October 3, 2025 • 32 mins
Reggaeton is full of myths and legends, but this story is true: El General arrived in Brooklyn in the mid-80s and began performing in the dancehall scene, which was booming. He began working with Jamaican producers who were recording and promoting Panamanian artists. Around the same time, a Spanish-language hip-hop revolution was also taking place, as mixtapes flew back and forth between NYC and Puerto Rico.
New York became the crossroad that made Reggaeton possible.
Listen to a special episode from our own Futuro Studios hit show LOUD: The History of Reggaeton hosted by Ivy Queen.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:06):
I'm Lisa and Akazawa join me on season two of
Stars and Stars with Lisa, where I sit down with
some of the most exciting stars of our time to
find out what their birth chart reveals about their life's purpose,
their relationships, and their challenges. Winner of the Signal Award
for Most Inspirational Podcast, Stars and Stars will help you
make sense of today's complicated times. Even if you're an
(00:28):
astrology skeptic. You can listen to Stars and Stars with
Lisa wherever you get your podcasts. Don't forget to follow
the show so you never miss an episode.
Speaker 2 (00:53):
Dear, let you know us say listener. Hey, So, we
recently brought you episode one of our critically acclaimed series
Loud The History of Reggaeton. The ten part series is
a collaboration between our own Futuro Studios and Spotify. It's
hosted by none other than La Rena la cata Evy Queen,
(01:15):
one of the originators of regedton, and we're so happy
to be able to share this series with you again
because well, for some time there, Loud disappeared from our
feed for reasons beyond our control, but you all demanded
that we bring Loud back and we hurt you. The
(01:36):
full series is now available for you to stream and enjoy.
So tell everybody you know, your friends, your familia, and
share the great news, of course, on all of your
social media that Loud is back. Before we get into
today's episode, just a heads up there is some strong
language and some mature content. All right, here we go
(02:11):
from Vuduro Media. It's Latino USA. I'm Maria Josa. Today
we bring you the Nueva Your Connection, episode two of
our hit series Loud The History of Reggaton and now
I'm passing the mic to Ladiva herself, Ibi Queen.
Speaker 3 (02:36):
Previously on Loud and Lenard is like the blueprint.
Speaker 4 (02:40):
He was crazy on the stage.
Speaker 5 (02:42):
He could I say something on the black heaed Vix
Pressley and today was just screaming.
Speaker 4 (02:46):
He's considered the father of Reggaeton. He said, I'm going
to America. I said to him, you know what, you
better perform and do it. You know he's the one
that took it to the next level.
Speaker 6 (02:56):
He blew up.
Speaker 7 (03:03):
It's nineteen eighty five, nineteen years old. At Galdo Franco
or Frank is a TOAs Skinny Kid getting on a
plane from Panama City to New York to study business administration.
Speaker 8 (03:17):
Hello Genio via iithermin Em Carrera, the Ama.
Speaker 4 (03:27):
In Panama.
Speaker 7 (03:28):
He and his friends have started seeing Jamaican dance hall
and Regaan Espannon in Panama. They were had their music
was playing on the buses and in the club.
Speaker 4 (03:45):
Up in the air.
Speaker 7 (03:46):
Frankie, you imagine he's leaving all that behind, the parties,
the attention, the chance to be an artist. It was
time to get serious, get a real profession. Ladies and gentlemen,
Welcome to j l game. The local time is seven
y two a m. At the temperature is sixty two degrees.
Speaker 4 (04:07):
New York was a whole new remo.
Speaker 7 (04:10):
Frando, the hustle and muscle that don't give a fuck
attitude to say. In New York City, you got to
be on your game, Lasa tea. Frankito was holding down three.
Speaker 4 (04:23):
Jobs just to get by music. All in the fast
pace New York life.
Speaker 7 (04:40):
There was some time for music. He started to forget
about it. But soon, you know how it is, music
will pull him back in. Because what Franquito maybe didn't
count on is that he had just landed in Lacuna
the dance Hall, Brooklyn from Spotify and Photolo Studios. I'm
(05:03):
in between and this is loud The History of Reggaeton
Episode two, The Nueva or Connection. This episode, we're talking
about New York City because New York esna meskla te Gambio.
Speaker 4 (05:26):
It's an exchange.
Speaker 7 (05:27):
And in this story is where Bodriqua's Panamanians and Jamaican
we all vibe and learn from each other's music. I'm
going to tell you how immigrants from Panama in Brooklyn
took reggae and dance on and Espanon to the next level.
Speaker 4 (05:43):
If Jamaican music produced in New York performed by latinos,
so it's hard.
Speaker 7 (05:49):
And how both dance well and hip hop from New
York City traveled to my Isla Alecando and think how
New York became the crossroads that made reggedon possible. Franqito
like most black Panamanians settled in Central Brooklyn, which includes
(06:11):
neighborhoods like Crown Heights and Flat Bush. The area is
like the West Indian United Nations. Black immigrants from all
over the Caribbean lived there. Jamaica, Trinida, It.
Speaker 4 (06:27):
And the dancehold regga scene in Brooklyn West popping.
Speaker 3 (06:35):
Like in Panama, you get a little bit of it,
but when you came over here it was more in it.
Speaker 7 (06:40):
You know, this is Exxenia and she's someone I am
very excited to introduce you to.
Speaker 3 (06:46):
I'm Exena Nikes named La Trevida.
Speaker 7 (06:51):
Latrevida means the root Girl. We never met, but she's
the first female artist of Elmovimiento. Is Una Bionda de
Verda and she got the name brook Girl for a reason.
Speaker 3 (07:03):
The dancing, the lyrics that I was using. I was like,
oh my god, I was wrong.
Speaker 4 (07:10):
That's when I come now.
Speaker 7 (07:12):
She's a Christian and she jokes that she should change
her name from the rook Girl to the Good Girl.
But back in the day she had an attitude rocking
chains and baggy clothes. She was in the same Brooklyn
dance hall scene as Franquito, and she told us about
the crazy parties they used to have.
Speaker 3 (07:32):
It was lit back in at these parties went the
morning sound like you come out sunlight, what's unsaid. Some
clubs went to midday.
Speaker 4 (07:40):
The parties were every night of the week.
Speaker 3 (07:43):
They had big, huge clubs, and they had the underground.
Speaker 4 (07:48):
Places underground like basement and backyard parties.
Speaker 3 (07:52):
And you know, like in the day, I guess it's
a mechanic sample whatever, truck, pucking lot, whatever.
Speaker 7 (07:59):
But then at night, at night, it became a sweaty
dance whole party.
Speaker 3 (08:03):
You just go and chat on the mic, you buy
your drinks, you know, and just ship.
Speaker 4 (08:08):
It was just a cool ride, you know.
Speaker 7 (08:10):
And these were like freestyle sessions. If you have skills,
you could get on the mic. Latreville didn't see a
lot of women up there, but that didn't stop her.
Speaker 3 (08:19):
I guess they was shy or they were afraid. Well,
I don't know. I had no fear.
Speaker 4 (08:24):
I had no fear. She sounds just like me. Latrevida
just went for it.
Speaker 3 (08:31):
Call me a rueyal. I may not brag and show off.
If you're coming to me face, make gonna go click off,
rude girl, I may not take back. No talk coming
on me face and make going I go back.
Speaker 7 (08:44):
The crowd at these parties was mixed Jamaican, Pnomenians and Latrevida.
Speaker 4 (08:50):
She could work in English and Spanish.
Speaker 3 (08:52):
See page break. Okay, bogget simplatin. Why now the puppy?
Speaker 4 (09:07):
I love her? You know, the female power that we
have there you go.
Speaker 7 (09:14):
Latrevida actually had parties in her basement on Thursdays. And
just because these parties were held at the basement and
out of shops, that doesn't mean that they were for amateurs.
Speaker 4 (09:27):
The biggest names in the dance.
Speaker 7 (09:28):
Hool music will show up and spread when they went
to New York, guys like super Cad and Shaggy, I.
Speaker 3 (09:38):
Love my Name, you suppriss you the sessions those guys
used to comfort Brooklyn to go to the spots.
Speaker 7 (09:45):
Yes al ambiente where Panamanians and Jamaicans are hanging out
together getting to know each other. Of course, you know,
smoking weed in the basement where the dance hold and
Efaniel really takes off. And this is the word Franquto
walks into right when he thought he was leaving the
(10:07):
dance hall behind and Panama, he gets stopped by Cans.
Speaker 8 (10:15):
Sound system system and Ayochla so and so.
Speaker 7 (10:21):
He said that in New York City he bought a
little sound system that he would bring around to every party,
which he called the Bachelor Sound and he started to
perform under the name Elnerdi and Heneran hasn't given an
interview about his music. For over a decade. This audio
is from an interview he recorded with a journalist in
(10:42):
two thousand and four.
Speaker 4 (10:49):
Commando Max.
Speaker 7 (10:54):
And Henerad says that he got his name because Panama
was run by Lee Ales for years, so it was
a way to say that he was the commander, the boss.
He took it to the next level by performing in
a military uniform, but music was still a hobby for him.
He was working in businesses making good money. He does,
(11:17):
maybe I record something just to give it a shot.
Speaker 4 (11:20):
Yeah, I guess I believe that Yellow, but don't he
never imagine that anything could actually come.
Speaker 2 (11:25):
Of it, coming up on that you know USA. We
continue with episode two of our critically acclaimed series Loud,
The History of Regaton. Stay with us, Hey, we're back.
(11:50):
Let's get back to episode two of our critically acclaimed
series Loud, The History of Reggaeton.
Speaker 4 (12:00):
Eighties.
Speaker 7 (12:01):
A lot of the Jamaican dancehall industry was actually based
in New York.
Speaker 4 (12:05):
BP Records was the world biggest distributor of.
Speaker 7 (12:09):
Reggae music and it was run by a Chinese Jamaican
family out of Queens And trust me.
Speaker 4 (12:16):
They have a lot of power to move records in
the industry.
Speaker 9 (12:19):
There was Spanish people, you know, really interested in the reggae,
and there wasn't any Spanish artists doing reggae, so he
ventured into it.
Speaker 4 (12:27):
We're not Spanish, we are Latinos. But I get what
he means. This is Michael McDonald. He was a studio
owner back then.
Speaker 7 (12:36):
He said that it was a Jamaican records show worker
at VP who noticed just how many Latinos were coming
in to buy these dancehall albums all in English, and
a light bulb when I'm there was money to be made.
Speaker 9 (12:52):
He was one of the first obriginaries. People didn't really
take him seriously. To be honest with you, I guess
this is a Jamaican thing like to stick toward you know,
the weight went. It took me to a televis surprise.
Speaker 7 (13:05):
So in nineteen ninety, this record shop guy pulls El
Hennerdan into the studio. There was a popular song at
the moment by little Lenny Cononaniere and it was a
tribute to the power of the pussy and that song
trust Me for the Time was dirty. El Heneral recorded
(13:25):
a cover of the song in Spanish and that song
for Umpalo and.
Speaker 3 (13:32):
That English tune was a very big meaning in every
area America Latin and they knew that song, so for
him to bring it across in Spanish it was a bumpshell.
Speaker 7 (13:44):
Latrevida remembers performing at shows with El Henerald where he
was singing to Bumpoon.
Speaker 4 (13:50):
It was an easy hit.
Speaker 3 (13:52):
Was the song in English hit and you got through it?
In Spanish, that was an easy hit.
Speaker 7 (13:57):
That song blew the fuck up. I still remember with
the song hit and landed in Puerto Rico. It was
in every corner, every birthday, every party, everything. Sano tell
a story about his first gig he played in New
York after that song came out. He show up and
the streets outside was full of people. He went up
(14:24):
to the bouncer and he was like, I'm here to
sing tonight, am and he and the bouncer was like
yeah right, and I'm prince, see the prince.
Speaker 4 (14:40):
Prince.
Speaker 7 (14:44):
Eventually he got into do the show and he was
blown away watching how the crowd reacted. He then realized
that people were hungry for this music. That night, he
decided to quit his job.
Speaker 4 (15:08):
Camala Music.
Speaker 7 (15:11):
And Heneral quickly followed with more songs. There was Buena
and Weuebelo, and those were huge. Two after Henerdan dance
on the Spanish was officially in style. I'm talking in
ninety ninety one, ninety two, But most of the big
(15:33):
artists in that first wave were black Central Americans in
New York. Later Rita got to deal with Columbia Records. Meanwhile,
and Heneral was getting big internationally. His songs became the
kind of hits that everybody knew from Mexico down to Argentina.
(15:54):
At first, Elenderal said he couldn't actually travel to the concerts. Yeah, yeah, yeah,
he had overstayed his visa and was undocumented. He said
that in his absence, a rumor went around that he died.
So when he got his papers and started touring, it
(16:15):
was like the resurrection of Heneran.
Speaker 8 (16:28):
And the visio.
Speaker 7 (16:31):
And he said he had to go on to be
to show people he was still alive and invite them
to the show. The music was all over America Latina,
but not everybody got it. This audio is from Henerani
(16:52):
when he appeared on a TV show in Chile, one
of those shows. In the video, and Heneral is super
all and skinny, and he's wearing his purple general's uniform
and dancing so awkwardly with the TV host. This interview
kind of makes you cringe. The host is saying that
(17:16):
these are totally made up words, right. He literally doesn't
understand the music and acts like Kelenneda came from out
of space. The whole thing seems like a big joke today,
this black Latin American doing the strange thing called rapping.
(17:40):
For Puerto Rican's it was completely different. We love and
understood dancehol Maybe it's because we're also from the Caribbean,
just because of the New York connection we have.
Speaker 4 (17:56):
In nineteen eighty.
Speaker 7 (17:58):
There were almost one million Bodique was living in New
York City, so music was always going back and forth
on the Wild Waie area. You know those three and
a half hour domestic flight back and forth from someone
to New York.
Speaker 4 (18:14):
Those planes brought new sound to the island fast.
Speaker 1 (18:18):
See.
Speaker 7 (18:18):
Back in the day, it was normal if you grow
up in the city that your parents will send you
for the summer to stay with your grandparents and cousins
in Puerto Rico.
Speaker 4 (18:27):
DJ Tony Touch was one of those.
Speaker 10 (18:30):
I remember being surround about these trees and the grain.
It was just a night and day between Eastern New York,
Brooklyn and grandmother chopping the head off a rooster right there,
talking like this is dinner.
Speaker 7 (18:42):
Or maybe it was the other way around. You live
on the island, you will go in the summer to
New York and you will come back with the latest
music to show off to your friends back home. Here's
rapper Lisaan.
Speaker 5 (18:54):
When I was traveling to New York to be seeing
my grandma everything, when I called back to Puerto Rico
or on forget it, I was, oh my god. I
came from New York, was up with the outfrey with
the new mulesing and say hey, listen, this is the
new stuff.
Speaker 7 (19:14):
And in nineteen ninety and new stuff was Spanish stance
and the World War area. It us another sound in
the eighties and nineties that was very important to Regaton,
and that sound was hip hop.
Speaker 2 (19:31):
We'll be right back, not right yes, hey, we're back.
And here once again is La Diva lata evy Queen.
(19:53):
To wrap up the episode, we.
Speaker 7 (20:00):
Are going to talk about hip hop for a second
because it was a huge influence and movimento, especially in
Puerto Rico. Most of the Puerto Rican artists in the
early way, like myself started to do straight hip hop
and got into the reggae and dancehall vibe later. And
(20:20):
the reason Bodricos have such a close connection to hip
hop is because we.
Speaker 4 (20:25):
Helped invent it. We were there since day one.
Speaker 7 (20:29):
That's my friend Tony Touch again, a legendary from the
New York hip hop scene.
Speaker 10 (20:36):
I mean, hip hop started in the Bronx, and it
started in the ghetto and these projects in the hood,
and who lived in the hood Blacks and Puerto Ricans.
Speaker 4 (20:45):
You know, and many black Puerto Ricans as well.
Speaker 7 (20:49):
In those early years of hip hop, Puerto Ricans were representing.
We have mcs, DJs, graffiti artists, and especially dancers. A
lot of the first Bee Boys were Puerto Ricans. And
what it was we were on hip hop films like
Wild Style and.
Speaker 4 (21:07):
Bait Street that made an impact on Tony Touch.
Speaker 10 (21:11):
I see these kids on the movie screen that looked
like me, Puerto Rican you know, because.
Speaker 3 (21:16):
Before I didn't see it like black or white, you
know what I mean.
Speaker 10 (21:19):
Like, so you see Puerto Ricans in the movie or
on the screen, it's like wow.
Speaker 7 (21:23):
You know. It was inspiring for me because of the
New yor Rican connection. Puerto Rico was one of the
first places to get into hip hop. I remember I
first find out about hip hop through my brother Jacob.
He had staves of dash effects Boster rhymes.
Speaker 4 (21:46):
Even though he didn't understand the music, spoke to us.
Speaker 7 (21:50):
It was straight up, it was raw, It was poetry,
but with music underneath. You know, it was music that
kept fit the feelings that you have insight.
Speaker 4 (22:01):
So growing up in Anjaco on the west side of
Puerto Rico, I was all about the honey.
Speaker 7 (22:07):
I walk around with my boom box and my little
peasodon and if any moment a cipher will start, we
bust it down back Then, if you have a party
and you didn't play rap honey, nobody's going to show up.
So in the eighties, hip hop is huge in Puerto Rico,
(22:28):
but it's hip hop from the US in English. The
reason Puerto Rico got its own hip hop has a
lot to do with a guy named Bigo Ci.
Speaker 3 (22:40):
Guy saw Vehicle Wow, a rapper with a career in Spanish.
Speaker 4 (22:45):
And at school, I started seeing this movement at Bigo.
Speaker 3 (22:48):
C becouc is the god from the dawn of Spanish rap.
Speaker 5 (22:53):
Puerto Rico.
Speaker 7 (22:54):
When it comes to hip hop in Puerto Rico, Becausi
was the king. He was one of the first people
to do hip hop in Spanish and do it so nice.
The thing that was so cool about it for us
was that we love rap music, but most of us
they didn't understand a word, and all of a sudden,
(23:17):
with Bico, we got the lyrics.
Speaker 4 (23:19):
It was like the movie went from black and white
to color.
Speaker 7 (23:26):
La is that he's a storyteller and he have a
way to put these words together and take you along
on the ride.
Speaker 4 (23:35):
You're just there with him. Here's hip hop DJ Baron Lopez.
Speaker 6 (23:40):
Because he got these words that you would not expect
it on a rap he changed it to make it
interesting and funny but real.
Speaker 4 (23:53):
His music was the That's why we know him as
a philosopher. The philosopher because he on the DJ that
discovered him, the Negro.
Speaker 7 (24:04):
They started to record a few songs on cassettes, super
basic with our studio or any real equipment. This is
the mid eighties and the tapes Suerto Moon phenomenon. They
were copying over and over again, pass hand to hand.
Speaker 4 (24:22):
They basically went viral.
Speaker 7 (24:24):
Soon, Honey, every car was bumping the Negro because here's
the negro. Because and there were nobodies, just two kids
who made some tapes.
Speaker 4 (24:40):
In NAVII and am was implemented cassette temp.
Speaker 7 (24:51):
Soon because met a young concert promoter named he books
them to open for Public Enemy.
Speaker 4 (24:59):
It's a real doing for them. They are a hit
and Jorge has an idea.
Speaker 11 (25:04):
And with all them listen, let's record, let's record I
had never we had never recorded before, but they said,
let's record this because this is really good. And that
ended up being La Recta Finale Dja Negro and Bigo.
Speaker 7 (25:19):
Si Laretta Final, released by Joje's brand new label, Prime
Wreckers in eighty nine. Wasn't the first hip hop and
a panel rekerd to hit Puerto Rico, but it's the
record that really started the fire.
Speaker 6 (25:34):
It was huge.
Speaker 11 (25:35):
You know, they would go straight from the truck out
to the stores because everybody was lining up to pick
them up.
Speaker 7 (25:43):
When I hear Laretta Final, you literally are listening to
this young kid pouring words that are not using the hood,
you know, like the stuff that he was putting together
was amazing because he was wrapping about real life topic
that were happening in the projects, the killing addiction aids
(26:06):
in a way that just spoke to people as honest
and real, and nobody in Puerto Rico heard anything like
that before because he himself grew up in the projects
in Las A Cassias. People forget that way back in
the day. There was serious povery in Puerto Rico now too,
(26:28):
but in the forties the slums were hardcore.
Speaker 4 (26:31):
Just google fan Gito So.
Speaker 7 (26:33):
In the fifties, the government started building these huge housing
projects for poor people.
Speaker 5 (26:39):
Erki and Casio Seno Gandia Power in construction.
Speaker 4 (26:46):
Recurso's economics.
Speaker 7 (26:48):
These projects are known as casaio. They're also called residentialists,
and they built the casa rios next to the middle
class neighborhoods. They thought it would create a less divided society.
But yeah, it didn't work out like that. But a
mucho the cassaillo it's all about drugs, gun violence, many
(27:14):
black or dark skin Puerto Rican living them, and there's
a lot of discrimination against a residente de casrio. I
didn't grow up in a cassaio, but I always hang
out there. I knew people from all the casarios and
the stuff. Because he was rapping about we were living there.
He made a whole generation of kids from the hood
(27:36):
say oh shit, I can do that too.
Speaker 4 (27:39):
That's what happened to me.
Speaker 7 (27:41):
I heard Beekle bruly ruing that first generation of rapping Epanoon,
and I decided that I wanted.
Speaker 4 (27:49):
To be a rapper.
Speaker 7 (27:52):
Because Cidi Negro with Prime Breakers were the stars of
a new genre, rapping Espanon and business was booming.
Speaker 11 (28:01):
We were releasing like ten records a year, you know,
like we would have two studios running twenty four hours.
We would hire other studios just to keep up with
the music.
Speaker 7 (28:11):
You know.
Speaker 11 (28:12):
By then, we were the biggest independent label in the market.
We were bigger than Fania. We were the bomb.
Speaker 7 (28:20):
In eighty nine, Prime Record put out the first hip
hop album by a woman in Latin America.
Speaker 5 (28:25):
Li Sion Wandviko saka Supremel album. They hear me in
another show rapping and they tell me, hey, Lisa, do
you want to record an album?
Speaker 4 (28:36):
And I say what?
Speaker 1 (28:37):
Who?
Speaker 7 (28:38):
Me?
Speaker 5 (28:39):
And they say yeah you, and I say.
Speaker 4 (28:41):
Oh my gosh, yeah, let's go.
Speaker 7 (28:46):
Lizion grew up with Biko and Hakassias and started out
as his backup dancer, And.
Speaker 5 (28:53):
I remember that that said my mom, Mommy, I'm going
to record an album, and my man look at me
and say, hey, yeah, so lool yo.
Speaker 3 (29:02):
Juano, Hey, you're gonna see me.
Speaker 5 (29:06):
You're gonna see me.
Speaker 4 (29:11):
And the next artist frimebreaker sign that's right, Eli Ran.
Speaker 7 (29:25):
These were the roots Oftro movimento, a dance on an
efanel scene that started in Panama, a hip hop an
efanel scene that was killing it in Puerto Rico. Black
sounds with roots from the English speaking world now available
en Espanel, New York made that connection happen. But the
(29:48):
next phase of regedon history that happens in Puerto Rico
in a dark, sweaty little club that is close to
my heart, the club where I got my start, and
that a Yankee guy his start, and so many others
were teenagers from the hood. Ivana Taraman said. A club
that gave birth to a sound, a club called Denis.
Speaker 4 (30:19):
Loud.
Speaker 7 (30:19):
The History of Reggaeton is a Spotify original podcast from
Futuro Studios. This podcast was written and reported by Marlon
Bishop and Louis Gaio and edited by Sophia Palisa Khan,
with help on this episode from Audrey Queen from Spotify
Executive producers Gina Bilbah, Adrian Aredondo, Jessica Molina and Julio A.
Speaker 4 (30:44):
Pabon.
Speaker 7 (30:45):
We're producing help from Dan Behar. Executive produced for Futudo
Studios by Marlon Bishop. Produced by Louis Gaio, Ginny Montalbo,
Catalina Gatta, Eggleston Ermes, Ajala, Joaquin cut Sandraano, Nicord Rothwell
and Daniela Tejogar. Song Additional production by Christian Errera, Seva Tiander,
(31:08):
Bays Lunez A Secilro, Rega Sandino and Juan Diego Amirez.
Fat check in by Tatiana Dias, sound designer Mixing by
Genni Montalbo and Stephanie Lebou, with help on this episode
from Rosanna Cawan.
Speaker 4 (31:23):
Artin song is by Max.
Speaker 7 (31:25):
Original music by Ego and Danny crazy Town for the
Ego Team and impuls Ell Intellectoy music supervision by Big
Sin George Truly. Recorded at Hega Studio by Maluri Iberno
Ell Heneral.
Speaker 4 (31:40):
Interview audio courtesy of Christophe Twiko.
Speaker 7 (31:43):
Special thanks to Julio Ricardo, Barela, Luis Luna, Lileana, Ruis,
josh Lin, Green Antonio, Seehidro Sonia Clavel, Ricardo Montalbo, Jasmina Fifi,
O'Neil Anderson, Jessica Dito, qim Ellliah, Sarah Kayner, Vijan Garby,
(32:06):
Jesse Hart, Sue Lou, Brian Marquis, Lauren Mine King, Ashley Nesby,
Andrea c lincy Way Slipkins and Jordantocinski for production support.
Speaker 4 (32:22):
I'm your hosts Ivy Queen.
Speaker 7 (32:24):
Make sure to follow loud the History of Reggaeton only
on Spotify.
Speaker 2 (32:30):
Thank you so much for that, Ivy Queen and dear listener,
We'll see you on our next episode and as always,
lot Bayas Ciao
I'm Lisa and Akazawa join me on season two of
Stars and Stars with Lisa, where I sit down with
some of the most exciting stars of our time to
find out what their birth chart reveals about their life's purpose,
their relationships, and their challenges. Winner of the Signal Award
for Most Inspirational Podcast, Stars and Stars will help you
make sense of today's complicated times. Even if you're an
(00:28):
astrology skeptic. You can listen to Stars and Stars with
Lisa wherever you get your podcasts. Don't forget to follow
the show so you never miss an episode.
Speaker 2 (00:53):
Dear, let you know us say listener. Hey, So, we
recently brought you episode one of our critically acclaimed series
Loud The History of Reggaeton. The ten part series is
a collaboration between our own Futuro Studios and Spotify. It's
hosted by none other than La Rena la cata Evy Queen,
(01:15):
one of the originators of regedton, and we're so happy
to be able to share this series with you again
because well, for some time there, Loud disappeared from our
feed for reasons beyond our control, but you all demanded
that we bring Loud back and we hurt you. The
(01:36):
full series is now available for you to stream and enjoy.
So tell everybody you know, your friends, your familia, and
share the great news, of course, on all of your
social media that Loud is back. Before we get into
today's episode, just a heads up there is some strong
language and some mature content. All right, here we go
(02:11):
from Vuduro Media. It's Latino USA. I'm Maria Josa. Today
we bring you the Nueva Your Connection, episode two of
our hit series Loud The History of Reggaton and now
I'm passing the mic to Ladiva herself, Ibi Queen.
Speaker 3 (02:36):
Previously on Loud and Lenard is like the blueprint.
Speaker 4 (02:40):
He was crazy on the stage.
Speaker 5 (02:42):
He could I say something on the black heaed Vix
Pressley and today was just screaming.
Speaker 4 (02:46):
He's considered the father of Reggaeton. He said, I'm going
to America. I said to him, you know what, you
better perform and do it. You know he's the one
that took it to the next level.
Speaker 6 (02:56):
He blew up.
Speaker 7 (03:03):
It's nineteen eighty five, nineteen years old. At Galdo Franco
or Frank is a TOAs Skinny Kid getting on a
plane from Panama City to New York to study business administration.
Speaker 8 (03:17):
Hello Genio via iithermin Em Carrera, the Ama.
Speaker 4 (03:27):
In Panama.
Speaker 7 (03:28):
He and his friends have started seeing Jamaican dance hall
and Regaan Espannon in Panama. They were had their music
was playing on the buses and in the club.
Speaker 4 (03:45):
Up in the air.
Speaker 7 (03:46):
Frankie, you imagine he's leaving all that behind, the parties,
the attention, the chance to be an artist. It was
time to get serious, get a real profession. Ladies and gentlemen,
Welcome to j l game. The local time is seven
y two a m. At the temperature is sixty two degrees.
Speaker 4 (04:07):
New York was a whole new remo.
Speaker 7 (04:10):
Frando, the hustle and muscle that don't give a fuck
attitude to say. In New York City, you got to
be on your game, Lasa tea. Frankito was holding down three.
Speaker 4 (04:23):
Jobs just to get by music. All in the fast
pace New York life.
Speaker 7 (04:40):
There was some time for music. He started to forget
about it. But soon, you know how it is, music
will pull him back in. Because what Franquito maybe didn't
count on is that he had just landed in Lacuna
the dance Hall, Brooklyn from Spotify and Photolo Studios. I'm
(05:03):
in between and this is loud The History of Reggaeton
Episode two, The Nueva or Connection. This episode, we're talking
about New York City because New York esna meskla te Gambio.
Speaker 4 (05:26):
It's an exchange.
Speaker 7 (05:27):
And in this story is where Bodriqua's Panamanians and Jamaican
we all vibe and learn from each other's music. I'm
going to tell you how immigrants from Panama in Brooklyn
took reggae and dance on and Espanon to the next level.
Speaker 4 (05:43):
If Jamaican music produced in New York performed by latinos,
so it's hard.
Speaker 7 (05:49):
And how both dance well and hip hop from New
York City traveled to my Isla Alecando and think how
New York became the crossroads that made reggedon possible. Franqito
like most black Panamanians settled in Central Brooklyn, which includes
(06:11):
neighborhoods like Crown Heights and Flat Bush. The area is
like the West Indian United Nations. Black immigrants from all
over the Caribbean lived there. Jamaica, Trinida, It.
Speaker 4 (06:27):
And the dancehold regga scene in Brooklyn West popping.
Speaker 3 (06:35):
Like in Panama, you get a little bit of it,
but when you came over here it was more in it.
Speaker 7 (06:40):
You know, this is Exxenia and she's someone I am
very excited to introduce you to.
Speaker 3 (06:46):
I'm Exena Nikes named La Trevida.
Speaker 7 (06:51):
Latrevida means the root Girl. We never met, but she's
the first female artist of Elmovimiento. Is Una Bionda de
Verda and she got the name brook Girl for a reason.
Speaker 3 (07:03):
The dancing, the lyrics that I was using. I was like,
oh my god, I was wrong.
Speaker 4 (07:10):
That's when I come now.
Speaker 7 (07:12):
She's a Christian and she jokes that she should change
her name from the rook Girl to the Good Girl.
But back in the day she had an attitude rocking
chains and baggy clothes. She was in the same Brooklyn
dance hall scene as Franquito, and she told us about
the crazy parties they used to have.
Speaker 3 (07:32):
It was lit back in at these parties went the
morning sound like you come out sunlight, what's unsaid. Some
clubs went to midday.
Speaker 4 (07:40):
The parties were every night of the week.
Speaker 3 (07:43):
They had big, huge clubs, and they had the underground.
Speaker 4 (07:48):
Places underground like basement and backyard parties.
Speaker 3 (07:52):
And you know, like in the day, I guess it's
a mechanic sample whatever, truck, pucking lot, whatever.
Speaker 7 (07:59):
But then at night, at night, it became a sweaty
dance whole party.
Speaker 3 (08:03):
You just go and chat on the mic, you buy
your drinks, you know, and just ship.
Speaker 4 (08:08):
It was just a cool ride, you know.
Speaker 7 (08:10):
And these were like freestyle sessions. If you have skills,
you could get on the mic. Latreville didn't see a
lot of women up there, but that didn't stop her.
Speaker 3 (08:19):
I guess they was shy or they were afraid. Well,
I don't know. I had no fear.
Speaker 4 (08:24):
I had no fear. She sounds just like me. Latrevida
just went for it.
Speaker 3 (08:31):
Call me a rueyal. I may not brag and show off.
If you're coming to me face, make gonna go click off,
rude girl, I may not take back. No talk coming
on me face and make going I go back.
Speaker 7 (08:44):
The crowd at these parties was mixed Jamaican, Pnomenians and Latrevida.
Speaker 4 (08:50):
She could work in English and Spanish.
Speaker 3 (08:52):
See page break. Okay, bogget simplatin. Why now the puppy?
Speaker 4 (09:07):
I love her? You know, the female power that we
have there you go.
Speaker 7 (09:14):
Latrevida actually had parties in her basement on Thursdays. And
just because these parties were held at the basement and
out of shops, that doesn't mean that they were for amateurs.
Speaker 4 (09:27):
The biggest names in the dance.
Speaker 7 (09:28):
Hool music will show up and spread when they went
to New York, guys like super Cad and Shaggy, I.
Speaker 3 (09:38):
Love my Name, you suppriss you the sessions those guys
used to comfort Brooklyn to go to the spots.
Speaker 7 (09:45):
Yes al ambiente where Panamanians and Jamaicans are hanging out
together getting to know each other. Of course, you know,
smoking weed in the basement where the dance hold and
Efaniel really takes off. And this is the word Franquto
walks into right when he thought he was leaving the
(10:07):
dance hall behind and Panama, he gets stopped by Cans.
Speaker 8 (10:15):
Sound system system and Ayochla so and so.
Speaker 7 (10:21):
He said that in New York City he bought a
little sound system that he would bring around to every party,
which he called the Bachelor Sound and he started to
perform under the name Elnerdi and Heneran hasn't given an
interview about his music. For over a decade. This audio
is from an interview he recorded with a journalist in
(10:42):
two thousand and four.
Speaker 4 (10:49):
Commando Max.
Speaker 7 (10:54):
And Henerad says that he got his name because Panama
was run by Lee Ales for years, so it was
a way to say that he was the commander, the boss.
He took it to the next level by performing in
a military uniform, but music was still a hobby for him.
He was working in businesses making good money. He does,
(11:17):
maybe I record something just to give it a shot.
Speaker 4 (11:20):
Yeah, I guess I believe that Yellow, but don't he
never imagine that anything could actually come.
Speaker 2 (11:25):
Of it, coming up on that you know USA. We
continue with episode two of our critically acclaimed series Loud,
The History of Regaton. Stay with us, Hey, we're back.
(11:50):
Let's get back to episode two of our critically acclaimed
series Loud, The History of Reggaeton.
Speaker 4 (12:00):
Eighties.
Speaker 7 (12:01):
A lot of the Jamaican dancehall industry was actually based
in New York.
Speaker 4 (12:05):
BP Records was the world biggest distributor of.
Speaker 7 (12:09):
Reggae music and it was run by a Chinese Jamaican
family out of Queens And trust me.
Speaker 4 (12:16):
They have a lot of power to move records in
the industry.
Speaker 9 (12:19):
There was Spanish people, you know, really interested in the reggae,
and there wasn't any Spanish artists doing reggae, so he
ventured into it.
Speaker 4 (12:27):
We're not Spanish, we are Latinos. But I get what
he means. This is Michael McDonald. He was a studio
owner back then.
Speaker 7 (12:36):
He said that it was a Jamaican records show worker
at VP who noticed just how many Latinos were coming
in to buy these dancehall albums all in English, and
a light bulb when I'm there was money to be made.
Speaker 9 (12:52):
He was one of the first obriginaries. People didn't really
take him seriously. To be honest with you, I guess
this is a Jamaican thing like to stick toward you know,
the weight went. It took me to a televis surprise.
Speaker 7 (13:05):
So in nineteen ninety, this record shop guy pulls El
Hennerdan into the studio. There was a popular song at
the moment by little Lenny Cononaniere and it was a
tribute to the power of the pussy and that song
trust Me for the Time was dirty. El Heneral recorded
(13:25):
a cover of the song in Spanish and that song
for Umpalo and.
Speaker 3 (13:32):
That English tune was a very big meaning in every
area America Latin and they knew that song, so for
him to bring it across in Spanish it was a bumpshell.
Speaker 7 (13:44):
Latrevida remembers performing at shows with El Henerald where he
was singing to Bumpoon.
Speaker 4 (13:50):
It was an easy hit.
Speaker 3 (13:52):
Was the song in English hit and you got through it?
In Spanish, that was an easy hit.
Speaker 7 (13:57):
That song blew the fuck up. I still remember with
the song hit and landed in Puerto Rico. It was
in every corner, every birthday, every party, everything. Sano tell
a story about his first gig he played in New
York after that song came out. He show up and
the streets outside was full of people. He went up
(14:24):
to the bouncer and he was like, I'm here to
sing tonight, am and he and the bouncer was like
yeah right, and I'm prince, see the prince.
Speaker 4 (14:40):
Prince.
Speaker 7 (14:44):
Eventually he got into do the show and he was
blown away watching how the crowd reacted. He then realized
that people were hungry for this music. That night, he
decided to quit his job.
Speaker 4 (15:08):
Camala Music.
Speaker 7 (15:11):
And Heneral quickly followed with more songs. There was Buena
and Weuebelo, and those were huge. Two after Henerdan dance
on the Spanish was officially in style. I'm talking in
ninety ninety one, ninety two, But most of the big
(15:33):
artists in that first wave were black Central Americans in
New York. Later Rita got to deal with Columbia Records. Meanwhile,
and Heneral was getting big internationally. His songs became the
kind of hits that everybody knew from Mexico down to Argentina.
(15:54):
At first, Elenderal said he couldn't actually travel to the concerts. Yeah, yeah, yeah,
he had overstayed his visa and was undocumented. He said
that in his absence, a rumor went around that he died.
So when he got his papers and started touring, it
(16:15):
was like the resurrection of Heneran.
Speaker 8 (16:28):
And the visio.
Speaker 7 (16:31):
And he said he had to go on to be
to show people he was still alive and invite them
to the show. The music was all over America Latina,
but not everybody got it. This audio is from Henerani
(16:52):
when he appeared on a TV show in Chile, one
of those shows. In the video, and Heneral is super
all and skinny, and he's wearing his purple general's uniform
and dancing so awkwardly with the TV host. This interview
kind of makes you cringe. The host is saying that
(17:16):
these are totally made up words, right. He literally doesn't
understand the music and acts like Kelenneda came from out
of space. The whole thing seems like a big joke today,
this black Latin American doing the strange thing called rapping.
(17:40):
For Puerto Rican's it was completely different. We love and
understood dancehol Maybe it's because we're also from the Caribbean,
just because of the New York connection we have.
Speaker 4 (17:56):
In nineteen eighty.
Speaker 7 (17:58):
There were almost one million Bodique was living in New
York City, so music was always going back and forth
on the Wild Waie area. You know those three and
a half hour domestic flight back and forth from someone
to New York.
Speaker 4 (18:14):
Those planes brought new sound to the island fast.
Speaker 1 (18:18):
See.
Speaker 7 (18:18):
Back in the day, it was normal if you grow
up in the city that your parents will send you
for the summer to stay with your grandparents and cousins
in Puerto Rico.
Speaker 4 (18:27):
DJ Tony Touch was one of those.
Speaker 10 (18:30):
I remember being surround about these trees and the grain.
It was just a night and day between Eastern New York,
Brooklyn and grandmother chopping the head off a rooster right there,
talking like this is dinner.
Speaker 7 (18:42):
Or maybe it was the other way around. You live
on the island, you will go in the summer to
New York and you will come back with the latest
music to show off to your friends back home. Here's
rapper Lisaan.
Speaker 5 (18:54):
When I was traveling to New York to be seeing
my grandma everything, when I called back to Puerto Rico
or on forget it, I was, oh my god. I
came from New York, was up with the outfrey with
the new mulesing and say hey, listen, this is the
new stuff.
Speaker 7 (19:14):
And in nineteen ninety and new stuff was Spanish stance
and the World War area. It us another sound in
the eighties and nineties that was very important to Regaton,
and that sound was hip hop.
Speaker 2 (19:31):
We'll be right back, not right yes, hey, we're back.
And here once again is La Diva lata evy Queen.
(19:53):
To wrap up the episode, we.
Speaker 7 (20:00):
Are going to talk about hip hop for a second
because it was a huge influence and movimento, especially in
Puerto Rico. Most of the Puerto Rican artists in the
early way, like myself started to do straight hip hop
and got into the reggae and dancehall vibe later. And
(20:20):
the reason Bodricos have such a close connection to hip
hop is because we.
Speaker 4 (20:25):
Helped invent it. We were there since day one.
Speaker 7 (20:29):
That's my friend Tony Touch again, a legendary from the
New York hip hop scene.
Speaker 10 (20:36):
I mean, hip hop started in the Bronx, and it
started in the ghetto and these projects in the hood,
and who lived in the hood Blacks and Puerto Ricans.
Speaker 4 (20:45):
You know, and many black Puerto Ricans as well.
Speaker 7 (20:49):
In those early years of hip hop, Puerto Ricans were representing.
We have mcs, DJs, graffiti artists, and especially dancers. A
lot of the first Bee Boys were Puerto Ricans. And
what it was we were on hip hop films like
Wild Style and.
Speaker 4 (21:07):
Bait Street that made an impact on Tony Touch.
Speaker 10 (21:11):
I see these kids on the movie screen that looked
like me, Puerto Rican you know, because.
Speaker 3 (21:16):
Before I didn't see it like black or white, you
know what I mean.
Speaker 10 (21:19):
Like, so you see Puerto Ricans in the movie or
on the screen, it's like wow.
Speaker 7 (21:23):
You know. It was inspiring for me because of the
New yor Rican connection. Puerto Rico was one of the
first places to get into hip hop. I remember I
first find out about hip hop through my brother Jacob.
He had staves of dash effects Boster rhymes.
Speaker 4 (21:46):
Even though he didn't understand the music, spoke to us.
Speaker 7 (21:50):
It was straight up, it was raw, It was poetry,
but with music underneath. You know, it was music that
kept fit the feelings that you have insight.
Speaker 4 (22:01):
So growing up in Anjaco on the west side of
Puerto Rico, I was all about the honey.
Speaker 7 (22:07):
I walk around with my boom box and my little
peasodon and if any moment a cipher will start, we
bust it down back Then, if you have a party
and you didn't play rap honey, nobody's going to show up.
So in the eighties, hip hop is huge in Puerto Rico,
(22:28):
but it's hip hop from the US in English. The
reason Puerto Rico got its own hip hop has a
lot to do with a guy named Bigo Ci.
Speaker 3 (22:40):
Guy saw Vehicle Wow, a rapper with a career in Spanish.
Speaker 4 (22:45):
And at school, I started seeing this movement at Bigo.
Speaker 3 (22:48):
C becouc is the god from the dawn of Spanish rap.
Speaker 5 (22:53):
Puerto Rico.
Speaker 7 (22:54):
When it comes to hip hop in Puerto Rico, Becausi
was the king. He was one of the first people
to do hip hop in Spanish and do it so nice.
The thing that was so cool about it for us
was that we love rap music, but most of us
they didn't understand a word, and all of a sudden,
(23:17):
with Bico, we got the lyrics.
Speaker 4 (23:19):
It was like the movie went from black and white
to color.
Speaker 7 (23:26):
La is that he's a storyteller and he have a
way to put these words together and take you along
on the ride.
Speaker 4 (23:35):
You're just there with him. Here's hip hop DJ Baron Lopez.
Speaker 6 (23:40):
Because he got these words that you would not expect
it on a rap he changed it to make it
interesting and funny but real.
Speaker 4 (23:53):
His music was the That's why we know him as
a philosopher. The philosopher because he on the DJ that
discovered him, the Negro.
Speaker 7 (24:04):
They started to record a few songs on cassettes, super
basic with our studio or any real equipment. This is
the mid eighties and the tapes Suerto Moon phenomenon. They
were copying over and over again, pass hand to hand.
Speaker 4 (24:22):
They basically went viral.
Speaker 7 (24:24):
Soon, Honey, every car was bumping the Negro because here's
the negro. Because and there were nobodies, just two kids
who made some tapes.
Speaker 4 (24:40):
In NAVII and am was implemented cassette temp.
Speaker 7 (24:51):
Soon because met a young concert promoter named he books
them to open for Public Enemy.
Speaker 4 (24:59):
It's a real doing for them. They are a hit
and Jorge has an idea.
Speaker 11 (25:04):
And with all them listen, let's record, let's record I
had never we had never recorded before, but they said,
let's record this because this is really good. And that
ended up being La Recta Finale Dja Negro and Bigo.
Speaker 7 (25:19):
Si Laretta Final, released by Joje's brand new label, Prime
Wreckers in eighty nine. Wasn't the first hip hop and
a panel rekerd to hit Puerto Rico, but it's the
record that really started the fire.
Speaker 6 (25:34):
It was huge.
Speaker 11 (25:35):
You know, they would go straight from the truck out
to the stores because everybody was lining up to pick
them up.
Speaker 7 (25:43):
When I hear Laretta Final, you literally are listening to
this young kid pouring words that are not using the hood,
you know, like the stuff that he was putting together
was amazing because he was wrapping about real life topic
that were happening in the projects, the killing addiction aids
(26:06):
in a way that just spoke to people as honest
and real, and nobody in Puerto Rico heard anything like
that before because he himself grew up in the projects
in Las A Cassias. People forget that way back in
the day. There was serious povery in Puerto Rico now too,
(26:28):
but in the forties the slums were hardcore.
Speaker 4 (26:31):
Just google fan Gito So.
Speaker 7 (26:33):
In the fifties, the government started building these huge housing
projects for poor people.
Speaker 5 (26:39):
Erki and Casio Seno Gandia Power in construction.
Speaker 4 (26:46):
Recurso's economics.
Speaker 7 (26:48):
These projects are known as casaio. They're also called residentialists,
and they built the casa rios next to the middle
class neighborhoods. They thought it would create a less divided society.
But yeah, it didn't work out like that. But a
mucho the cassaillo it's all about drugs, gun violence, many
(27:14):
black or dark skin Puerto Rican living them, and there's
a lot of discrimination against a residente de casrio. I
didn't grow up in a cassaio, but I always hang
out there. I knew people from all the casarios and
the stuff. Because he was rapping about we were living there.
He made a whole generation of kids from the hood
(27:36):
say oh shit, I can do that too.
Speaker 4 (27:39):
That's what happened to me.
Speaker 7 (27:41):
I heard Beekle bruly ruing that first generation of rapping Epanoon,
and I decided that I wanted.
Speaker 4 (27:49):
To be a rapper.
Speaker 7 (27:52):
Because Cidi Negro with Prime Breakers were the stars of
a new genre, rapping Espanon and business was booming.
Speaker 11 (28:01):
We were releasing like ten records a year, you know,
like we would have two studios running twenty four hours.
We would hire other studios just to keep up with
the music.
Speaker 7 (28:11):
You know.
Speaker 11 (28:12):
By then, we were the biggest independent label in the market.
We were bigger than Fania. We were the bomb.
Speaker 7 (28:20):
In eighty nine, Prime Record put out the first hip
hop album by a woman in Latin America.
Speaker 5 (28:25):
Li Sion Wandviko saka Supremel album. They hear me in
another show rapping and they tell me, hey, Lisa, do
you want to record an album?
Speaker 4 (28:36):
And I say what?
Speaker 1 (28:37):
Who?
Speaker 7 (28:38):
Me?
Speaker 5 (28:39):
And they say yeah you, and I say.
Speaker 4 (28:41):
Oh my gosh, yeah, let's go.
Speaker 7 (28:46):
Lizion grew up with Biko and Hakassias and started out
as his backup dancer, And.
Speaker 5 (28:53):
I remember that that said my mom, Mommy, I'm going
to record an album, and my man look at me
and say, hey, yeah, so lool yo.
Speaker 3 (29:02):
Juano, Hey, you're gonna see me.
Speaker 5 (29:06):
You're gonna see me.
Speaker 4 (29:11):
And the next artist frimebreaker sign that's right, Eli Ran.
Speaker 7 (29:25):
These were the roots Oftro movimento, a dance on an
efanel scene that started in Panama, a hip hop an
efanel scene that was killing it in Puerto Rico. Black
sounds with roots from the English speaking world now available
en Espanel, New York made that connection happen. But the
(29:48):
next phase of regedon history that happens in Puerto Rico
in a dark, sweaty little club that is close to
my heart, the club where I got my start, and
that a Yankee guy his start, and so many others
were teenagers from the hood. Ivana Taraman said. A club
that gave birth to a sound, a club called Denis.
Speaker 4 (30:19):
Loud.
Speaker 7 (30:19):
The History of Reggaeton is a Spotify original podcast from
Futuro Studios. This podcast was written and reported by Marlon
Bishop and Louis Gaio and edited by Sophia Palisa Khan,
with help on this episode from Audrey Queen from Spotify
Executive producers Gina Bilbah, Adrian Aredondo, Jessica Molina and Julio A.
Speaker 4 (30:44):
Pabon.
Speaker 7 (30:45):
We're producing help from Dan Behar. Executive produced for Futudo
Studios by Marlon Bishop. Produced by Louis Gaio, Ginny Montalbo,
Catalina Gatta, Eggleston Ermes, Ajala, Joaquin cut Sandraano, Nicord Rothwell
and Daniela Tejogar. Song Additional production by Christian Errera, Seva Tiander,
(31:08):
Bays Lunez A Secilro, Rega Sandino and Juan Diego Amirez.
Fat check in by Tatiana Dias, sound designer Mixing by
Genni Montalbo and Stephanie Lebou, with help on this episode
from Rosanna Cawan.
Speaker 4 (31:23):
Artin song is by Max.
Speaker 7 (31:25):
Original music by Ego and Danny crazy Town for the
Ego Team and impuls Ell Intellectoy music supervision by Big
Sin George Truly. Recorded at Hega Studio by Maluri Iberno
Ell Heneral.
Speaker 4 (31:40):
Interview audio courtesy of Christophe Twiko.
Speaker 7 (31:43):
Special thanks to Julio Ricardo, Barela, Luis Luna, Lileana, Ruis,
josh Lin, Green Antonio, Seehidro Sonia Clavel, Ricardo Montalbo, Jasmina Fifi,
O'Neil Anderson, Jessica Dito, qim Ellliah, Sarah Kayner, Vijan Garby,
(32:06):
Jesse Hart, Sue Lou, Brian Marquis, Lauren Mine King, Ashley Nesby,
Andrea c lincy Way Slipkins and Jordantocinski for production support.
Speaker 4 (32:22):
I'm your hosts Ivy Queen.
Speaker 7 (32:24):
Make sure to follow loud the History of Reggaeton only
on Spotify.
Speaker 2 (32:30):
Thank you so much for that, Ivy Queen and dear listener,
We'll see you on our next episode and as always,
lot Bayas Ciao
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