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Speaker 1: I'm Lisa and Akazawa join me on season two of

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Speaker 1: Stars and Stars with Lisa, where I sit down with

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Speaker 1: some of the most exciting stars of our time to

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Speaker 1: find out what their birth chart reveals about their life's purpose,

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Speaker 1: their relationships, and their challenges. Winner of the Signal Award

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Speaker 1: for Most Inspirational Podcast, Stars and Stars will help you

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Speaker 1: make sense of today's complicated times. Even if you're an

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Speaker 1: astrology skeptic. You can listen to Stars and Stars with

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Speaker 1: Lisa wherever you get your podcasts. Don't forget to follow

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Speaker 1: the show so you never miss an episode.

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Speaker 2: Dear, let you know us say listener. Hey, So, we

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Speaker 2: recently brought you episode one of our critically acclaimed series

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Speaker 2: Loud The History of Reggaeton. The ten part series is

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Speaker 2: a collaboration between our own Futuro Studios and Spotify. It's

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Speaker 2: hosted by none other than La Rena la cata Evy Queen,

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Speaker 2: one of the originators of regedton, and we're so happy

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Speaker 2: to be able to share this series with you again

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Speaker 2: because well, for some time there, Loud disappeared from our

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Speaker 2: feed for reasons beyond our control, but you all demanded

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Speaker 2: that we bring Loud back and we hurt you. The

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Speaker 2: full series is now available for you to stream and enjoy.

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Speaker 2: So tell everybody you know, your friends, your familia, and

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Speaker 2: share the great news, of course, on all of your

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Speaker 2: social media that Loud is back. Before we get into

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Speaker 2: today's episode, just a heads up there is some strong

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Speaker 2: language and some mature content. All right, here we go

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Speaker 2: from Vuduro Media. It's Latino USA. I'm Maria Josa. Today

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Speaker 2: we bring you the Nueva Your Connection, episode two of

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Speaker 2: our hit series Loud The History of Reggaton and now

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Speaker 2: I'm passing the mic to Ladiva herself, Ibi Queen.

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Speaker 3: Previously on Loud and Lenard is like the blueprint.

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Speaker 4: He was crazy on the stage.

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Speaker 5: He could I say something on the black heaed Vix

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Speaker 5: Pressley and today was just screaming.

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Speaker 4: He's considered the father of Reggaeton. He said, I'm going

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Speaker 4: to America. I said to him, you know what, you

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Speaker 4: better perform and do it. You know he's the one

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Speaker 4: that took it to the next level.

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Speaker 6: He blew up.

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Speaker 7: It's nineteen eighty five, nineteen years old. At Galdo Franco

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Speaker 7: or Frank is a TOAs Skinny Kid getting on a

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Speaker 7: plane from Panama City to New York to study business administration.

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Speaker 8: Hello Genio via iithermin Em Carrera, the Ama.

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Speaker 4: In Panama.

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Speaker 7: He and his friends have started seeing Jamaican dance hall

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Speaker 7: and Regaan Espannon in Panama. They were had their music

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Speaker 7: was playing on the buses and in the club.

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Speaker 4: Up in the air.

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Speaker 7: Frankie, you imagine he's leaving all that behind, the parties,

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Speaker 7: the attention, the chance to be an artist. It was

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Speaker 7: time to get serious, get a real profession. Ladies and gentlemen,

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Speaker 7: Welcome to j l game. The local time is seven

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Speaker 7: y two a m. At the temperature is sixty two degrees.

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Speaker 4: New York was a whole new remo.

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Speaker 7: Frando, the hustle and muscle that don't give a fuck

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Speaker 7: attitude to say. In New York City, you got to

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Speaker 7: be on your game, Lasa tea. Frankito was holding down three.

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Speaker 4: Jobs just to get by music. All in the fast

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Speaker 4: pace New York life.

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Speaker 7: There was some time for music. He started to forget

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Speaker 7: about it. But soon, you know how it is, music

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Speaker 7: will pull him back in. Because what Franquito maybe didn't

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Speaker 7: count on is that he had just landed in Lacuna

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Speaker 7: the dance Hall, Brooklyn from Spotify and Photolo Studios. I'm

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Speaker 7: in between and this is loud The History of Reggaeton

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Speaker 7: Episode two, The Nueva or Connection. This episode, we're talking

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Speaker 7: about New York City because New York esna meskla te Gambio.

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Speaker 4: It's an exchange.

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Speaker 7: And in this story is where Bodriqua's Panamanians and Jamaican

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Speaker 7: we all vibe and learn from each other's music. I'm

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Speaker 7: going to tell you how immigrants from Panama in Brooklyn

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Speaker 7: took reggae and dance on and Espanon to the next level.

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Speaker 4: If Jamaican music produced in New York performed by latinos,

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Speaker 4: so it's hard.

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Speaker 7: And how both dance well and hip hop from New

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Speaker 7: York City traveled to my Isla Alecando and think how

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Speaker 7: New York became the crossroads that made reggedon possible. Franqito

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Speaker 7: like most black Panamanians settled in Central Brooklyn, which includes

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Speaker 7: neighborhoods like Crown Heights and Flat Bush. The area is

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Speaker 7: like the West Indian United Nations. Black immigrants from all

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Speaker 7: over the Caribbean lived there. Jamaica, Trinida, It.

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Speaker 4: And the dancehold regga scene in Brooklyn West popping.

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Speaker 3: Like in Panama, you get a little bit of it,

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Speaker 3: but when you came over here it was more in it.

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Speaker 7: You know, this is Exxenia and she's someone I am

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Speaker 7: very excited to introduce you to.

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Speaker 3: I'm Exena Nikes named La Trevida.

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Speaker 7: Latrevida means the root Girl. We never met, but she's

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Speaker 7: the first female artist of Elmovimiento. Is Una Bionda de

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Speaker 7: Verda and she got the name brook Girl for a reason.

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Speaker 3: The dancing, the lyrics that I was using. I was like,

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Speaker 3: oh my god, I was wrong.

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Speaker 4: That's when I come now.

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Speaker 7: She's a Christian and she jokes that she should change

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Speaker 7: her name from the rook Girl to the Good Girl.

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Speaker 7: But back in the day she had an attitude rocking

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Speaker 7: chains and baggy clothes. She was in the same Brooklyn

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Speaker 7: dance hall scene as Franquito, and she told us about

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Speaker 7: the crazy parties they used to have.

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Speaker 3: It was lit back in at these parties went the

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Speaker 3: morning sound like you come out sunlight, what's unsaid. Some

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Speaker 3: clubs went to midday.

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

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Speaker 3: They had big, huge clubs, and they had the underground.

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Speaker 4: Places underground like basement and backyard parties.

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Speaker 3: And you know, like in the day, I guess it's

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Speaker 3: a mechanic sample whatever, truck, pucking lot, whatever.

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Speaker 7: But then at night, at night, it became a sweaty

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Speaker 7: dance whole party.

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Speaker 3: You just go and chat on the mic, you buy

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Speaker 3: your drinks, you know, and just ship.

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

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Speaker 7: And these were like freestyle sessions. If you have skills,

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Speaker 7: you could get on the mic. Latreville didn't see a

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Speaker 7: lot of women up there, but that didn't stop her.

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Speaker 3: I guess they was shy or they were afraid. Well,

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Speaker 3: 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 3: Call me a rueyal. I may not brag and show off.

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Speaker 3: If you're coming to me face, make gonna go click off,

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Speaker 3: rude girl, I may not take back. No talk coming

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Speaker 3: on me face and make going I go back.

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Speaker 7: The crowd at these parties was mixed Jamaican, Pnomenians and Latrevida.

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Speaker 4: She could work in English and Spanish.

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Speaker 3: See page break. Okay, bogget simplatin. Why now the puppy?

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Speaker 4: I love her? You know, the female power that we

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Speaker 4: have there you go.

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Speaker 7: Latrevida actually had parties in her basement on Thursdays. And

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Speaker 7: just because these parties were held at the basement and

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Speaker 7: out of shops, that doesn't mean that they were for amateurs.

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Speaker 4: The biggest names in the dance.

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Speaker 7: Hool music will show up and spread when they went

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Speaker 7: to New York, guys like super Cad and Shaggy, I.

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Speaker 3: Love my Name, you suppriss you the sessions those guys

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Speaker 3: used to comfort Brooklyn to go to the spots.

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Speaker 7: Yes al ambiente where Panamanians and Jamaicans are hanging out

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Speaker 7: together getting to know each other. Of course, you know,

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Speaker 7: smoking weed in the basement where the dance hold and

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Speaker 7: Efaniel really takes off. And this is the word Franquto

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Speaker 7: walks into right when he thought he was leaving the

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Speaker 7: dance hall behind and Panama, he gets stopped by Cans.

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Speaker 8: Sound system system and Ayochla so and so.

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Speaker 7: He said that in New York City he bought a

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Speaker 7: little sound system that he would bring around to every party,

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Speaker 7: which he called the Bachelor Sound and he started to

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Speaker 7: perform under the name Elnerdi and Heneran hasn't given an

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Speaker 7: interview about his music. For over a decade. This audio

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Speaker 7: is from an interview he recorded with a journalist in

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Speaker 7: two thousand and four.

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Speaker 4: Commando Max.

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Speaker 7: And Henerad says that he got his name because Panama

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Speaker 7: was run by Lee Ales for years, so it was

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Speaker 7: a way to say that he was the commander, the boss.

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Speaker 7: He took it to the next level by performing in

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Speaker 7: a military uniform, but music was still a hobby for him.

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Speaker 7: He was working in businesses making good money. He does,

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Speaker 7: maybe I record something just to give it a shot.

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Speaker 4: Yeah, I guess I believe that Yellow, but don't he

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Speaker 4: never imagine that anything could actually come.

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Speaker 2: Of it, coming up on that you know USA. We

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Speaker 2: continue with episode two of our critically acclaimed series Loud,

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Speaker 2: The History of Regaton. Stay with us, Hey, we're back.

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Speaker 2: Let's get back to episode two of our critically acclaimed

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Speaker 2: series Loud, The History of Reggaeton.

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Speaker 4: Eighties.

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Speaker 7: A lot of the Jamaican dancehall industry was actually based

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Speaker 7: in New York.

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Speaker 4: BP Records was the world biggest distributor of.

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Speaker 7: Reggae music and it was run by a Chinese Jamaican

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Speaker 7: family out 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 9: There was Spanish people, you know, really interested in the reggae,

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Speaker 9: and there wasn't any Spanish artists doing reggae, so he

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Speaker 9: ventured into it.

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Speaker 4: We're not Spanish, we are Latinos. But I get what

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Speaker 4: he means. This is Michael McDonald. He was a studio

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Speaker 4: owner back then.

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Speaker 7: He said that it was a Jamaican records show worker

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Speaker 7: at VP who noticed just how many Latinos were coming

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Speaker 7: in to buy these dancehall albums all in English, and

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Speaker 7: a light bulb when I'm there was money to be made.

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Speaker 9: He was one of the first obriginaries. People didn't really

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Speaker 9: take him seriously. To be honest with you, I guess

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Speaker 9: this is a Jamaican thing like to stick toward you know,

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Speaker 9: the weight went. It took me to a televis surprise.

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Speaker 7: So in nineteen ninety, this record shop guy pulls El

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Speaker 7: Hennerdan into the studio. There was a popular song at

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Speaker 7: the moment by little Lenny Cononaniere and it was a

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Speaker 7: tribute to the power of the pussy and that song

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Speaker 7: trust Me for the Time was dirty. El Heneral recorded

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Speaker 7: a cover of the song in Spanish and that song

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Speaker 7: for Umpalo and.

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Speaker 3: That English tune was a very big meaning in every

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Speaker 3: area America Latin and they knew that song, so for

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Speaker 3: him to bring it across in Spanish it was a bumpshell.

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Speaker 7: Latrevida remembers performing at shows with El Henerald where he

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Speaker 7: was singing to Bumpoon.

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Speaker 4: It was an easy hit.

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Speaker 3: Was the song in English hit and you got through it?

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Speaker 3: In Spanish, that was an easy hit.

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Speaker 7: That song blew the fuck up. I still remember with

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Speaker 7: the song hit and landed in Puerto Rico. It was

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Speaker 7: in every corner, every birthday, every party, everything. Sano tell

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Speaker 7: a story about his first gig he played in New

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Speaker 7: York after that song came out. He show up and

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Speaker 7: the streets outside was full of people. He went up

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Speaker 7: to the bouncer and he was like, I'm here to

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Speaker 7: sing tonight, am and he and the bouncer was like

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Speaker 7: yeah right, and I'm prince, see the prince.

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Speaker 4: Prince.

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Speaker 7: Eventually he got into do the show and he was

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Speaker 7: blown away watching how the crowd reacted. He then realized

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Speaker 7: that people were hungry for this music. That night, he

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Speaker 7: decided to quit his job.

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Speaker 4: Camala Music.

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Speaker 7: And Heneral quickly followed with more songs. There was Buena

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Speaker 7: and Weuebelo, and those were huge. Two after Henerdan dance

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Speaker 7: on the Spanish was officially in style. I'm talking in

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Speaker 7: ninety ninety one, ninety two, But most of the big

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Speaker 7: artists in that first wave were black Central Americans in

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Speaker 7: New York. Later Rita got to deal with Columbia Records. Meanwhile,

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Speaker 7: and Heneral was getting big internationally. His songs became the

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Speaker 7: kind of hits that everybody knew from Mexico down to Argentina.

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Speaker 7: At first, Elenderal said he couldn't actually travel to the concerts. Yeah, yeah, yeah,

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Speaker 7: he had overstayed his visa and was undocumented. He said

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Speaker 7: that in his absence, a rumor went around that he died.

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Speaker 7: So when he got his papers and started touring, it

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Speaker 7: was like the resurrection of Heneran.

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Speaker 8: And the visio.

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Speaker 7: And he said he had to go on to be

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Speaker 7: to show people he was still alive and invite them

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Speaker 7: to the show. The music was all over America Latina,

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Speaker 7: but not everybody got it. This audio is from Henerani

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Speaker 7: when he appeared on a TV show in Chile, one

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Speaker 7: of those shows. In the video, and Heneral is super

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Speaker 7: all and skinny, and he's wearing his purple general's uniform

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Speaker 7: and dancing so awkwardly with the TV host. This interview

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Speaker 7: kind of makes you cringe. The host is saying that

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Speaker 7: these are totally made up words, right. He literally doesn't

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Speaker 7: understand the music and acts like Kelenneda came from out

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Speaker 7: of space. The whole thing seems like a big joke today,

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Speaker 7: this black Latin American doing the strange thing called rapping.

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Speaker 7: For Puerto Rican's it was completely different. We love and

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Speaker 7: understood dancehol Maybe it's because we're also from the Caribbean,

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Speaker 7: just because of the New York connection we have.

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Speaker 4: In nineteen eighty.

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Speaker 7: There were almost one million Bodique was living in New

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Speaker 7: York City, so music was always going back and forth

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Speaker 7: on the Wild Waie area. You know those three and

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Speaker 7: a half hour domestic flight back and forth from someone

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Speaker 7: to New York.

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

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Speaker 1: See.

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Speaker 7: Back in the day, it was normal if you grow

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Speaker 7: up in the city that your parents will send you

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Speaker 7: for the summer to stay with your grandparents and cousins

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Speaker 7: 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 the grain.

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Speaker 10: It 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 7: Or maybe it was the other way around. You live

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Speaker 7: on the island, you will go in the summer to

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Speaker 7: New York and you will come back with the latest

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Speaker 7: music to show off to your friends back home. Here's

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Speaker 7: rapper Lisaan.

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Speaker 5: When I was traveling to New York to be seeing

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Speaker 5: my grandma everything, when I called back to Puerto Rico

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Speaker 5: or on forget it, I was, oh my god. I

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Speaker 5: came from New York, was up with the outfrey with

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Speaker 5: the new mulesing and say hey, listen, this is the

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Speaker 5: new stuff.

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Speaker 7: And in nineteen ninety and new stuff was Spanish stance

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Speaker 7: and the World War area. It us another sound in

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Speaker 7: the eighties and nineties that was very important to Regaton,

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Speaker 7: and that sound was hip hop.

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Speaker 2: We'll be right back, not right yes, hey, we're back.

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Speaker 2: And here once again is La Diva lata evy Queen.

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Speaker 2: To wrap up the episode, we.

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Speaker 7: Are going to talk about hip hop for a second

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Speaker 7: because it was a huge influence and movimento, especially in

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Speaker 7: Puerto Rico. Most of the Puerto Rican artists in the

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Speaker 7: early way, like myself started to do straight hip hop

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Speaker 7: and got into the reggae and dancehall vibe later. And

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Speaker 7: the reason Bodricos have such a close connection to hip

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Speaker 7: hop is because we.

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Speaker 4: Helped invent it. We were there since day one.

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Speaker 7: That's my friend Tony Touch again, a legendary from the

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Speaker 7: 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 4: You know, and many black Puerto Ricans as well.

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Speaker 7: In those early years of hip hop, Puerto Ricans were representing.

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Speaker 7: We have mcs, DJs, graffiti artists, and especially dancers. A

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Speaker 7: lot of the first Bee Boys were Puerto Ricans. And

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Speaker 7: what it was we were on hip hop films like

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Speaker 7: Wild Style and.

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Speaker 4: Bait Street that made an impact on 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.

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Speaker 3: Before I didn't see it like black or white, you

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Speaker 3: know what I mean.

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

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Speaker 10: on the screen, it's like wow.

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Speaker 7: You know. It was inspiring for me because of the

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Speaker 7: New yor Rican connection. Puerto Rico was one of the

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Speaker 7: first places to get into hip hop. I remember I

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Speaker 7: first find out about hip hop through my brother Jacob.

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Speaker 7: He had staves of dash effects Boster rhymes.

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Speaker 4: Even though he didn't understand the music, spoke to us.

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Speaker 7: It was straight up, it was raw, It was poetry,

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Speaker 7: but with music underneath. You know, it was music that

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Speaker 7: kept fit the feelings that you have insight.

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Speaker 4: So growing up in Anjaco on the west side of

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

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Speaker 7: I walk around with my boom box and my little

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Speaker 7: peasodon and if any moment a cipher will start, we

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Speaker 7: bust it down back Then, if you have a party

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Speaker 7: and you didn't play rap honey, nobody's going to show up.

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Speaker 7: So in the eighties, hip hop is huge in Puerto Rico,

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Speaker 7: but it's hip hop from the US in English. The

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Speaker 7: reason Puerto Rico got its own hip hop has a

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Speaker 7: lot to do with a guy named Bigo Ci.

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Speaker 3: Guy saw Vehicle Wow, a rapper with a career in Spanish.

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Speaker 4: And at school, I started seeing this movement at Bigo.

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Speaker 3: C becouc is the god from the dawn of Spanish rap.

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Speaker 5: Puerto Rico.

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Speaker 7: When it comes to hip hop in Puerto Rico, Becausi

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Speaker 7: was the king. He was one of the first people

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Speaker 7: to do hip hop in Spanish and do it so nice.

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Speaker 7: The thing that was so cool about it for us

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Speaker 7: was that we love rap music, but most of us

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Speaker 7: they didn't understand a word, and all of a sudden,

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Speaker 7: with Bico, we got the lyrics.

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Speaker 4: It was like the movie went from black and white

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Speaker 4: to color.

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Speaker 7: La is that he's a storyteller and he have a

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Speaker 7: way to put these words together and take you along

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Speaker 7: 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 6: Because he got these words that you would not expect

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Speaker 6: it on a rap he changed it to make it

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Speaker 6: interesting and funny but real.

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

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Speaker 4: a philosopher. The philosopher because he on the DJ that

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Speaker 4: discovered him, the Negro.

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Speaker 7: They started to record a few songs on cassettes, super

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Speaker 7: basic with our studio or any real equipment. This is

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Speaker 7: the mid eighties and the tapes Suerto Moon phenomenon. They

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00:24:17,920 --> 00:24:21,920
Speaker 7: were copying over and over again, pass hand to hand.

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Speaker 4: They basically went viral.

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Speaker 7: Soon, Honey, every car was bumping the Negro because here's

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Speaker 7: the negro. Because and there were nobodies, just two kids

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Speaker 7: who made some tapes.

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00:24:40,400 --> 00:24:49,880
Speaker 4: In NAVII and am was implemented cassette temp.

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Speaker 7: Soon because met a young concert promoter named he books

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Speaker 7: them to open for Public Enemy.

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Speaker 4: It's a real doing for them. They are a hit

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Speaker 4: and Jorge has an idea.

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Speaker 11: And with all them listen, let's record, let's record I

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00:25:08,960 --> 00:25:11,760
Speaker 11: had never we had never recorded before, but they said,

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Speaker 11: let's record this because this is really good. And that

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00:25:15,920 --> 00:25:19,480
Speaker 11: ended up being La Recta Finale Dja Negro and Bigo.

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Speaker 7: Si Laretta Final, released by Joje's brand new label, Prime

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00:25:25,320 --> 00:25:28,359
Speaker 7: Wreckers in eighty nine. Wasn't the first hip hop and

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00:25:28,400 --> 00:25:31,480
Speaker 7: a panel rekerd to hit Puerto Rico, but it's the

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Speaker 7: record that really started the fire.

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Speaker 6: It was huge.

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Speaker 11: You know, they would go straight from the truck out

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Speaker 11: to the stores because everybody was lining up to pick

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Speaker 11: them up.

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Speaker 7: When I hear Laretta Final, you literally are listening to

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Speaker 7: this young kid pouring words that are not using the hood,

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Speaker 7: you know, like the stuff that he was putting together

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Speaker 7: was amazing because he was wrapping about real life topic

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00:26:00,200 --> 00:26:05,359
Speaker 7: that were happening in the projects, the killing addiction aids

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00:26:06,359 --> 00:26:09,399
Speaker 7: in a way that just spoke to people as honest

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00:26:09,440 --> 00:26:13,399
Speaker 7: and real, and nobody in Puerto Rico heard anything like

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00:26:13,520 --> 00:26:20,120
Speaker 7: that before because he himself grew up in the projects

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Speaker 7: in Las A Cassias. People forget that way back in

385
00:26:24,040 --> 00:26:28,080
Speaker 7: the day. There was serious povery in Puerto Rico now too,

386
00:26:28,280 --> 00:26:30,840
Speaker 7: but in the forties the slums were hardcore.

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Speaker 4: Just google fan Gito So.

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Speaker 7: In the fifties, the government started building these huge housing

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Speaker 7: projects for poor people.

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Speaker 5: Erki and Casio Seno Gandia Power in construction.

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Speaker 4: Recurso's economics.

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Speaker 7: These projects are known as casaio. They're also called residentialists,

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Speaker 7: and they built the casa rios next to the middle

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Speaker 7: class neighborhoods. They thought it would create a less divided society.

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Speaker 7: But yeah, it didn't work out like that. But a

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00:27:08,720 --> 00:27:14,080
Speaker 7: mucho the cassaillo it's all about drugs, gun violence, many

397
00:27:14,200 --> 00:27:17,280
Speaker 7: black or dark skin Puerto Rican living them, and there's

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00:27:17,320 --> 00:27:21,359
Speaker 7: a lot of discrimination against a residente de casrio. I

399
00:27:21,480 --> 00:27:23,600
Speaker 7: didn't grow up in a cassaio, but I always hang

400
00:27:23,680 --> 00:27:27,040
Speaker 7: out there. I knew people from all the casarios and

401
00:27:27,520 --> 00:27:30,639
Speaker 7: the stuff. Because he was rapping about we were living there.

402
00:27:33,320 --> 00:27:36,080
Speaker 7: He made a whole generation of kids from the hood

403
00:27:36,200 --> 00:27:38,439
Speaker 7: say oh shit, I can do that too.

404
00:27:39,560 --> 00:27:40,480
Speaker 4: That's what happened to me.

405
00:27:41,560 --> 00:27:47,400
Speaker 7: I heard Beekle bruly ruing that first generation of rapping Epanoon,

406
00:27:47,640 --> 00:27:49,840
Speaker 7: and I decided that I wanted.

407
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Speaker 4: To be a rapper.

408
00:27:52,480 --> 00:27:56,280
Speaker 7: Because Cidi Negro with Prime Breakers were the stars of

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Speaker 7: a new genre, rapping Espanon and business was booming.

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Speaker 11: We were releasing like ten records a year, you know,

411
00:28:04,040 --> 00:28:07,280
Speaker 11: like we would have two studios running twenty four hours.

412
00:28:07,359 --> 00:28:10,720
Speaker 11: We would hire other studios just to keep up with

413
00:28:10,840 --> 00:28:11,359
Speaker 11: the music.

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Speaker 7: You know.

415
00:28:12,119 --> 00:28:15,479
Speaker 11: By then, we were the biggest independent label in the market.

416
00:28:15,760 --> 00:28:18,359
Speaker 11: We were bigger than Fania. We were the bomb.

417
00:28:20,119 --> 00:28:23,200
Speaker 7: In eighty nine, Prime Record put out the first hip

418
00:28:23,240 --> 00:28:25,680
Speaker 7: hop album by a woman in Latin America.

419
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Speaker 5: Li Sion Wandviko saka Supremel album. They hear me in

420
00:28:30,840 --> 00:28:35,119
Speaker 5: another show rapping and they tell me, hey, Lisa, do

421
00:28:35,160 --> 00:28:36,280
Speaker 5: you want to record an album?

422
00:28:36,520 --> 00:28:37,399
Speaker 4: And I say what?

423
00:28:37,720 --> 00:28:37,880
Speaker 1: Who?

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00:28:38,040 --> 00:28:38,080
Speaker 7: Me?

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00:28:39,160 --> 00:28:41,760
Speaker 5: And they say yeah you, and I say.

426
00:28:41,680 --> 00:28:43,320
Speaker 4: Oh my gosh, yeah, let's go.

427
00:28:46,920 --> 00:28:50,760
Speaker 7: Lizion grew up with Biko and Hakassias and started out

428
00:28:51,040 --> 00:28:53,160
Speaker 7: as his backup dancer, And.

429
00:28:53,240 --> 00:28:56,040
Speaker 5: I remember that that said my mom, Mommy, I'm going

430
00:28:56,120 --> 00:28:58,440
Speaker 5: to record an album, and my man look at me

431
00:28:58,560 --> 00:29:02,400
Speaker 5: and say, hey, yeah, so lool yo.

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00:29:02,720 --> 00:29:06,520
Speaker 3: Juano, Hey, you're gonna see me.

433
00:29:06,640 --> 00:29:07,400
Speaker 5: You're gonna see me.

434
00:29:11,760 --> 00:29:18,600
Speaker 4: And the next artist frimebreaker sign that's right, Eli Ran.

435
00:29:25,480 --> 00:29:29,600
Speaker 7: These were the roots Oftro movimento, a dance on an

436
00:29:29,640 --> 00:29:33,479
Speaker 7: efanel scene that started in Panama, a hip hop an

437
00:29:33,480 --> 00:29:39,600
Speaker 7: efanel scene that was killing it in Puerto Rico. Black

438
00:29:39,680 --> 00:29:43,959
Speaker 7: sounds with roots from the English speaking world now available

439
00:29:44,320 --> 00:29:48,800
Speaker 7: en Espanel, New York made that connection happen. But the

440
00:29:48,920 --> 00:29:52,560
Speaker 7: next phase of regedon history that happens in Puerto Rico

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Speaker 7: in a dark, sweaty little club that is close to

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Speaker 7: my heart, the club where I got my start, and

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Speaker 7: that a Yankee guy his start, and so many others

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Speaker 7: were teenagers from the hood. Ivana Taraman said. A club

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Speaker 7: that gave birth to a sound, a club called Denis.

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Speaker 4: Loud.

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Speaker 7: The History of Reggaeton is a Spotify original podcast from

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Speaker 7: Futuro Studios. This podcast was written and reported by Marlon

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Speaker 7: Bishop and Louis Gaio and edited by Sophia Palisa Khan,

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00:30:32,680 --> 00:30:37,120
Speaker 7: with help on this episode from Audrey Queen from Spotify

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Speaker 7: Executive producers Gina Bilbah, Adrian Aredondo, Jessica Molina and Julio A.

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Speaker 4: Pabon.

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Speaker 7: We're producing help from Dan Behar. Executive produced for Futudo

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Speaker 7: Studios by Marlon Bishop. Produced by Louis Gaio, Ginny Montalbo,

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Speaker 7: Catalina Gatta, Eggleston Ermes, Ajala, Joaquin cut Sandraano, Nicord Rothwell

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00:31:03,200 --> 00:31:08,360
Speaker 7: and Daniela Tejogar. Song Additional production by Christian Errera, Seva Tiander,

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00:31:08,440 --> 00:31:12,560
Speaker 7: Bays Lunez A Secilro, Rega Sandino and Juan Diego Amirez.

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00:31:13,080 --> 00:31:17,040
Speaker 7: Fat check in by Tatiana Dias, sound designer Mixing by

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Speaker 7: Genni Montalbo and Stephanie Lebou, with help on this episode

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Speaker 7: from Rosanna Cawan.

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Speaker 4: Artin song is by Max.

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Speaker 7: Original music by Ego and Danny crazy Town for the

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Speaker 7: Ego Team and impuls Ell Intellectoy music supervision by Big

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Speaker 7: Sin George Truly. Recorded at Hega Studio by Maluri Iberno

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Speaker 7: Ell Heneral.

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Speaker 4: Interview audio courtesy of Christophe Twiko.

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Speaker 7: Special thanks to Julio Ricardo, Barela, Luis Luna, Lileana, Ruis,

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Speaker 7: josh Lin, Green Antonio, Seehidro Sonia Clavel, Ricardo Montalbo, Jasmina Fifi,

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Speaker 7: O'Neil Anderson, Jessica Dito, qim Ellliah, Sarah Kayner, Vijan Garby,

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Speaker 7: Jesse Hart, Sue Lou, Brian Marquis, Lauren Mine King, Ashley Nesby,

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Speaker 7: Andrea c lincy Way Slipkins and Jordantocinski for production support.

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Speaker 4: I'm your hosts Ivy Queen.

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Speaker 7: Make sure to follow loud the History of Reggaeton only

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Speaker 7: on Spotify.

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Speaker 2: Thank you so much for that, Ivy Queen and dear listener,

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Speaker 2: We'll see you on our next episode and as always,

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Speaker 2: lot Bayas Ciao