Speaker 1: I'm Lisa and Akazawa join me on season two of
Speaker 1: Stars and Stars with Lisa, where I sit down with
Speaker 1: some of the most exciting stars of our time to
Speaker 1: find out what their birth chart reveals about their life's purpose,
Speaker 1: their relationships, and their challenges. Winner of the Signal Award
Speaker 1: for Most Inspirational Podcast, Stars and Stars will help you
Speaker 1: make sense of today's complicated times. Even if you're an
Speaker 1: astrology skeptic. You can listen to Stars and Stars with
Speaker 1: Lisa wherever you get your podcasts. Don't forget to follow
Speaker 1: the show so you never miss an episode.
Speaker 2: Dear, let you know us say listener. Hey, So, we
Speaker 2: recently brought you episode one of our critically acclaimed series
Speaker 2: Loud The History of Reggaeton. The ten part series is
Speaker 2: a collaboration between our own Futuro Studios and Spotify. It's
Speaker 2: hosted by none other than La Rena la cata Evy Queen,
Speaker 2: one of the originators of regedton, and we're so happy
Speaker 2: to be able to share this series with you again
Speaker 2: because well, for some time there, Loud disappeared from our
Speaker 2: feed for reasons beyond our control, but you all demanded
Speaker 2: that we bring Loud back and we hurt you. The
Speaker 2: full series is now available for you to stream and enjoy.
Speaker 2: So tell everybody you know, your friends, your familia, and
Speaker 2: share the great news, of course, on all of your
Speaker 2: social media that Loud is back. Before we get into
Speaker 2: today's episode, just a heads up there is some strong
Speaker 2: language and some mature content. All right, here we go
Speaker 2: from Vuduro Media. It's Latino USA. I'm Maria Josa. Today
Speaker 2: we bring you the Nueva Your Connection, episode two of
Speaker 2: our hit series Loud The History of Reggaton and now
Speaker 2: I'm passing the mic to Ladiva herself, Ibi Queen.
Speaker 3: Previously on Loud and Lenard is like the blueprint.
Speaker 4: He was crazy on the stage.
Speaker 5: He could I say something on the black heaed Vix
Speaker 5: Pressley and today was just screaming.
Speaker 4: He's considered the father of Reggaeton. He said, I'm going
Speaker 4: to America. I said to him, you know what, you
Speaker 4: better perform and do it. You know he's the one
Speaker 4: that took it to the next level.
Speaker 6: He blew up.
Speaker 7: It's nineteen eighty five, nineteen years old. At Galdo Franco
Speaker 7: or Frank is a TOAs Skinny Kid getting on a
Speaker 7: plane from Panama City to New York to study business administration.
Speaker 8: Hello Genio via iithermin Em Carrera, the Ama.
Speaker 4: In Panama.
Speaker 7: He and his friends have started seeing Jamaican dance hall
Speaker 7: and Regaan Espannon in Panama. They were had their music
Speaker 7: was playing on the buses and in the club.
Speaker 4: Up in the air.
Speaker 7: Frankie, you imagine he's leaving all that behind, the parties,
Speaker 7: the attention, the chance to be an artist. It was
Speaker 7: time to get serious, get a real profession. Ladies and gentlemen,
Speaker 7: Welcome to j l game. The local time is seven
Speaker 7: y two a m. At the temperature is sixty two degrees.
Speaker 4: New York was a whole new remo.
Speaker 7: Frando, the hustle and muscle that don't give a fuck
Speaker 7: attitude to say. In New York City, you got to
Speaker 7: be on your game, Lasa tea. Frankito was holding down three.
Speaker 4: Jobs just to get by music. All in the fast
Speaker 4: pace New York life.
Speaker 7: There was some time for music. He started to forget
Speaker 7: about it. But soon, you know how it is, music
Speaker 7: will pull him back in. Because what Franquito maybe didn't
Speaker 7: count on is that he had just landed in Lacuna
Speaker 7: the dance Hall, Brooklyn from Spotify and Photolo Studios. I'm
Speaker 7: in between and this is loud The History of Reggaeton
Speaker 7: Episode two, The Nueva or Connection. This episode, we're talking
Speaker 7: about New York City because New York esna meskla te Gambio.
Speaker 4: It's an exchange.
Speaker 7: And in this story is where Bodriqua's Panamanians and Jamaican
Speaker 7: we all vibe and learn from each other's music. I'm
Speaker 7: going to tell you how immigrants from Panama in Brooklyn
Speaker 7: took reggae and dance on and Espanon to the next level.
Speaker 4: If Jamaican music produced in New York performed by latinos,
Speaker 4: so it's hard.
Speaker 7: And how both dance well and hip hop from New
Speaker 7: York City traveled to my Isla Alecando and think how
Speaker 7: New York became the crossroads that made reggedon possible. Franqito
Speaker 7: like most black Panamanians settled in Central Brooklyn, which includes
Speaker 7: neighborhoods like Crown Heights and Flat Bush. The area is
Speaker 7: like the West Indian United Nations. Black immigrants from all
Speaker 7: over the Caribbean lived there. Jamaica, Trinida, It.
Speaker 4: And the dancehold regga scene in Brooklyn West popping.
Speaker 3: Like in Panama, you get a little bit of it,
Speaker 3: but when you came over here it was more in it.
Speaker 7: You know, this is Exxenia and she's someone I am
Speaker 7: very excited to introduce you to.
Speaker 3: I'm Exena Nikes named La Trevida.
Speaker 7: Latrevida means the root Girl. We never met, but she's
Speaker 7: the first female artist of Elmovimiento. Is Una Bionda de
Speaker 7: Verda and she got the name brook Girl for a reason.
Speaker 3: The dancing, the lyrics that I was using. I was like,
Speaker 3: oh my god, I was wrong.
Speaker 4: That's when I come now.
Speaker 7: She's a Christian and she jokes that she should change
Speaker 7: her name from the rook Girl to the Good Girl.
Speaker 7: But back in the day she had an attitude rocking
Speaker 7: chains and baggy clothes. She was in the same Brooklyn
Speaker 7: dance hall scene as Franquito, and she told us about
Speaker 7: the crazy parties they used to have.
Speaker 3: It was lit back in at these parties went the
Speaker 3: morning sound like you come out sunlight, what's unsaid. Some
Speaker 3: clubs went to midday.
Speaker 4: The parties were every night of the week.
Speaker 3: They had big, huge clubs, and they had the underground.
Speaker 4: Places underground like basement and backyard parties.
Speaker 3: And you know, like in the day, I guess it's
Speaker 3: a mechanic sample whatever, truck, pucking lot, whatever.
Speaker 7: But then at night, at night, it became a sweaty
Speaker 7: dance whole party.
Speaker 3: You just go and chat on the mic, you buy
Speaker 3: your drinks, you know, and just ship.
Speaker 4: It was just a cool ride, you know.
Speaker 7: And these were like freestyle sessions. If you have skills,
Speaker 7: you could get on the mic. Latreville didn't see a
Speaker 7: lot of women up there, but that didn't stop her.
Speaker 3: I guess they was shy or they were afraid. Well,
Speaker 3: I don't know. I had no fear.
Speaker 4: I had no fear. She sounds just like me. Latrevida
Speaker 4: just went for it.
Speaker 3: Call me a rueyal. I may not brag and show off.
Speaker 3: If you're coming to me face, make gonna go click off,
Speaker 3: rude girl, I may not take back. No talk coming
Speaker 3: on me face and make going I go back.
Speaker 7: The crowd at these parties was mixed Jamaican, Pnomenians and Latrevida.
Speaker 4: She could work in English and Spanish.
Speaker 3: See page break. Okay, bogget simplatin. Why now the puppy?
Speaker 4: I love her? You know, the female power that we
Speaker 4: have there you go.
Speaker 7: Latrevida actually had parties in her basement on Thursdays. And
Speaker 7: just because these parties were held at the basement and
Speaker 7: out of shops, that doesn't mean that they were for amateurs.
Speaker 4: The biggest names in the dance.
Speaker 7: Hool music will show up and spread when they went
Speaker 7: to New York, guys like super Cad and Shaggy, I.
Speaker 3: Love my Name, you suppriss you the sessions those guys
Speaker 3: used to comfort Brooklyn to go to the spots.
Speaker 7: Yes al ambiente where Panamanians and Jamaicans are hanging out
Speaker 7: together getting to know each other. Of course, you know,
Speaker 7: smoking weed in the basement where the dance hold and
Speaker 7: Efaniel really takes off. And this is the word Franquto
Speaker 7: walks into right when he thought he was leaving the
Speaker 7: dance hall behind and Panama, he gets stopped by Cans.
Speaker 8: Sound system system and Ayochla so and so.
Speaker 7: He said that in New York City he bought a
Speaker 7: little sound system that he would bring around to every party,
Speaker 7: which he called the Bachelor Sound and he started to
Speaker 7: perform under the name Elnerdi and Heneran hasn't given an
Speaker 7: interview about his music. For over a decade. This audio
Speaker 7: is from an interview he recorded with a journalist in
Speaker 7: two thousand and four.
Speaker 4: Commando Max.
Speaker 7: And Henerad says that he got his name because Panama
Speaker 7: was run by Lee Ales for years, so it was
Speaker 7: a way to say that he was the commander, the boss.
Speaker 7: He took it to the next level by performing in
Speaker 7: a military uniform, but music was still a hobby for him.
Speaker 7: He was working in businesses making good money. He does,
Speaker 7: maybe I record something just to give it a shot.
Speaker 4: Yeah, I guess I believe that Yellow, but don't he
Speaker 4: never imagine that anything could actually come.
Speaker 2: Of it, coming up on that you know USA. We
Speaker 2: continue with episode two of our critically acclaimed series Loud,
Speaker 2: The History of Regaton. Stay with us, Hey, we're back.
Speaker 2: Let's get back to episode two of our critically acclaimed
Speaker 2: series Loud, The History of Reggaeton.
Speaker 4: Eighties.
Speaker 7: A lot of the Jamaican dancehall industry was actually based
Speaker 7: in New York.
Speaker 4: BP Records was the world biggest distributor of.
Speaker 7: Reggae music and it was run by a Chinese Jamaican
Speaker 7: family out of Queens And trust me.
Speaker 4: They have a lot of power to move records in
Speaker 4: the industry.
Speaker 9: There was Spanish people, you know, really interested in the reggae,
Speaker 9: and there wasn't any Spanish artists doing reggae, so he
Speaker 9: ventured into it.
Speaker 4: We're not Spanish, we are Latinos. But I get what
Speaker 4: he means. This is Michael McDonald. He was a studio
Speaker 4: owner back then.
Speaker 7: He said that it was a Jamaican records show worker
Speaker 7: at VP who noticed just how many Latinos were coming
Speaker 7: in to buy these dancehall albums all in English, and
Speaker 7: a light bulb when I'm there was money to be made.
Speaker 9: He was one of the first obriginaries. People didn't really
Speaker 9: take him seriously. To be honest with you, I guess
Speaker 9: this is a Jamaican thing like to stick toward you know,
Speaker 9: the weight went. It took me to a televis surprise.
Speaker 7: So in nineteen ninety, this record shop guy pulls El
Speaker 7: Hennerdan into the studio. There was a popular song at
Speaker 7: the moment by little Lenny Cononaniere and it was a
Speaker 7: tribute to the power of the pussy and that song
Speaker 7: trust Me for the Time was dirty. El Heneral recorded
Speaker 7: a cover of the song in Spanish and that song
Speaker 7: for Umpalo and.
Speaker 3: That English tune was a very big meaning in every
Speaker 3: area America Latin and they knew that song, so for
Speaker 3: him to bring it across in Spanish it was a bumpshell.
Speaker 7: Latrevida remembers performing at shows with El Henerald where he
Speaker 7: was singing to Bumpoon.
Speaker 4: It was an easy hit.
Speaker 3: Was the song in English hit and you got through it?
Speaker 3: In Spanish, that was an easy hit.
Speaker 7: That song blew the fuck up. I still remember with
Speaker 7: the song hit and landed in Puerto Rico. It was
Speaker 7: in every corner, every birthday, every party, everything. Sano tell
Speaker 7: a story about his first gig he played in New
Speaker 7: York after that song came out. He show up and
Speaker 7: the streets outside was full of people. He went up
Speaker 7: to the bouncer and he was like, I'm here to
Speaker 7: sing tonight, am and he and the bouncer was like
Speaker 7: yeah right, and I'm prince, see the prince.
Speaker 4: Prince.
Speaker 7: Eventually he got into do the show and he was
Speaker 7: blown away watching how the crowd reacted. He then realized
Speaker 7: that people were hungry for this music. That night, he
Speaker 7: decided to quit his job.
Speaker 4: Camala Music.
Speaker 7: And Heneral quickly followed with more songs. There was Buena
Speaker 7: and Weuebelo, and those were huge. Two after Henerdan dance
Speaker 7: on the Spanish was officially in style. I'm talking in
Speaker 7: ninety ninety one, ninety two, But most of the big
Speaker 7: artists in that first wave were black Central Americans in
Speaker 7: New York. Later Rita got to deal with Columbia Records. Meanwhile,
Speaker 7: and Heneral was getting big internationally. His songs became the
Speaker 7: kind of hits that everybody knew from Mexico down to Argentina.
Speaker 7: At first, Elenderal said he couldn't actually travel to the concerts. Yeah, yeah, yeah,
Speaker 7: he had overstayed his visa and was undocumented. He said
Speaker 7: that in his absence, a rumor went around that he died.
Speaker 7: So when he got his papers and started touring, it
Speaker 7: was like the resurrection of Heneran.
Speaker 8: And the visio.
Speaker 7: And he said he had to go on to be
Speaker 7: to show people he was still alive and invite them
Speaker 7: to the show. The music was all over America Latina,
Speaker 7: but not everybody got it. This audio is from Henerani
Speaker 7: when he appeared on a TV show in Chile, one
Speaker 7: of those shows. In the video, and Heneral is super
Speaker 7: all and skinny, and he's wearing his purple general's uniform
Speaker 7: and dancing so awkwardly with the TV host. This interview
Speaker 7: kind of makes you cringe. The host is saying that
Speaker 7: these are totally made up words, right. He literally doesn't
Speaker 7: understand the music and acts like Kelenneda came from out
Speaker 7: of space. The whole thing seems like a big joke today,
Speaker 7: this black Latin American doing the strange thing called rapping.
Speaker 7: For Puerto Rican's it was completely different. We love and
Speaker 7: understood dancehol Maybe it's because we're also from the Caribbean,
Speaker 7: just because of the New York connection we have.
Speaker 4: In nineteen eighty.
Speaker 7: There were almost one million Bodique was living in New
Speaker 7: York City, so music was always going back and forth
Speaker 7: on the Wild Waie area. You know those three and
Speaker 7: a half hour domestic flight back and forth from someone
Speaker 7: to New York.
Speaker 4: Those planes brought new sound to the island fast.
Speaker 1: See.
Speaker 7: Back in the day, it was normal if you grow
Speaker 7: up in the city that your parents will send you
Speaker 7: for the summer to stay with your grandparents and cousins
Speaker 7: in Puerto Rico.
Speaker 4: DJ Tony Touch was one of those.
Speaker 10: I remember being surround about these trees and the grain.
Speaker 10: It was just a night and day between Eastern New York,
Speaker 10: Brooklyn and grandmother chopping the head off a rooster right there,
Speaker 10: talking like this is dinner.
Speaker 7: Or maybe it was the other way around. You live
Speaker 7: on the island, you will go in the summer to
Speaker 7: New York and you will come back with the latest
Speaker 7: music to show off to your friends back home. Here's
Speaker 7: rapper Lisaan.
Speaker 5: When I was traveling to New York to be seeing
Speaker 5: my grandma everything, when I called back to Puerto Rico
Speaker 5: or on forget it, I was, oh my god. I
Speaker 5: came from New York, was up with the outfrey with
Speaker 5: the new mulesing and say hey, listen, this is the
Speaker 5: new stuff.
Speaker 7: And in nineteen ninety and new stuff was Spanish stance
Speaker 7: and the World War area. It us another sound in
Speaker 7: the eighties and nineties that was very important to Regaton,
Speaker 7: and that sound was hip hop.
Speaker 2: We'll be right back, not right yes, hey, we're back.
Speaker 2: And here once again is La Diva lata evy Queen.
Speaker 2: To wrap up the episode, we.
Speaker 7: Are going to talk about hip hop for a second
Speaker 7: because it was a huge influence and movimento, especially in
Speaker 7: Puerto Rico. Most of the Puerto Rican artists in the
Speaker 7: early way, like myself started to do straight hip hop
Speaker 7: and got into the reggae and dancehall vibe later. And
Speaker 7: the reason Bodricos have such a close connection to hip
Speaker 7: hop is because we.
Speaker 4: Helped invent it. We were there since day one.
Speaker 7: That's my friend Tony Touch again, a legendary from the
Speaker 7: New York hip hop scene.
Speaker 10: I mean, hip hop started in the Bronx, and it
Speaker 10: started in the ghetto and these projects in the hood,
Speaker 10: and who lived in the hood Blacks and Puerto Ricans.
Speaker 4: You know, and many black Puerto Ricans as well.
Speaker 7: In those early years of hip hop, Puerto Ricans were representing.
Speaker 7: We have mcs, DJs, graffiti artists, and especially dancers. A
Speaker 7: lot of the first Bee Boys were Puerto Ricans. And
Speaker 7: what it was we were on hip hop films like
Speaker 7: Wild Style and.
Speaker 4: Bait Street that made an impact on Tony Touch.
Speaker 10: I see these kids on the movie screen that looked
Speaker 10: like me, Puerto Rican you know, because.
Speaker 3: Before I didn't see it like black or white, you
Speaker 3: know what I mean.
Speaker 10: Like, so you see Puerto Ricans in the movie or
Speaker 10: on the screen, it's like wow.
Speaker 7: You know. It was inspiring for me because of the
Speaker 7: New yor Rican connection. Puerto Rico was one of the
Speaker 7: first places to get into hip hop. I remember I
Speaker 7: first find out about hip hop through my brother Jacob.
Speaker 7: He had staves of dash effects Boster rhymes.
Speaker 4: Even though he didn't understand the music, spoke to us.
Speaker 7: It was straight up, it was raw, It was poetry,
Speaker 7: but with music underneath. You know, it was music that
Speaker 7: kept fit the feelings that you have insight.
Speaker 4: So growing up in Anjaco on the west side of
Speaker 4: Puerto Rico, I was all about the honey.
Speaker 7: I walk around with my boom box and my little
Speaker 7: peasodon and if any moment a cipher will start, we
Speaker 7: bust it down back Then, if you have a party
Speaker 7: and you didn't play rap honey, nobody's going to show up.
Speaker 7: So in the eighties, hip hop is huge in Puerto Rico,
Speaker 7: but it's hip hop from the US in English. The
Speaker 7: reason Puerto Rico got its own hip hop has a
Speaker 7: lot to do with a guy named Bigo Ci.
Speaker 3: Guy saw Vehicle Wow, a rapper with a career in Spanish.
Speaker 4: And at school, I started seeing this movement at Bigo.
Speaker 3: C becouc is the god from the dawn of Spanish rap.
Speaker 5: Puerto Rico.
Speaker 7: When it comes to hip hop in Puerto Rico, Becausi
Speaker 7: was the king. He was one of the first people
Speaker 7: to do hip hop in Spanish and do it so nice.
Speaker 7: The thing that was so cool about it for us
Speaker 7: was that we love rap music, but most of us
Speaker 7: they didn't understand a word, and all of a sudden,
Speaker 7: with Bico, we got the lyrics.
Speaker 4: It was like the movie went from black and white
Speaker 4: to color.
Speaker 7: La is that he's a storyteller and he have a
Speaker 7: way to put these words together and take you along
Speaker 7: on the ride.
Speaker 4: You're just there with him. Here's hip hop DJ Baron Lopez.
Speaker 6: Because he got these words that you would not expect
Speaker 6: it on a rap he changed it to make it
Speaker 6: interesting and funny but real.
Speaker 4: His music was the That's why we know him as
Speaker 4: a philosopher. The philosopher because he on the DJ that
Speaker 4: discovered him, the Negro.
Speaker 7: They started to record a few songs on cassettes, super
Speaker 7: basic with our studio or any real equipment. This is
Speaker 7: the mid eighties and the tapes Suerto Moon phenomenon. They
Speaker 7: were copying over and over again, pass hand to hand.
Speaker 4: They basically went viral.
Speaker 7: Soon, Honey, every car was bumping the Negro because here's
Speaker 7: the negro. Because and there were nobodies, just two kids
Speaker 7: who made some tapes.
Speaker 4: In NAVII and am was implemented cassette temp.
Speaker 7: Soon because met a young concert promoter named he books
Speaker 7: them to open for Public Enemy.
Speaker 4: It's a real doing for them. They are a hit
Speaker 4: and Jorge has an idea.
Speaker 11: And with all them listen, let's record, let's record I
Speaker 11: had never we had never recorded before, but they said,
Speaker 11: let's record this because this is really good. And that
Speaker 11: ended up being La Recta Finale Dja Negro and Bigo.
Speaker 7: Si Laretta Final, released by Joje's brand new label, Prime
Speaker 7: Wreckers in eighty nine. Wasn't the first hip hop and
Speaker 7: a panel rekerd to hit Puerto Rico, but it's the
Speaker 7: record that really started the fire.
Speaker 6: It was huge.
Speaker 11: You know, they would go straight from the truck out
Speaker 11: to the stores because everybody was lining up to pick
Speaker 11: them up.
Speaker 7: When I hear Laretta Final, you literally are listening to
Speaker 7: this young kid pouring words that are not using the hood,
Speaker 7: you know, like the stuff that he was putting together
Speaker 7: was amazing because he was wrapping about real life topic
Speaker 7: that were happening in the projects, the killing addiction aids
Speaker 7: in a way that just spoke to people as honest
Speaker 7: and real, and nobody in Puerto Rico heard anything like
Speaker 7: that before because he himself grew up in the projects
Speaker 7: in Las A Cassias. People forget that way back in
Speaker 7: the day. There was serious povery in Puerto Rico now too,
Speaker 7: but in the forties the slums were hardcore.
Speaker 4: Just google fan Gito So.
Speaker 7: In the fifties, the government started building these huge housing
Speaker 7: projects for poor people.
Speaker 5: Erki and Casio Seno Gandia Power in construction.
Speaker 4: Recurso's economics.
Speaker 7: These projects are known as casaio. They're also called residentialists,
Speaker 7: and they built the casa rios next to the middle
Speaker 7: class neighborhoods. They thought it would create a less divided society.
Speaker 7: But yeah, it didn't work out like that. But a
Speaker 7: mucho the cassaillo it's all about drugs, gun violence, many
Speaker 7: black or dark skin Puerto Rican living them, and there's
Speaker 7: a lot of discrimination against a residente de casrio. I
Speaker 7: didn't grow up in a cassaio, but I always hang
Speaker 7: out there. I knew people from all the casarios and
Speaker 7: the stuff. Because he was rapping about we were living there.
Speaker 7: He made a whole generation of kids from the hood
Speaker 7: say oh shit, I can do that too.
Speaker 4: That's what happened to me.
Speaker 7: I heard Beekle bruly ruing that first generation of rapping Epanoon,
Speaker 7: and I decided that I wanted.
Speaker 4: To be a rapper.
Speaker 7: Because Cidi Negro with Prime Breakers were the stars of
Speaker 7: a new genre, rapping Espanon and business was booming.
Speaker 11: We were releasing like ten records a year, you know,
Speaker 11: like we would have two studios running twenty four hours.
Speaker 11: We would hire other studios just to keep up with
Speaker 11: the music.
Speaker 7: You know.
Speaker 11: By then, we were the biggest independent label in the market.
Speaker 11: We were bigger than Fania. We were the bomb.
Speaker 7: In eighty nine, Prime Record put out the first hip
Speaker 7: hop album by a woman in Latin America.
Speaker 5: Li Sion Wandviko saka Supremel album. They hear me in
Speaker 5: another show rapping and they tell me, hey, Lisa, do
Speaker 5: you want to record an album?
Speaker 4: And I say what?
Speaker 1: Who?
Speaker 7: Me?
Speaker 5: And they say yeah you, and I say.
Speaker 4: Oh my gosh, yeah, let's go.
Speaker 7: Lizion grew up with Biko and Hakassias and started out
Speaker 7: as his backup dancer, And.
Speaker 5: I remember that that said my mom, Mommy, I'm going
Speaker 5: to record an album, and my man look at me
Speaker 5: and say, hey, yeah, so lool yo.
Speaker 3: Juano, Hey, you're gonna see me.
Speaker 5: You're gonna see me.
Speaker 4: And the next artist frimebreaker sign that's right, Eli Ran.
Speaker 7: These were the roots Oftro movimento, a dance on an
Speaker 7: efanel scene that started in Panama, a hip hop an
Speaker 7: efanel scene that was killing it in Puerto Rico. Black
Speaker 7: sounds with roots from the English speaking world now available
Speaker 7: en Espanel, New York made that connection happen. But the
Speaker 7: next phase of regedon history that happens in Puerto Rico
Speaker 7: in a dark, sweaty little club that is close to
Speaker 7: my heart, the club where I got my start, and
Speaker 7: that a Yankee guy his start, and so many others
Speaker 7: were teenagers from the hood. Ivana Taraman said. A club
Speaker 7: that gave birth to a sound, a club called Denis.
Speaker 4: Loud.
Speaker 7: The History of Reggaeton is a Spotify original podcast from
Speaker 7: Futuro Studios. This podcast was written and reported by Marlon
Speaker 7: Bishop and Louis Gaio and edited by Sophia Palisa Khan,
Speaker 7: with help on this episode from Audrey Queen from Spotify
Speaker 7: Executive producers Gina Bilbah, Adrian Aredondo, Jessica Molina and Julio A.
Speaker 4: Pabon.
Speaker 7: We're producing help from Dan Behar. Executive produced for Futudo
Speaker 7: Studios by Marlon Bishop. Produced by Louis Gaio, Ginny Montalbo,
Speaker 7: Catalina Gatta, Eggleston Ermes, Ajala, Joaquin cut Sandraano, Nicord Rothwell
Speaker 7: and Daniela Tejogar. Song Additional production by Christian Errera, Seva Tiander,
Speaker 7: Bays Lunez A Secilro, Rega Sandino and Juan Diego Amirez.
Speaker 7: Fat check in by Tatiana Dias, sound designer Mixing by
Speaker 7: Genni Montalbo and Stephanie Lebou, with help on this episode
Speaker 7: from Rosanna Cawan.
Speaker 4: Artin song is by Max.
Speaker 7: Original music by Ego and Danny crazy Town for the
Speaker 7: Ego Team and impuls Ell Intellectoy music supervision by Big
Speaker 7: Sin George Truly. Recorded at Hega Studio by Maluri Iberno
Speaker 7: Ell Heneral.
Speaker 4: Interview audio courtesy of Christophe Twiko.
Speaker 7: Special thanks to Julio Ricardo, Barela, Luis Luna, Lileana, Ruis,
Speaker 7: josh Lin, Green Antonio, Seehidro Sonia Clavel, Ricardo Montalbo, Jasmina Fifi,
Speaker 7: O'Neil Anderson, Jessica Dito, qim Ellliah, Sarah Kayner, Vijan Garby,
Speaker 7: Jesse Hart, Sue Lou, Brian Marquis, Lauren Mine King, Ashley Nesby,
Speaker 7: Andrea c lincy Way Slipkins and Jordantocinski for production support.
Speaker 4: I'm your hosts Ivy Queen.
Speaker 7: Make sure to follow loud the History of Reggaeton only
Speaker 7: on Spotify.
Speaker 2: Thank you so much for that, Ivy Queen and dear listener,
Speaker 2: We'll see you on our next episode and as always,
Speaker 2: lot Bayas Ciao