --> 00:03:51,040 Speaker 5: on those big megaphone and screen whea is I la 63 00:03:51,120 --> 00:03:56,880 Speaker 5: caa the dinner care? So it's my turn. Ideas Negro 64 00:03:57,000 --> 00:03:59,880 Speaker 5: is at the consola and he's like, show me what 65 00:04:00,080 --> 00:04:05,920 Speaker 5: you got my bongolo headphones. I'm nervous as hell, but 66 00:04:06,520 --> 00:04:09,160 Speaker 5: I'm not trying to show you, you know. So I 67 00:04:09,200 --> 00:04:13,040 Speaker 5: do something kind of crazy. I turned my microphone around, 68 00:04:13,840 --> 00:04:16,760 Speaker 5: turned my back towards Negro and face the world. 69 00:04:17,839 --> 00:04:18,800 Speaker 4: I just let it lose. 70 00:04:21,680 --> 00:04:32,400 Speaker 5: No, no, your gold up reggae. I turn around. I'm 71 00:04:32,440 --> 00:04:35,040 Speaker 5: not sure how I did. The Negro look at me 72 00:04:35,160 --> 00:04:42,760 Speaker 5: straight in the eye. You and say Felaynest, congratulations You're in. 73 00:04:45,800 --> 00:04:47,839 Speaker 5: You could say that was the day that Evey Quinn 74 00:04:47,920 --> 00:04:52,880 Speaker 5: was born. Finanmente. I was at that place that I 75 00:04:53,000 --> 00:04:56,839 Speaker 5: knew I belong all alone for communs care that made 76 00:04:56,839 --> 00:05:02,120 Speaker 5: me Daine and made me a household name. 77 00:05:03,640 --> 00:05:05,960 Speaker 6: Tavy Queen V Queen. I got a hell of a 78 00:05:06,080 --> 00:05:08,440 Speaker 6: banger with Ivy Queen on that record. 79 00:05:08,839 --> 00:05:19,080 Speaker 5: Everyone loved TV Queen and still do friend from that 80 00:05:19,200 --> 00:05:21,640 Speaker 5: day on, I was one of the people who was 81 00:05:21,720 --> 00:05:27,240 Speaker 5: part of creating a genre, people who came from nothing 82 00:05:27,320 --> 00:05:30,440 Speaker 5: and struggled and made something new, something fresh. 83 00:05:31,000 --> 00:05:34,279 Speaker 4: I'll go with you, something for the whole world to dance. 84 00:05:35,160 --> 00:05:43,760 Speaker 5: Okay, And from Spotify Studio and Fortudo Studios, I'm Evy 85 00:05:43,839 --> 00:05:52,279 Speaker 5: Queen and this is Loud. The History of Reggaeton, Episode one. 86 00:05:53,279 --> 00:06:00,279 Speaker 5: The song today Reggaeton is the biggest music take on 87 00:06:00,320 --> 00:06:00,799 Speaker 5: the planet. 88 00:06:01,640 --> 00:06:03,279 Speaker 4: We are at the top of the charts. 89 00:06:03,720 --> 00:06:12,520 Speaker 5: Rasano Premio del Mundo, a bad party, and artists from 90 00:06:12,560 --> 00:06:18,760 Speaker 5: everywhere are fugging with our bags. But a lot of 91 00:06:18,760 --> 00:06:21,560 Speaker 5: you don't know the story and where this music really 92 00:06:21,560 --> 00:06:22,359 Speaker 5: comes from. 93 00:06:22,400 --> 00:06:23,120 Speaker 4: But don't worry. 94 00:06:23,320 --> 00:06:23,800 Speaker 5: I got you. 95 00:06:24,680 --> 00:06:26,840 Speaker 4: It's a story that touches and race. 96 00:06:27,760 --> 00:06:30,640 Speaker 3: You don't see black people in media. You don't see 97 00:06:30,640 --> 00:06:40,960 Speaker 3: black people on television. Sex this internal sexualistplava about life 98 00:06:41,000 --> 00:06:43,360 Speaker 3: and a kaya, you know, and a lot of projects 99 00:06:43,400 --> 00:06:46,000 Speaker 3: came out of drug money. That was just the way, 100 00:06:46,080 --> 00:06:48,960 Speaker 3: you know, that was the only way for some people. 101 00:06:49,160 --> 00:06:53,000 Speaker 5: Regaton is just varying music, but the real story behind Regaton, 102 00:06:53,600 --> 00:07:00,240 Speaker 5: it's a story about resistencia, resistance, about how kids who 103 00:07:00,240 --> 00:07:04,159 Speaker 5: were young and poor, black or dark skinned, kids who 104 00:07:04,200 --> 00:07:07,719 Speaker 5: were discriminated against in every way, how we refused to 105 00:07:07,760 --> 00:07:16,160 Speaker 5: be quiet, how we got loud. Take my story for example. 106 00:07:17,000 --> 00:07:19,640 Speaker 5: I grew up on the west side of Puerto Rico 107 00:07:20,000 --> 00:07:23,880 Speaker 5: in a little town called Ako. I wanted to be 108 00:07:23,920 --> 00:07:26,680 Speaker 5: an artist and so I was little, but I struggled 109 00:07:26,680 --> 00:07:30,160 Speaker 5: a lot. After my parents get divorced. It was never 110 00:07:30,320 --> 00:07:33,040 Speaker 5: enough money in the house. I will help my mother 111 00:07:33,160 --> 00:07:36,000 Speaker 5: sell candies to help out. I left school to be 112 00:07:36,120 --> 00:07:36,720 Speaker 5: a mom to. 113 00:07:36,680 --> 00:07:38,360 Speaker 4: My brothers and sisters. 114 00:07:38,880 --> 00:07:42,640 Speaker 5: But at the same time, Janto ga scene. I have 115 00:07:42,840 --> 00:07:46,000 Speaker 5: always had something to say, and so I started a 116 00:07:46,120 --> 00:07:48,560 Speaker 5: rap on the street corners. Then I battle in the 117 00:07:48,640 --> 00:07:50,360 Speaker 5: project and later. 118 00:07:50,400 --> 00:07:54,640 Speaker 4: At the underground clubs. The cops. 119 00:07:55,200 --> 00:07:57,680 Speaker 5: We had to be cool with the drug dealers, but 120 00:07:57,800 --> 00:08:02,880 Speaker 5: not to close came out. We fight back against the 121 00:08:03,000 --> 00:08:08,000 Speaker 5: rich people, the polit because everyone who wanted us to 122 00:08:08,040 --> 00:08:11,200 Speaker 5: stay in our place, because we wanted to be heard, 123 00:08:11,800 --> 00:08:12,640 Speaker 5: no matter. 124 00:08:12,400 --> 00:08:15,760 Speaker 4: What it took. And that's the podcast. 125 00:08:16,000 --> 00:08:18,680 Speaker 5: We're gonna hear about some of the top artists in 126 00:08:18,720 --> 00:08:21,360 Speaker 5: the game and the old Gisco laid the foundation. 127 00:08:21,920 --> 00:08:24,360 Speaker 7: Elend is like the blueprint. You know what I'm saying. 128 00:08:24,520 --> 00:08:25,720 Speaker 7: You know, he's the one that took it to the 129 00:08:25,760 --> 00:08:26,240 Speaker 7: next level. 130 00:08:26,280 --> 00:08:28,760 Speaker 8: He blew up when tale comes. 131 00:08:29,200 --> 00:08:33,280 Speaker 6: He got that flow of Salceto's that yankee forever. 132 00:08:33,440 --> 00:08:35,000 Speaker 3: You know what I mean. He's the boss. 133 00:08:35,640 --> 00:08:43,040 Speaker 5: He is Cucamo's Exclusive interviews from the legends themselves, Baby, 134 00:08:51,040 --> 00:08:53,600 Speaker 5: and we are going to tell you the story of 135 00:08:53,760 --> 00:08:57,599 Speaker 5: how we invented a whole new sound that was creative 136 00:08:57,760 --> 00:09:01,280 Speaker 5: and sexy and turned the music in industry on its head. 137 00:09:07,800 --> 00:09:12,479 Speaker 5: We are going to spend time in Puerto Rico, New York, Columbia, 138 00:09:14,080 --> 00:09:17,080 Speaker 5: but to tell the story right, we have to start 139 00:09:17,400 --> 00:09:18,400 Speaker 5: in Panama. 140 00:09:20,800 --> 00:09:25,199 Speaker 9: People are under the wrong impression that reggaeton was born 141 00:09:25,200 --> 00:09:28,040 Speaker 9: in Puerto Rico and it was born in Panama. 142 00:09:28,480 --> 00:09:34,800 Speaker 5: This is a jumbo, the legendary Panamanian producer behind the Guento. 143 00:09:37,559 --> 00:09:42,120 Speaker 9: People think that reggaeton started out with d Yankee from 144 00:09:42,120 --> 00:09:47,199 Speaker 9: Puerto Rico, and no, actually it's from Panama, like a decade. 145 00:09:46,840 --> 00:09:51,480 Speaker 5: Before, and this is such the most popular Panamanian artist 146 00:09:51,559 --> 00:09:52,120 Speaker 5: of today. 147 00:09:52,280 --> 00:09:55,440 Speaker 4: In Lejanero. 148 00:09:55,960 --> 00:09:59,520 Speaker 5: We did reggae and Spanish first, he said, even if 149 00:09:59,559 --> 00:10:00,360 Speaker 5: others made a. 150 00:10:00,280 --> 00:10:02,040 Speaker 4: More commercial ado. 151 00:10:03,520 --> 00:10:15,040 Speaker 5: My he said, be Completiclo and he says who did 152 00:10:15,080 --> 00:10:19,680 Speaker 5: it first is a sensitive topic, especially for Panamanians. A 153 00:10:19,679 --> 00:10:22,960 Speaker 5: lot of people don't give credit to the Panamanians, but 154 00:10:23,080 --> 00:10:26,360 Speaker 5: it all started with them. If it wasn't for reggae 155 00:10:26,360 --> 00:10:30,240 Speaker 5: and dance hold Espanon, there wouldn't be no reggaeton, end 156 00:10:30,280 --> 00:10:35,439 Speaker 5: of story. I still remember the first time I went 157 00:10:35,480 --> 00:10:39,640 Speaker 5: to Panama in the mid nineties. I remember I was 158 00:10:39,679 --> 00:10:42,120 Speaker 5: so excited to be at the first place of the 159 00:10:42,200 --> 00:10:45,800 Speaker 5: music that I love, the home of artists like E 160 00:10:46,520 --> 00:10:51,520 Speaker 5: and Nando. I remember seeing the canal from the plane 161 00:10:51,920 --> 00:10:53,440 Speaker 5: and Panama was dope. 162 00:10:53,960 --> 00:10:55,760 Speaker 4: I remember the streets were. 163 00:10:55,720 --> 00:10:59,840 Speaker 5: Full of people, full of life, and it was so multical. 164 00:11:00,720 --> 00:11:05,200 Speaker 5: There were black people, Chinese people, Indian, Arabs and of 165 00:11:05,280 --> 00:11:15,000 Speaker 5: course the music. Panama. Gruz America is this narrow little 166 00:11:15,040 --> 00:11:19,920 Speaker 5: country that bridge between North and South America, between the Caribbean, 167 00:11:20,240 --> 00:11:24,880 Speaker 5: Yal Pacifico and you hear everything there sal same and 168 00:11:25,120 --> 00:11:30,120 Speaker 5: Cumbia like anywhere else in Latin American, but also Calipso, 169 00:11:30,520 --> 00:11:36,200 Speaker 5: soca music from Haiti saul music. But there's one sound 170 00:11:36,720 --> 00:11:39,160 Speaker 5: that is everywhere in Panama. 171 00:11:40,080 --> 00:11:43,280 Speaker 3: Reggae and dan so that started in Panama. 172 00:11:43,520 --> 00:11:44,680 Speaker 5: This is Renato. 173 00:11:45,120 --> 00:11:48,160 Speaker 3: My name is Leonardo Renato, older Mora. 174 00:11:48,920 --> 00:11:52,200 Speaker 10: To describe myself, well, I was the first guy that 175 00:11:52,320 --> 00:11:55,920 Speaker 10: started to sing and promote Spanish reggae. 176 00:11:56,440 --> 00:11:59,679 Speaker 5: You could say Lenanto is a true originator of our 177 00:11:59,720 --> 00:12:06,960 Speaker 5: movie and the main character of our story today. Renato, 178 00:12:07,280 --> 00:12:10,400 Speaker 5: he got a lot of personality when we interview him. 179 00:12:10,520 --> 00:12:13,160 Speaker 5: He got on a bee boy track suit, he was 180 00:12:13,200 --> 00:12:18,600 Speaker 5: wearing sunglasses indoors and he told stories a mile a minute. 181 00:12:19,000 --> 00:12:22,079 Speaker 10: It's different stuff that came in and make this big 182 00:12:22,280 --> 00:12:24,760 Speaker 10: pam and there it is reggaeton. 183 00:12:25,640 --> 00:12:28,120 Speaker 5: There's also this thing about Renato that you have to 184 00:12:28,160 --> 00:12:32,240 Speaker 5: know to understand where his music come from, because technically 185 00:12:32,720 --> 00:12:35,240 Speaker 5: Renato didn't actually grow up in Panama. 186 00:12:35,400 --> 00:12:37,439 Speaker 10: I came from the Canal Zone because I used to 187 00:12:37,520 --> 00:12:40,280 Speaker 10: be on the part that used to belongs to the 188 00:12:40,360 --> 00:12:44,400 Speaker 10: USA in Panama, where the canal was and the army basis. 189 00:12:44,720 --> 00:12:48,840 Speaker 5: The Canal Zone was a tiny American controlled area around 190 00:12:48,880 --> 00:12:52,480 Speaker 5: the Panama Canal. His mother worked in the cafeteria of 191 00:12:52,600 --> 00:12:57,439 Speaker 5: the US Army base that was there. Canal Banama, believe 192 00:12:57,440 --> 00:13:00,280 Speaker 5: it or not, is very important to this store. Sorry. 193 00:13:04,040 --> 00:13:06,800 Speaker 2: Coming up on Latino USA, we continue with the first 194 00:13:06,880 --> 00:13:10,360 Speaker 2: episode of Loud. It's a ten part series produced by 195 00:13:10,360 --> 00:13:30,640 Speaker 2: Futuro Studios and Spotify. Stay with us, Hey, we're back 196 00:13:30,720 --> 00:13:34,240 Speaker 2: and we're going to continue with our critically acclaimed series Loud. 197 00:13:34,559 --> 00:13:39,560 Speaker 2: The History of Regeton hosted by Icon and Diva Ivy. 198 00:13:39,760 --> 00:13:46,560 Speaker 5: Queen so Nios always wanted to have a canal between 199 00:13:46,640 --> 00:13:50,280 Speaker 5: the Atlantic and the Pacific, and Panama was the best 200 00:13:50,360 --> 00:13:56,000 Speaker 5: place to build it. In nineteen oh four they started 201 00:13:56,040 --> 00:13:59,800 Speaker 5: working on it. And to protect the investment that you 202 00:14:00,400 --> 00:14:03,840 Speaker 5: created the canal Zone so they can have control around it. 203 00:14:05,520 --> 00:14:09,360 Speaker 11: But it's the Americans who metter Now, thousands of them 204 00:14:09,400 --> 00:14:12,800 Speaker 11: lived like colonial settlers in the neat little towns of 205 00:14:12,840 --> 00:14:16,760 Speaker 11: the Canal Zone, a strip of land forty miles long 206 00:14:16,800 --> 00:14:19,560 Speaker 11: and five miles wide on each side of the canal. 207 00:14:19,960 --> 00:14:21,920 Speaker 4: This is a cheesy old clip about the zone. 208 00:14:22,280 --> 00:14:24,680 Speaker 5: The whole place was maint to look like a typical 209 00:14:24,920 --> 00:14:28,360 Speaker 5: American's woodwheel, but right in the middle of US tropical 210 00:14:28,600 --> 00:14:29,200 Speaker 5: compared with. 211 00:14:29,200 --> 00:14:32,960 Speaker 11: The bustling and not very orderly Republic next door. The 212 00:14:33,000 --> 00:14:35,520 Speaker 11: canal zone on the other side of the wire fences 213 00:14:35,680 --> 00:14:37,480 Speaker 11: neat and tidy and. 214 00:14:37,600 --> 00:14:38,440 Speaker 8: Rather than military. 215 00:14:39,600 --> 00:14:41,840 Speaker 4: In fact, the whole place is run like a little 216 00:14:41,840 --> 00:14:42,560 Speaker 4: bit of America. 217 00:14:43,400 --> 00:14:46,960 Speaker 5: And to build this little bit of America, they needed workers, 218 00:14:47,400 --> 00:14:53,400 Speaker 5: preferively English speaking, so they hire around one hundred thousand people, 219 00:14:53,560 --> 00:14:57,840 Speaker 5: mostly from Miland like Jamaica Barbados, to help dig the canal. 220 00:14:58,280 --> 00:15:00,640 Speaker 10: We had a lot of Jamaicans, I'm saying, we had 221 00:15:00,680 --> 00:15:03,640 Speaker 10: a lot of Jamaicans. 222 00:15:02,520 --> 00:15:09,200 Speaker 5: And some of those Jamaicans were Renato's great grandparents. After 223 00:15:09,240 --> 00:15:12,520 Speaker 5: the canal was finished, those workers and their families stay 224 00:15:12,600 --> 00:15:16,800 Speaker 5: around for decades and decades, families like Renato's. 225 00:15:17,240 --> 00:15:18,880 Speaker 3: You know what I'm saying. I was born in a nice, 226 00:15:18,920 --> 00:15:19,840 Speaker 3: beautiful environment. 227 00:15:19,880 --> 00:15:22,240 Speaker 10: We had a house, we had a lot of places 228 00:15:22,240 --> 00:15:25,200 Speaker 10: to do sports, and I grew up nice. 229 00:15:25,760 --> 00:15:31,120 Speaker 5: But life was about to change for Renato Eltratrake In 230 00:15:31,280 --> 00:15:35,560 Speaker 5: nineteen seventy nine, the Americans will return the Ganal song 231 00:15:35,760 --> 00:15:39,560 Speaker 5: to Panama, which means the West Indian families living in 232 00:15:39,600 --> 00:15:41,440 Speaker 5: the Song will be out of jobs. 233 00:15:41,720 --> 00:15:45,360 Speaker 10: So my grandma decided to move out and she came 234 00:15:45,440 --> 00:15:46,240 Speaker 10: to Rio Bajo. 235 00:15:46,840 --> 00:15:50,920 Speaker 5: Rial Wajo was mostly a black and West Indian neighborhood 236 00:15:50,920 --> 00:15:54,360 Speaker 5: in Panama City. Many people from the Song moved there, 237 00:15:55,200 --> 00:15:57,400 Speaker 5: and Renato did not let Riovaa. 238 00:15:57,560 --> 00:15:57,880 Speaker 4: First. 239 00:15:58,160 --> 00:16:01,080 Speaker 5: He get there when he was seventeen, and it was different. 240 00:16:01,840 --> 00:16:06,080 Speaker 5: Instead of big American style houses, it was crowded and cramped. 241 00:16:06,600 --> 00:16:09,400 Speaker 5: People could get roped in the street. And to make 242 00:16:09,440 --> 00:16:12,520 Speaker 5: it worse, Renato could barely communicate with people. 243 00:16:12,840 --> 00:16:17,080 Speaker 10: My dad and my grandma and my mom. Everybody used 244 00:16:17,080 --> 00:16:20,400 Speaker 10: to speak English. Then I had to learn to speak Spanish. 245 00:16:20,440 --> 00:16:23,360 Speaker 5: And went forrmente he settling, and then he started to 246 00:16:23,400 --> 00:16:27,360 Speaker 5: make new friends. Two friends in particular that are important 247 00:16:27,400 --> 00:16:32,000 Speaker 5: in the story, Regaissan and Franchito. The way they describe 248 00:16:32,040 --> 00:16:36,720 Speaker 5: it idea of what these street kids have in common, 249 00:16:37,320 --> 00:16:39,120 Speaker 5: that they were kind of nerds. 250 00:16:39,360 --> 00:16:41,560 Speaker 10: We were like the dcent guys around the place. It 251 00:16:41,680 --> 00:16:43,520 Speaker 10: real about, we were like the good kids. 252 00:16:44,120 --> 00:16:46,680 Speaker 4: Here's Regaissan talking about Renato. 253 00:16:46,480 --> 00:16:48,200 Speaker 8: So that's not even my friend, that's my brother. 254 00:16:48,560 --> 00:16:49,560 Speaker 5: And here's Franchito. 255 00:16:49,840 --> 00:16:53,200 Speaker 3: As if getto Renato salad. 256 00:16:54,720 --> 00:16:59,920 Speaker 5: Renato sang Franchito Tolo, Tenian Azuelos and family from Jamaica 257 00:17:00,280 --> 00:17:03,760 Speaker 5: and the Islands. And the three friends have something else 258 00:17:03,800 --> 00:17:11,760 Speaker 5: in common. They love reggae and dancehall music. In the 259 00:17:11,800 --> 00:17:15,280 Speaker 5: early eighties, dancehol blew up in Renato's neighborhood. 260 00:17:15,920 --> 00:17:18,920 Speaker 10: When we started in Riabajo, they had a lot of discos, 261 00:17:18,960 --> 00:17:21,120 Speaker 10: you know what I'm saying, and so middle class black 262 00:17:21,160 --> 00:17:24,320 Speaker 10: people used to go to those discos and white stew no, 263 00:17:24,480 --> 00:17:26,919 Speaker 10: but more middle class black people used to go to 264 00:17:26,960 --> 00:17:27,399 Speaker 10: the disco. 265 00:17:28,440 --> 00:17:32,280 Speaker 5: One of those sounds at the discos was dancehall. It 266 00:17:32,359 --> 00:17:35,480 Speaker 5: was the new style of reggae that started in Jamaica 267 00:17:35,640 --> 00:17:39,600 Speaker 5: in the late seventies, but it really took off in 268 00:17:39,680 --> 00:17:44,240 Speaker 5: the eighties, the generation after Bob Marley. The site came 269 00:17:44,280 --> 00:17:47,600 Speaker 5: out of little clubs and Elbodyo known as dance halls. 270 00:17:48,040 --> 00:17:52,960 Speaker 5: That's where the name comes from. And compared to Bob 271 00:17:53,000 --> 00:17:56,000 Speaker 5: Marley is like the drama on the bass when a 272 00:17:56,040 --> 00:17:57,680 Speaker 5: little harder and faster. 273 00:18:01,520 --> 00:18:04,400 Speaker 10: Was good songs, you know, dance songs because they had 274 00:18:04,400 --> 00:18:05,440 Speaker 10: these rhyms. 275 00:18:05,800 --> 00:18:09,840 Speaker 5: Instead of singing. It was like coman toasting, which is 276 00:18:09,880 --> 00:18:17,040 Speaker 5: that half singing half rapping style. It sounds tangrigo dan 277 00:18:17,119 --> 00:18:22,000 Speaker 5: sasso and what Regor roots was very political. Dancehold was 278 00:18:22,119 --> 00:18:27,520 Speaker 5: like a little more what Jamaican calls slackness, songs about sex, 279 00:18:27,680 --> 00:18:31,640 Speaker 5: partying or songs about the regular life in the hood. 280 00:18:34,520 --> 00:18:38,399 Speaker 5: Renato started tagging alone to the discos that played again 281 00:18:38,520 --> 00:18:41,760 Speaker 5: Dancehold with an older kid from the neighborhood who was 282 00:18:41,760 --> 00:18:45,720 Speaker 5: a DJ. And one day, at three in the morning, 283 00:18:45,880 --> 00:18:48,640 Speaker 5: his friend hands him the mic and tells him go 284 00:18:48,760 --> 00:18:49,520 Speaker 5: HiPE the crowd. 285 00:18:50,080 --> 00:18:53,360 Speaker 3: So he used to told me, like, hey, man, say something. 286 00:18:54,119 --> 00:18:57,399 Speaker 5: But when Renato rab the mic, he suddenly frees up 287 00:18:57,680 --> 00:19:00,640 Speaker 5: and he can think of what to say, and his 288 00:19:00,640 --> 00:19:01,919 Speaker 5: friend has to help him. 289 00:19:02,200 --> 00:19:04,880 Speaker 10: Tell women to, you know, move their butts, and everybody 290 00:19:04,880 --> 00:19:06,919 Speaker 10: lift their hands and you know, do that stuff. 291 00:19:06,960 --> 00:19:09,560 Speaker 4: I said, okay, arenatosis. 292 00:19:09,600 --> 00:19:11,040 Speaker 5: The crowd is feeling him. 293 00:19:11,280 --> 00:19:13,359 Speaker 10: That's how it started, you know, And I start doing 294 00:19:13,400 --> 00:19:15,600 Speaker 10: that stuff. So a friend of mine told me, hey, 295 00:19:15,800 --> 00:19:17,200 Speaker 10: why don't you do any Spanish? 296 00:19:17,440 --> 00:19:20,359 Speaker 5: Oh my god, I'm when he hypes the crowd in Spanish. 297 00:19:20,640 --> 00:19:23,359 Speaker 5: The crowd loves it. 298 00:19:24,359 --> 00:19:29,000 Speaker 3: And I am playing reggae and I'm telling the people 299 00:19:29,000 --> 00:19:29,840 Speaker 3: to lift their hands. 300 00:19:30,160 --> 00:19:36,879 Speaker 5: This is hit. That was the beginning of Lenaldo's career 301 00:19:37,160 --> 00:19:43,560 Speaker 5: as an EMC on a DJ. After that moment, Lenato 302 00:19:43,800 --> 00:19:48,080 Speaker 5: is Suitable started an experiment with not just hyping the 303 00:19:48,119 --> 00:19:51,320 Speaker 5: crowd but performing the actual songs in Spanish. 304 00:19:52,080 --> 00:19:56,600 Speaker 6: We used to sing on top of the Jamaican rhythms. 305 00:19:56,400 --> 00:19:59,200 Speaker 4: That's Rega sam again, Donado's friend. 306 00:19:59,080 --> 00:20:02,080 Speaker 6: Are behind on the side A was a side B 307 00:20:02,840 --> 00:20:07,639 Speaker 6: and side B was instrumental. So most of these Jamaican 308 00:20:07,840 --> 00:20:11,919 Speaker 6: songs we used to try to translate, kind of like 309 00:20:12,000 --> 00:20:15,800 Speaker 6: this allu no beard from Morney and rong go wola 310 00:20:15,880 --> 00:20:18,360 Speaker 6: fresh Gola fresh Goola fresh. 311 00:20:18,200 --> 00:20:21,040 Speaker 3: Allun no beard from Evening and rang go wola. 312 00:20:21,240 --> 00:20:23,560 Speaker 6: He can turn it over in Spanish and say bye 313 00:20:23,600 --> 00:20:26,320 Speaker 6: science by you ain't Lama yesta. 314 00:20:26,240 --> 00:20:31,240 Speaker 5: Fresco wow Andregua Sance. Because they came from West Indian families, 315 00:20:31,520 --> 00:20:32,440 Speaker 5: it was easy for them. 316 00:20:32,720 --> 00:20:36,840 Speaker 6: We all speak Patois, we all speak English, so we 317 00:20:36,920 --> 00:20:40,159 Speaker 6: had the communication with reggae. Whatever you was hearing in 318 00:20:40,280 --> 00:20:44,320 Speaker 6: English that you could not understand, we hit it back 319 00:20:44,520 --> 00:20:48,879 Speaker 6: in Spanish and you could understand. So mostly most of 320 00:20:48,920 --> 00:20:53,000 Speaker 6: the music, that's what we was doing, translating for the 321 00:20:53,080 --> 00:20:54,400 Speaker 6: people to understand. 322 00:20:55,359 --> 00:20:59,320 Speaker 5: They didn't realize it, but these translations of songs at 323 00:20:59,400 --> 00:21:03,359 Speaker 5: parties were the first steps in the new heno known 324 00:21:03,560 --> 00:21:07,040 Speaker 5: as regain Espanon and this is where the third member 325 00:21:07,080 --> 00:21:20,399 Speaker 5: of their crew comes into the picture. Franchito Co Franquito 326 00:21:20,680 --> 00:21:22,600 Speaker 5: was one of the best improvisers. 327 00:21:22,760 --> 00:21:23,200 Speaker 4: He says. 328 00:21:23,280 --> 00:21:27,760 Speaker 5: Panaminim were great festylers because they already had a tradition 329 00:21:27,800 --> 00:21:31,080 Speaker 5: of doing Calypso music, which was all about making up 330 00:21:31,160 --> 00:21:32,359 Speaker 5: lyrics on the spot. 331 00:21:32,400 --> 00:21:39,080 Speaker 1: And cake and provis. 332 00:21:40,600 --> 00:21:43,960 Speaker 5: Regaxam started to do dance holds, shows and Spanish together 333 00:21:44,040 --> 00:21:44,800 Speaker 5: with Franqito. 334 00:21:46,520 --> 00:21:48,879 Speaker 6: Some people used to call us don Quixote s and 335 00:21:48,960 --> 00:21:53,359 Speaker 6: sopanzcause he was started and I was short, so he 336 00:21:53,359 --> 00:21:54,840 Speaker 6: he was crazy on the stage. 337 00:21:55,280 --> 00:21:59,280 Speaker 5: Y Franquito had the first gig at a party in 338 00:21:59,280 --> 00:22:00,119 Speaker 5: a Panama say. 339 00:22:00,880 --> 00:22:04,320 Speaker 8: And I could remember. It was a Saturday night. It 340 00:22:04,480 --> 00:22:07,680 Speaker 8: was old school reggae. 341 00:22:07,560 --> 00:22:11,800 Speaker 5: And Frankito was a sensation. This guy was going places. 342 00:22:12,160 --> 00:22:16,120 Speaker 6: He came out, he started taking his shirt off. Garretts 343 00:22:16,200 --> 00:22:18,840 Speaker 6: was screaming and he could have said something, Oh, you 344 00:22:18,880 --> 00:22:21,360 Speaker 6: have to see the black presley on the black edy 345 00:22:21,359 --> 00:22:23,920 Speaker 6: spreads and he start and they was just screaming. 346 00:22:24,440 --> 00:22:27,600 Speaker 4: But it wasn't only the girls loosening. It over their music. 347 00:22:28,040 --> 00:22:30,280 Speaker 6: But the guys would come like they like it, but 348 00:22:30,320 --> 00:22:32,800 Speaker 6: they get tough, like yo, man, I like that man, 349 00:22:32,840 --> 00:22:33,440 Speaker 6: that was good. 350 00:22:34,240 --> 00:22:35,080 Speaker 8: I like what you did. 351 00:22:35,680 --> 00:22:39,479 Speaker 5: The party was lit, and San Dio and started thinking 352 00:22:39,920 --> 00:22:43,680 Speaker 5: this dancehold in Spanish thing, maybe it could go somewhere. 353 00:22:44,200 --> 00:22:47,160 Speaker 6: Yeah, and then we start taking it serious. 354 00:22:54,600 --> 00:22:57,600 Speaker 5: The parties were going on on. But this next part 355 00:22:57,960 --> 00:23:00,600 Speaker 5: is where this new sound really starts to spread. 356 00:23:01,280 --> 00:23:01,600 Speaker 4: Reggae. 357 00:23:01,640 --> 00:23:05,840 Speaker 5: San Frankito Renaldo. They wanted to get their music heard 358 00:23:06,080 --> 00:23:11,600 Speaker 5: beyond the neighborhood, so they started recording on cassettes and 359 00:23:11,640 --> 00:23:15,360 Speaker 5: they're selling them not only at the parties, but somewhere 360 00:23:15,440 --> 00:23:18,480 Speaker 5: that they knew will take their music all over the town. 361 00:23:19,720 --> 00:23:23,199 Speaker 6: Renato and myself we used to record a lot, and 362 00:23:23,480 --> 00:23:27,920 Speaker 6: he used to sell the cassettes to the bus drivers. 363 00:23:28,480 --> 00:23:31,680 Speaker 5: It all went down on the buses. But these weren't 364 00:23:31,960 --> 00:23:37,200 Speaker 5: any ordinary bosses. These are the yellow rose red devils. 365 00:23:38,720 --> 00:23:40,159 Speaker 4: Okay. They picture this. 366 00:23:40,359 --> 00:23:44,560 Speaker 5: It's like an old American school bus painting in crazy 367 00:23:44,680 --> 00:23:50,000 Speaker 5: colors that has lights and it's all cover in muralms. 368 00:23:49,960 --> 00:23:52,399 Speaker 10: Pandama buss was beautiful. They used to put my Ka 369 00:23:52,480 --> 00:23:56,879 Speaker 10: Jackson's face on the buses. Mike Tyson Roberto Durang and 370 00:23:57,480 --> 00:23:59,720 Speaker 10: they were beautiful with a lota likes, you know. 371 00:24:00,119 --> 00:24:02,840 Speaker 5: And of course big ass speakers. 372 00:24:04,080 --> 00:24:08,320 Speaker 10: So everybody had these big equipments in the bus and 373 00:24:09,040 --> 00:24:11,240 Speaker 10: it was like you're having a party in the bus. 374 00:24:16,560 --> 00:24:19,240 Speaker 3: Yeah. Man, they may want it to be on that bus. Yeah, 375 00:24:19,440 --> 00:24:19,960 Speaker 3: you know what I mean. 376 00:24:20,000 --> 00:24:22,480 Speaker 10: Even though it was gonna be full, I was gonna 377 00:24:22,480 --> 00:24:24,080 Speaker 10: be unconscorable, It's gonna be sweaty. 378 00:24:24,640 --> 00:24:28,240 Speaker 5: This is Rack and Ridge and Ragadoom from Loracas, a 379 00:24:28,320 --> 00:24:32,439 Speaker 5: Panamanian American duo based in Auckland. Even though they are 380 00:24:32,480 --> 00:24:35,800 Speaker 5: from the later generation nan Renato, they have the same 381 00:24:35,920 --> 00:24:38,160 Speaker 5: experience on the Diablos buses. 382 00:24:38,600 --> 00:24:41,359 Speaker 7: Every route had different styles of music, you know what 383 00:24:41,400 --> 00:24:43,920 Speaker 7: I'm saying. So this one route would have like nothing 384 00:24:44,000 --> 00:24:46,920 Speaker 7: but old school reggae music playing. But the mix was 385 00:24:46,960 --> 00:24:49,840 Speaker 7: so good that before you leave the bus, you're like, hey, hommy, 386 00:24:50,400 --> 00:24:51,199 Speaker 7: what mix was that? 387 00:24:51,680 --> 00:24:54,520 Speaker 5: So then you go down to the street to the 388 00:24:54,560 --> 00:24:58,399 Speaker 5: people hosting cassettes and request the mix from that bus. 389 00:24:58,480 --> 00:25:00,600 Speaker 7: Yo, where can I get the tandel boos from this route? 390 00:25:00,640 --> 00:25:02,080 Speaker 7: You know what I'm saying. I want this route, I 391 00:25:02,119 --> 00:25:02,960 Speaker 7: want that route. 392 00:25:03,160 --> 00:25:06,600 Speaker 5: The music was so good that people will get up 393 00:25:06,640 --> 00:25:10,639 Speaker 5: into the aisle and start dancing right in the middle 394 00:25:10,680 --> 00:25:11,560 Speaker 5: of their community. 395 00:25:12,359 --> 00:25:13,879 Speaker 4: And back in the eighties, well. 396 00:25:13,840 --> 00:25:18,359 Speaker 5: Renato was so smart. He will record and personalize songs 397 00:25:18,400 --> 00:25:22,320 Speaker 5: for specific bus drivers. Like one driver wanted his own 398 00:25:22,359 --> 00:25:23,800 Speaker 5: hype songs for his route. 399 00:25:23,960 --> 00:25:26,520 Speaker 10: These guys call me, Hey, the bus driver wants a song. 400 00:25:26,560 --> 00:25:29,040 Speaker 10: I said, what, he wants a song, saying that he's 401 00:25:29,080 --> 00:25:30,119 Speaker 10: the best bus driver. 402 00:25:30,320 --> 00:25:34,159 Speaker 5: I said, okay, And so Renaldo makes the song for 403 00:25:34,240 --> 00:25:39,320 Speaker 5: the driver, get paid and then his home keep ringing. 404 00:25:40,920 --> 00:25:43,160 Speaker 10: Then know, the bus drivers get hey, I want a song, 405 00:25:43,240 --> 00:25:44,760 Speaker 10: and they just say hey, I want a song. 406 00:25:47,920 --> 00:25:51,040 Speaker 5: And soon he wasn't just very popular only with the 407 00:25:51,080 --> 00:25:55,000 Speaker 5: bus driver. His music wins the love and the heart 408 00:25:55,200 --> 00:25:58,400 Speaker 5: of the people writing in the buses is spread. 409 00:25:58,440 --> 00:25:59,240 Speaker 4: Honey. 410 00:25:59,560 --> 00:26:02,520 Speaker 10: That sound that's so famous because it was like it 411 00:26:02,640 --> 00:26:03,639 Speaker 10: was a radio station. 412 00:26:08,440 --> 00:26:13,159 Speaker 5: Through the buses, Renato issu musica travel from city to 413 00:26:13,240 --> 00:26:17,800 Speaker 5: city all over Panama. The bus routes promoted and spread 414 00:26:17,880 --> 00:26:21,919 Speaker 5: a new innovated sound, Panamanian reggae en Espanoli. 415 00:26:34,560 --> 00:26:43,320 Speaker 2: We'll be right back, yas they we're back. Let's get 416 00:26:43,359 --> 00:26:46,480 Speaker 2: to it and hear from the host of loud Ebie. 417 00:26:46,320 --> 00:26:50,960 Speaker 5: Queen Regae San Franciso Renaldo. These three guys whose families 418 00:26:51,040 --> 00:26:55,040 Speaker 5: were was Indians from the Canal. Song was just teenagers 419 00:26:55,040 --> 00:26:58,520 Speaker 5: having fun. But little did they know they were creating 420 00:26:58,520 --> 00:27:01,840 Speaker 5: a new sound, one that will grow and grow over 421 00:27:01,880 --> 00:27:07,760 Speaker 5: the years. But Rigassam said that not everybody in Panama gard. 422 00:27:07,920 --> 00:27:11,440 Speaker 6: Especially the community, not the black community, but the Spanish 423 00:27:11,440 --> 00:27:12,760 Speaker 6: community didn't. 424 00:27:12,880 --> 00:27:15,840 Speaker 8: They used to say what music is that, where's from? 425 00:27:16,040 --> 00:27:19,040 Speaker 6: Oh, that's black people music, or they call it something 426 00:27:19,080 --> 00:27:21,359 Speaker 6: else muska Dechombo. 427 00:27:22,480 --> 00:27:25,880 Speaker 5: The hinted chombo is a word very specific to Panama. 428 00:27:26,320 --> 00:27:28,960 Speaker 5: It started as a slur for black people of West 429 00:27:29,119 --> 00:27:29,760 Speaker 5: Indian descent. 430 00:27:30,440 --> 00:27:33,359 Speaker 8: Back in the day. It was considered as the N word. 431 00:27:33,720 --> 00:27:37,560 Speaker 9: Black folks used to consider it offensive, very offensive. 432 00:27:38,119 --> 00:27:41,240 Speaker 5: That's El Chumbo again, who took the word at his 433 00:27:41,520 --> 00:27:42,080 Speaker 5: artist's name. 434 00:27:42,960 --> 00:27:45,919 Speaker 12: And the origins of the word is pretty hard to 435 00:27:45,960 --> 00:27:49,040 Speaker 12: pinpoint exactly where it came from. Back in the day, 436 00:27:49,080 --> 00:27:53,359 Speaker 12: around the early nineteen hundreds, thieves in the Panamanian Canal 437 00:27:53,480 --> 00:27:57,800 Speaker 12: Zone area used to jump fences after they committed their crimes, 438 00:27:58,320 --> 00:28:01,240 Speaker 12: and the police used to call them jump boys. 439 00:28:02,040 --> 00:28:05,879 Speaker 5: So john boy became chumbo and became a bad word 440 00:28:05,920 --> 00:28:07,240 Speaker 5: to talk about black people. 441 00:28:07,800 --> 00:28:10,720 Speaker 4: Listen, there are other stories about where the work. 442 00:28:10,520 --> 00:28:17,920 Speaker 5: Comes from that just want. Getting called Chombo was kind 443 00:28:17,960 --> 00:28:21,080 Speaker 5: of a thing that black Panamanians had to deal with 444 00:28:21,200 --> 00:28:25,359 Speaker 5: on the daily. In general, they got discriminated against a 445 00:28:25,400 --> 00:28:29,480 Speaker 5: lot for being black and also for having English speaking rules. 446 00:28:30,280 --> 00:28:34,600 Speaker 5: They were sometimes treated as if they don't belong to Panama, 447 00:28:34,720 --> 00:28:38,240 Speaker 5: even though their families had lived in Panama for generations. 448 00:28:39,640 --> 00:28:44,600 Speaker 5: Over history, West Indian Panamanians have their citizenship denied or 449 00:28:44,640 --> 00:28:48,440 Speaker 5: taken away. At one point, politicians even want to kick 450 00:28:48,480 --> 00:28:52,760 Speaker 5: out the community from the country. For black kids, Danzhel 451 00:28:52,880 --> 00:28:56,800 Speaker 5: and reggae became a kind of defiance, a way of 452 00:28:56,840 --> 00:28:58,600 Speaker 5: saying like, we're going to be as. 453 00:28:58,480 --> 00:29:04,960 Speaker 4: Black as we want. At the Rasta, this is. 454 00:29:04,880 --> 00:29:08,520 Speaker 5: Frank, the third of the three friends. He and the 455 00:29:08,560 --> 00:29:12,680 Speaker 5: others grew out their dread locks, like making their connection 456 00:29:12,800 --> 00:29:16,520 Speaker 5: to Jamaica, playing for all to see, and it got 457 00:29:16,520 --> 00:29:17,000 Speaker 5: a reaction. 458 00:29:17,880 --> 00:29:18,480 Speaker 3: A young. 459 00:29:22,160 --> 00:29:25,600 Speaker 5: Taxi, he says, bosses and taxes wouldn't pick them up 460 00:29:26,920 --> 00:29:30,160 Speaker 5: a lot of dread locks and the cops would literally 461 00:29:30,200 --> 00:29:47,400 Speaker 5: stop them and cut their dread logs off. It Racimo, 462 00:29:47,840 --> 00:29:51,160 Speaker 5: the racism. They put that into the music and talk 463 00:29:51,240 --> 00:29:55,440 Speaker 5: about it on the mic. Regaslan says he understood dance 464 00:29:55,440 --> 00:29:58,959 Speaker 5: hound and reggae as a kind of resistance. It's music 465 00:29:59,040 --> 00:30:02,960 Speaker 5: that says so in Negroso. 466 00:30:02,360 --> 00:30:03,000 Speaker 8: It's an honor. 467 00:30:03,120 --> 00:30:07,520 Speaker 6: Pride for me is that I could identify myself as 468 00:30:07,520 --> 00:30:12,360 Speaker 6: a black West Indian, black Panamanian. Watch that you singing 469 00:30:12,400 --> 00:30:17,120 Speaker 6: this music, because it's the only way that black, poor 470 00:30:18,000 --> 00:30:23,200 Speaker 6: struggling people used to drag tests to fight against the government. 471 00:30:23,840 --> 00:30:27,240 Speaker 5: So it's not a coincidence that what Renato released his 472 00:30:27,480 --> 00:30:30,720 Speaker 5: first real record, it was a this for the Police, 473 00:30:30,880 --> 00:30:37,040 Speaker 5: canneth Lave Policia. Here's how it happened. Renaldo was working 474 00:30:37,080 --> 00:30:40,680 Speaker 5: as a DJ, drawing parties when one day he heard 475 00:30:40,720 --> 00:30:43,280 Speaker 5: a dance whole song that really stuck with him. 476 00:30:43,640 --> 00:30:46,240 Speaker 10: And I heard the song what they held the police 477 00:30:46,320 --> 00:30:49,600 Speaker 10: can do and what they held the police can't do, 478 00:30:49,760 --> 00:30:52,000 Speaker 10: I can't and don't do that. 479 00:30:52,240 --> 00:30:55,240 Speaker 4: It was a Jamaican song against police brutality. 480 00:30:55,640 --> 00:30:58,000 Speaker 3: And I said, ah, I'll do something like that. 481 00:30:59,480 --> 00:31:02,800 Speaker 5: And so in the mid eighties, Renato released a cover 482 00:31:02,880 --> 00:31:06,520 Speaker 5: of the song in Spanish called El Denni. It was 483 00:31:06,600 --> 00:31:10,080 Speaker 5: one of the first studio recordings of a Rega Espanol song. 484 00:31:10,960 --> 00:31:13,760 Speaker 4: See For decades, s Panama was controlled. 485 00:31:13,240 --> 00:31:17,640 Speaker 5: By military governments, and the Danny were the secret police 486 00:31:17,680 --> 00:31:19,320 Speaker 5: agents of the generals. 487 00:31:19,680 --> 00:31:21,760 Speaker 10: Well at the time Danny, everybody was afraid of the 488 00:31:21,800 --> 00:31:24,760 Speaker 10: Danny because THO were the hard cops. They would break 489 00:31:24,800 --> 00:31:26,959 Speaker 10: down your doors and go in your house and stuff. 490 00:31:27,640 --> 00:31:32,200 Speaker 5: In the song, Renato impersonates a THENNY officer and it's 491 00:31:32,240 --> 00:31:36,680 Speaker 5: not flattering. Basically he said, I can coff you and 492 00:31:36,800 --> 00:31:37,840 Speaker 5: hit you with a baton. 493 00:31:38,440 --> 00:31:40,080 Speaker 4: Then he's calling the cops. 494 00:31:39,880 --> 00:31:43,000 Speaker 5: Al Buyino pointing out that it was white cops that 495 00:31:43,120 --> 00:31:47,240 Speaker 5: would target the black kids. It was this but this 496 00:31:47,640 --> 00:31:54,320 Speaker 5: that you could dance to. Regaistan remembers what l. Denny 497 00:31:54,760 --> 00:31:57,040 Speaker 5: meant for the new gener El Danny. 498 00:31:57,440 --> 00:32:04,320 Speaker 8: It was a huge radio play all we had in reggae. 499 00:32:05,040 --> 00:32:08,800 Speaker 5: Renaldo don't make the first ever reggae en Espanol hit 500 00:32:09,360 --> 00:32:15,000 Speaker 5: and set the whole genre into motion. Betro to be honest, 501 00:32:15,400 --> 00:32:19,280 Speaker 5: a lot of people have forgotten about him. Here's Rakka 502 00:32:19,360 --> 00:32:20,600 Speaker 5: Rich from the Rakas. 503 00:32:20,960 --> 00:32:23,240 Speaker 7: But even though we are the creators of the sound 504 00:32:23,440 --> 00:32:26,360 Speaker 7: and Panama of the genre, I feel like people still 505 00:32:26,400 --> 00:32:28,920 Speaker 7: don't know that Panamanians were the ones who started the 506 00:32:28,960 --> 00:32:29,360 Speaker 7: whole thing. 507 00:32:29,920 --> 00:32:32,840 Speaker 5: Rakka Rich still gets frustrated about it. 508 00:32:33,120 --> 00:32:36,360 Speaker 7: When you create something and you know, you don't capitalize 509 00:32:36,360 --> 00:32:39,280 Speaker 7: on it and other people capitalize on it. It doesn't 510 00:32:39,280 --> 00:32:41,880 Speaker 7: feel good, you know what I mean. And it's kind 511 00:32:41,880 --> 00:32:43,560 Speaker 7: of like you know what they say about you know 512 00:32:43,600 --> 00:32:45,600 Speaker 7: the voltures. You know, people coming and see what you 513 00:32:45,680 --> 00:32:48,920 Speaker 7: do and then they maximize out of it and everybody, 514 00:32:49,040 --> 00:32:50,920 Speaker 7: you know, even though you created it, and nobody knows who 515 00:32:50,960 --> 00:32:51,320 Speaker 7: you are. 516 00:32:51,920 --> 00:32:53,600 Speaker 4: And hinte, that's the truth. 517 00:32:53,960 --> 00:32:57,680 Speaker 5: Without Renato and the other original artists from Panama, they 518 00:32:57,720 --> 00:33:01,800 Speaker 5: wouldn't be no Regaeton. But Renaldo is a bitter about that, 519 00:33:02,280 --> 00:33:05,480 Speaker 5: just the opposite. And when he looked back, it's just 520 00:33:05,560 --> 00:33:09,480 Speaker 5: amazing that an English speaking kid from the canal soon 521 00:33:09,960 --> 00:33:13,400 Speaker 5: will be so important to starting Draganapannon. 522 00:33:13,160 --> 00:33:14,120 Speaker 3: And I love it, you know. 523 00:33:14,640 --> 00:33:18,280 Speaker 10: I'm so happy man, because you did something that everybody's 524 00:33:18,360 --> 00:33:20,760 Speaker 10: going to talk about it for years and we are 525 00:33:20,840 --> 00:33:21,440 Speaker 10: so glad. 526 00:33:21,520 --> 00:33:23,640 Speaker 3: I'm glad man. I'm glad for that yank. 527 00:33:23,760 --> 00:33:25,960 Speaker 8: Yeah, I'm glad for if Queen. 528 00:33:26,360 --> 00:33:31,480 Speaker 5: I'm glad for all these artists that are making its. Renaldo, 529 00:33:31,640 --> 00:33:35,120 Speaker 5: I am so glad too and proud of your work. 530 00:33:37,360 --> 00:33:40,760 Speaker 2: Thank you so much, Ebie, and dear listener, before we go, 531 00:33:40,800 --> 00:33:43,200 Speaker 2: I want to let you know that on Tuesday, September 532 00:33:43,240 --> 00:33:47,040 Speaker 2: twenty third, we are going to have a live virtual 533 00:33:47,080 --> 00:33:50,520 Speaker 2: event where we are going behind the scenes with some 534 00:33:50,560 --> 00:33:52,200 Speaker 2: of the creators of Loud. 535 00:33:52,680 --> 00:33:54,080 Speaker 1: We'd love for you to join us. 536 00:33:54,120 --> 00:33:56,200 Speaker 2: All you have to do is become a Futuro Plus 537 00:33:56,200 --> 00:34:00,360 Speaker 2: member at the campion level. Get that campion all right, 538 00:34:00,400 --> 00:34:03,280 Speaker 2: We'll see you next time and as always, not by Guess. 539 00:34:10,920 --> 00:34:14,680 Speaker 5: Low. The History of Reggaton is a Spotify original podcast 540 00:34:14,840 --> 00:34:19,479 Speaker 5: from Futuro Studios. This podcast was written and reported by 541 00:34:19,480 --> 00:34:23,880 Speaker 5: Marlon Bishop and Louis Gaio and edited by Sophia Palissa Carr, 542 00:34:24,360 --> 00:34:28,880 Speaker 5: with help on this episode from audri Quin from Spotify. 543 00:34:29,360 --> 00:34:36,920 Speaker 5: Executive producers Gida Bilbat, Adrian Aredondo, Jessica Molina, and Julio A. Pabon. 544 00:34:37,440 --> 00:34:42,160 Speaker 5: We're producing help from Dan Bihar. Executive produced for Futuro 545 00:34:42,280 --> 00:34:48,160 Speaker 5: Studios by Marlon Bishop. Produced by Catalina Gatta, Eggleston Ermees Ajala, 546 00:34:48,560 --> 00:34:54,000 Speaker 5: Joaquin Cutler, Sandra Riano, Nicole Rothwell, and Daniela die Jogarson. 547 00:34:54,400 --> 00:34:59,960 Speaker 5: Additional production by Christian Edrera, Sevatiander bays Lunez, se Regazzan 548 00:35:00,560 --> 00:35:01,840 Speaker 5: and Juan Diego Ramirez. 549 00:35:02,320 --> 00:35:04,480 Speaker 4: Fat check in by Tatiana Dias. 550 00:35:04,880 --> 00:35:08,640 Speaker 5: Sound design and mixing by Genni Montalbo and Stephanie Lebau. 551 00:35:09,200 --> 00:35:12,960 Speaker 5: Arting song is by Max. Original music by Eco and 552 00:35:13,040 --> 00:35:16,560 Speaker 5: Danny crazy Town for the Eco Team and Impulse Ell 553 00:35:16,600 --> 00:35:22,759 Speaker 5: Intellectual music supervision by Big Sin Yours Truly recorded at 554 00:35:22,800 --> 00:35:25,880 Speaker 5: Haga Studio by Maluri in Vernon, Ell Henerra. 555 00:35:26,040 --> 00:35:29,080 Speaker 4: Interview audio courtesy of Christopher Twiko. 556 00:35:29,640 --> 00:35:35,400 Speaker 5: Special thanks to Julio Ricardo Barela, Louis Luna, Lileana Ruis, 557 00:35:35,760 --> 00:35:43,640 Speaker 5: josh Lin, grin Antonio, Seehidro, Alejandra Martinez, Sonia Clavel, Ricardo Montalbo, 558 00:35:43,960 --> 00:35:50,120 Speaker 5: Jasmina Fifi, O'Neil Anderson, Jessica Diaz, Urtado, quimu Ello, Leah, 559 00:35:50,680 --> 00:35:57,760 Speaker 5: Sarah Kayner, Vijon Garve, Jesse Hart, Sue Lou Brian Marquis, 560 00:35:57,960 --> 00:36:04,200 Speaker 5: Lauren Monkey, Ashley sb Andrea c Nancy Way Slidkin and 561 00:36:04,400 --> 00:36:07,120 Speaker 5: Jordan Tushinsky for production support. 562 00:36:07,760 --> 00:36:09,279 Speaker 4: I'm your hosts Evy Queen. 563 00:36:09,800 --> 00:36:13,200 Speaker 5: Make sure to follow loud the History of Reggaeton only 564 00:36:13,320 --> 00:36:25,400 Speaker 5: on Spotify