October 6, 2025 • 48 mins
RUBIO is a Chilean Rockera who impressively reflects her soul in her music. And Los Codigos of the week DJ SABI of Miami, a touring creative, curator, with some advice for those coming up on the scene. Let me know your thoughts in a review.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:05):
They're not like us.
Speaker 2 (00:08):
They're not like.
Speaker 3 (00:11):
You.
Speaker 1 (00:11):
Hear that Mehanda, you hear that? That's my baby, that's
me unreleased Reggaetona rocket to remember who did it first? Ala,
I'm kidding who Look who did it first? Was with
singing Adel for the record, but not me hnter by
looking Nozepa.
Speaker 2 (00:33):
Your sorro Quera, you s reg.
Speaker 4 (00:36):
Nazi.
Speaker 1 (00:37):
Yes we exist, antl perrel ant.
Speaker 2 (00:44):
Avia la regat.
Speaker 4 (00:48):
Does me?
Speaker 2 (00:48):
We all here? Baby?
Speaker 1 (00:51):
So in twenty twenty five, when I see an artist
like Rubio Chilena Dora who is mastro, of course if
you know her music, you would know and you would
automatically get the fascination that I had when I heard her.
And to quote Julisa shout out to Julisa rolling Stone
(01:11):
who had said in her article on profile of her
that her music captures who she is creatively in a
perfect sense.
Speaker 2 (01:20):
Be hinted.
Speaker 1 (01:21):
That's the best intro that I can give for someone
like Robo. It's an amazing musikera, an amazing instrumentalist, an
amazing songwriter who puts her soul into the music.
Speaker 2 (01:33):
And with no further ado.
Speaker 1 (01:35):
This is a interview with Rubio and much later los Co,
digzoi Osea or DJ Savi. Let's get into it, akihn.
(02:19):
So you got to don't call Gata and Big and
Clevelander and South Beach a Clevelander and Grandpa nor the.
Speaker 5 (02:30):
Francis.
Speaker 1 (02:36):
Yeah, oh my god, I love it. Men, Ganta to
Mosa and Ganta to flow and don't flown like yes
(02:59):
two so yeah, yes, yeah, I want try like Pianosa,
You're you're very you look at you and I see you.
You know PRIs if A key and Vanda Grammys, Mama off,
(03:23):
you've been working hard, Cotistan.
Speaker 5 (03:30):
And the see when Ruby and Momentum Momento represented and the.
Speaker 6 (03:51):
People them being the Rubio and season We're want to
come on logo for the Domina and fru raise.
Speaker 5 (04:02):
You talk content.
Speaker 1 (04:06):
Then no, that's not really honestly when Electrica like I'm
in Ganda, honestly, first I lost or public like in
the Mask and the Prince your boys, I won my
(04:26):
Guatama Storia, the como come, music comes.
Speaker 5 (04:35):
And your moments in the musica Man and the drums
and you come after party you Prano and concerto. Yeah,
(04:57):
your men. The class.
Speaker 6 (05:01):
Musical percussion African legal apprecussion to the composition and Mundo
melodicogan he.
Speaker 5 (05:17):
Cant predicts the lantuistion on mbium music.
Speaker 6 (05:27):
So super auto reacta welcome intuision momentoy component.
Speaker 5 (05:35):
Yea your annual musica, y.
Speaker 6 (05:40):
Pasokamino young recorrido, Porto arista to whoever you know, Camino
damn artists.
Speaker 5 (05:54):
We all speak with you.
Speaker 4 (05:59):
Are your.
Speaker 6 (06:05):
Yes as a rubio ravanda projecto the moment Mona consolidario
is the pressing gilm.
Speaker 5 (06:15):
We went feed back to general comprising film. Feedback from
this is.
Speaker 6 (06:22):
Rold movies and precis the maintaining the.
Speaker 1 (06:32):
One another and pray on another. In fortis the Chile
aby to and yesta pluence to influence, floy Tomsica.
Speaker 6 (06:50):
Go Kaan's to find Mundo a mon Canada and you
Slandia America well and Alba brus in Chile by super
team of Rio melancholic poetic in fu Mitya.
Speaker 5 (07:16):
And you Regna in Chile.
Speaker 6 (07:19):
In the gas large and Chilean resistancia pergot can take persistence.
Speaker 5 (07:27):
So you como so lament, the latch la music and
potent the politico.
Speaker 4 (07:44):
Dip you.
Speaker 5 (07:47):
Ami race.
Speaker 1 (07:48):
That's a Chile men can't get Phantasila assistant musica politica.
Speaker 2 (08:03):
And Clara Ya pero.
Speaker 1 (08:07):
Gonna comensoto music, gonna comensoto, Nacion Kai, nacio porque and
harmaica for loose political estava dividion bays No, it's a
fluencia for Panama and Panama riega ala no alabre you
(08:29):
know Eldni la policia rivala, the Noriegada is the pueblos,
you know, Claro premier s La is the puestao right, yeah,
Andro and Hener Nama boom et cetera, Clara and Puerto
Rico come under grounds. Commanda contragreement and put your sorry. Okay,
(08:57):
La music is political, Mosica is program mean yo mana
more the movin then you're pork wow as and regator's okay.
Different media Chile no different b san dio donant protest
(09:20):
curios so as.
Speaker 5 (09:24):
You don't tell right, okay you you viendo p.
Speaker 1 (09:30):
I saves, don't say to Sonila different Perronila said feelings
como or medio that hass a'll gokay your cevel demota
and supersentis forms.
Speaker 5 (09:48):
So most poet.
Speaker 1 (09:53):
Commonly he said, well, he said, okay, not always okay
you see then where the masque mass comtistan getting dunda
like a lad and and and so you.
Speaker 5 (10:13):
Will come up with love my emotional.
Speaker 6 (10:19):
Yeah, and mesa intro lesa la.
Speaker 5 (10:29):
La the la vida comida and.
Speaker 6 (10:36):
Marti theresa in throm.
Speaker 5 (10:42):
Musical music.
Speaker 7 (10:45):
Ar a more and more ensa androma.
Speaker 1 (10:59):
Yeah, I mean.
Speaker 5 (11:02):
Or gargo.
Speaker 6 (11:07):
Alem pati la consciencia, and I met love manas in
present and you move to the and then lo manoo
and and and popular reflection as means get them sistants
(11:28):
the man looks and sar personal malamen connect from the
novelsa did you.
Speaker 5 (11:43):
Mo to f fun.
Speaker 1 (11:52):
In man count Latian Sikh lisa mental history or k
(12:26):
one amends difficult like got and long there I mass
read sorry in menos connect pork I have community. I
had then something like it's not coming on as solas
persona nos okay, I only meant that I hante the
(12:47):
gay person you saw like tom like like com they
feasted the.
Speaker 5 (13:01):
Cone masco mass like sargo propacho.
Speaker 1 (13:07):
Pork ma clad massive pat mass commerce see the.
Speaker 5 (13:15):
Cost has sus and to concente, so come on remi and.
Speaker 6 (13:39):
Well Cambio went to rot alas made.
Speaker 5 (13:48):
Well employ you as to a res lament you prolomeno
in prenator Sorry sorry for super.
Speaker 1 (14:08):
Me here.
Speaker 5 (14:11):
So al Go said, do you know I'm gonna get
you aren't gonna look.
Speaker 1 (14:18):
Yes, Ma, it's gotta so on so on right called
Marc Robo the plata man sigh, will be right back
after these messages taken seven way one don't know h
(15:03):
acasta and format and slom where's pregnant form how do
you do that?
Speaker 6 (15:16):
And will.
Speaker 5 (15:20):
Come on and co ipo from moving unicammu coma a
super can rememberation over I say your liberation.
Speaker 6 (15:49):
Asamament Communica you know members slim and then look mondog
like I said, Rotomo super net called personas a wheels.
Speaker 5 (16:10):
Using the movements alactive.
Speaker 6 (16:13):
It's a tad hard mportant called and I am an
Importamo to.
Speaker 5 (16:23):
Thank and Victoria the Victoria and says you know no,
you know that him and.
Speaker 6 (16:33):
Traca them the many value gain protect content media was
intimately blena to you know my travels.
Speaker 5 (16:54):
Com com the tractorial thing.
Speaker 6 (16:58):
You know they tractor it the same you sort of
men they take and.
Speaker 5 (17:11):
The personal identific.
Speaker 1 (17:17):
Like I guess from like are you very I know
we get we look, okay, how do I ask without
being It's like queer but sorry, you know, like I'm
just like, how do you ask the question? Get the sad.
Speaker 5 (17:42):
Moment? No man, not a faith than.
Speaker 1 (17:45):
You and you right, okay, get up. You're on the
hand that I just want to like approach it like
respectful as some toil from inside employ m h, I'll see,
(18:07):
I'll see influence to mosica second Omi sign mad right,
your mental claro.
Speaker 5 (18:23):
Intussic.
Speaker 1 (18:24):
When I taket me, we're like, oh my god, it's mohadas.
Speaker 6 (18:31):
And tom say and sand and the hand it onto see.
Speaker 1 (18:39):
I'm talking to girls, all girls like skip with w
I I.
Speaker 5 (18:46):
Your story is.
Speaker 1 (18:50):
Your moment and because but I think I sy put
your sign and goms employer to.
Speaker 5 (18:56):
Process or artistic girl.
Speaker 6 (18:59):
And send them more lementary or someone. I said no
nod compared to literal.
Speaker 5 (19:11):
Lo. I mean, so you said you make no affect.
Speaker 6 (19:35):
Setting seall you know sallo.
Speaker 3 (19:47):
Six mini okay, okay, you know you're s you take
you you love instruments like you actually play instruments, and.
Speaker 5 (20:03):
My brain is like going in that direction Grand musica.
Speaker 1 (20:12):
So like when you're sorry, the team is here and
then we're smiling at the team, and the team is
smiling back. I don't know, and try to quant process.
So like Romantosban like how.
Speaker 5 (20:33):
You come on yourself.
Speaker 6 (20:41):
Musicas and melodia lists ye, and.
Speaker 5 (20:58):
You're not going to get so the list.
Speaker 6 (21:01):
Okay my process and I can said.
Speaker 4 (21:08):
You do that.
Speaker 5 (21:11):
This a few.
Speaker 6 (21:18):
Let me yeah to see yo pro cela indolod.
Speaker 5 (21:23):
That okay, thinking something the second that's what you said.
That's when I go for.
Speaker 1 (21:35):
Robert, the anamals, the super processor, artistic, the alument and
I un okay, okay.
Speaker 4 (21:51):
Fast, you.
Speaker 5 (21:56):
Know you can get the super that's them, come get
them in MS.
Speaker 7 (22:04):
Program and we can I mean tlaba insa the politic okay.
Speaker 5 (22:12):
Later and me and.
Speaker 7 (22:17):
Cargo La and Orient.
Speaker 5 (22:24):
List to press press.
Speaker 1 (22:28):
One hand. This is La and Ristam.
Speaker 4 (22:35):
For Star and.
Speaker 5 (22:39):
Approx.
Speaker 2 (22:57):
Yeah, I'm it's got.
Speaker 1 (23:09):
I love it. I love that time with her. I'm
getting to know more about her story and coming up
let's go right into love scorios.
Speaker 5 (23:19):
But DJ sab.
Speaker 1 (23:20):
Adope DJ from Miami Cultural Curator Community event organizer is
a persona let's get into it.
Speaker 2 (23:39):
I'm excited because it's.
Speaker 1 (23:41):
Amos en los s codigos me Victima the O s DJ,
Savi DJ and Miami and Superhannio the Hyperperal.
Speaker 4 (23:53):
How you doing, my love, I'm doing good.
Speaker 2 (23:55):
Thank you for inviting me, of course, of course, thank
you for being here. Love Scodigos. You ready, you in the.
Speaker 4 (24:01):
Sea, Yes, I'm ready, You in the hot seat.
Speaker 2 (24:04):
Let's go for it.
Speaker 1 (24:05):
Okay, go song first and foremost your bod Ricoa. Talk
to me about your roots and your pride. Yeah, cause
I know it's one thing you guys have. It's that
I want to hear about that in your words.
Speaker 8 (24:17):
Yes, my both my parents are from Puerto Rico, born
and raised Ricoa. My mom is from Carolina, my dad
is from Rios, and I think especially in South Florida,
everyone is Latino, but I feel like especially being Puerto
Rican and South Florida's a whole different context. Yeah, I
think I bring it into everything I do. I mean,
of course, perel the roma from Puerto Rico, from all
(24:39):
the Caribbean, and I think that just having that background,
it inspires me to keep pushing out the sound. And yeah,
I'm just proud of it, but always proud of it.
Speaker 4 (24:48):
I love that. I love that.
Speaker 2 (24:50):
And for those who are wondering obviously.
Speaker 1 (24:55):
I would love to hear about you, you know, your
like your pride as well, because I mean putting on
like you'd be putting on for us. So please talk
to me about that, because I think that sold up.
You're an amazing DJ, creative Baudricoa who's queer at I
don't want to label you queer and this grace, so
I mean, talk to me about that as well, Like
I love that it's true.
Speaker 8 (25:16):
And also, like I mean, South Florida is like a
hotbed for culture. We have every type of we have
every type of culture. We have Caribbean, Latin American, anyone
from Venezuela to Colombia to Puerto Rico. And I think,
I mean, I feel like my duty is, you know,
someone that's organizing events here is just to try to
give a little slice of everything and give everybody of
space to share their music, share their style. And yeah,
(25:40):
I just love the fact that you know, coming from
the underground, you can embrace things that are alternative or
things that aren't necessarily always at the forefront of Miami.
Speaker 4 (25:48):
And that's really what I try to do.
Speaker 1 (25:50):
Amazing, and thank you for putting on safe spaces for
you know, lack omni that because SA so thank you
for that, migo to So tell me, how did you
come to the decision?
Speaker 2 (26:04):
How did you get here?
Speaker 4 (26:05):
You know what I mean?
Speaker 1 (26:05):
Like, how did you come to the decision of becoming
a DJ and i've producer?
Speaker 2 (26:10):
What's that story?
Speaker 8 (26:13):
Yeah, so it's been yeah, this it has been years
and years where I started taking DJing seriously. But I
think my real inspiration came I would say about five
years ago, when I was actually like on an exchange
in Spain. It's a really interesting story because when I
was on exchange in Spain, I think I started to
realize that Latin culture, and especially Latin rave culture was
(26:33):
starting to emerge in places like Spain where there's second
generation and their generation immigrants from Latin America establishing themselves
and trying to reinvent, you know, Latin American culture in
a fun like in different way. I started to think, well,
because I was starting to do I started to, you know,
realize that I could start. There wasn't much barrier between
me and other people who I had start, who had
(26:54):
started event producing, and so I started to think I
could do it myself. It took a while, actually I
started applying through my application for a residency on Miami
Community Radio to have my own radio show, where I
started to try to like test trial, like how it
would be to have a party, How would it be
to try to bring people out to try to curate
a certain type of sound, and from that, from it
(27:16):
going successfully, I realized that it really could like feasibly
be a party. We had our first party in a
few small spaces in Miami actually, like in the outskirts
of Miami, and eventually we got we moved up and
up until we started doing events and places like winn.
Speaker 4 (27:29):
Wood in Brickel.
Speaker 8 (27:31):
And now because of all that, it le's to the
point now where I'm able to go on tour and
see different parts of the world and connect with people
like that. And yeah, I'm just grateful because every little
piece of it, even from the small steps of the beginning,
connected me with people who saw the vision and genuinely
were supporting and yeah, it all kind of came full circle.
Speaker 4 (27:52):
Funny, thank you any dollars?
Speaker 1 (27:56):
No, seriously, because you know, I you know, as a
did it myself and as a person who works in
Latin music, yes, you you know you're right on the money.
And that there's like this they call it the boom, right,
so many booms in Latin culture, right in Latin music, right,
but I had this boom right of at the like
eighty m, like really growing like you know, globally and whatever.
(28:19):
But one thing I really like admire of you, it's
honestly your roots. Like I see a lot of Puerto
Rican nests without Puerto Rican people, which is crazy in
the year of Bad Bunny, right, Like it's like said,
you know what I mean, every is is Puerto Rican
like mostly and it's like, well that's true. But like
while legatone is like going into Latin eight M, I
(28:42):
don't see a lot of Puerto Ricans.
Speaker 2 (28:43):
So thank you for taking up space.
Speaker 1 (28:45):
Because the nessasita and yeah, like you know, like what
people are getting there in Like I think it's just
important that body could have a seat at the table.
Speaker 2 (28:53):
So go off with that said, I would love because
dj is freaking hard.
Speaker 1 (28:59):
Like speaking for myself, DJing is hard, and I'm talking
about the technical because it's something you got a master
over time with practice and like really having an ear
and understanding creation in musicology and other things.
Speaker 2 (29:10):
Fed DJing is hard because.
Speaker 1 (29:13):
You know, like, you really have to understand who you are,
what type of performance you want to put out. You
have to maintain energy. That's hard, you know what I mean.
And then on top of that all the social pressure
and nonsense I could come with the s.
Speaker 2 (29:27):
So with that said, there's a.
Speaker 1 (29:28):
Type of discipline that has to be developed over time,
otherwise you're not going to stand a chance.
Speaker 2 (29:34):
Not professionally. So with that said, what advice.
Speaker 1 (29:37):
Would you give to younger DJ Sabby if you were
just if you're looking at younger you starting out right now,
what would you tell younger you?
Speaker 8 (29:45):
So, I think the most interesting advice I would get
to the younger JJ Sabi is study your music history.
Speaker 4 (29:52):
Study your music history, and I.
Speaker 8 (29:54):
Would say, before you start looking for remixes, before you
start looking for other people you know that have put
in the work, try to always start with the basics.
Speaker 4 (30:04):
Basics.
Speaker 8 (30:04):
I think that that knowing the basics of what your
own what your own style is, can can actually like
have you combine things that you think were ever possible before.
Speaker 4 (30:15):
I think it's really interesting.
Speaker 8 (30:17):
Like I think, you know, especially from like the Latin
electronic discipline, we're always you know, like remixing things and
reinventing things. I think for someone that's just starting out,
I would recommend that you start trying to imagine for yourself,
like what is your own vision of what Latin electronic
music can be if you were to start from square one,
(30:37):
Like I think, the most interesting thing about like hyper
Pera for me is the fact that we are, Like
you have to respect that we come. It's it's a
whole legacy of electronic music, be heppy for us. There
was Mumbaton, there's Guadaccha from Colombia now Perero, and so
many different styles that come from all across Latin America
and the Caribbean and even even beyond that. We're coming,
(30:59):
you know, and you have we have to respect the
history before us as well. So I think just the
best thing I could recommend to tsho are starting out
is dig deep into your creative music. Try to study
like the music history as much as possible, and understand
like that all the music you're playing now comes from
years and years of movements before you, of people who
have been experimenting, and the best thing you can do
(31:21):
is connect back to connect back to those roots and
try to understand where you sit into everything.
Speaker 2 (31:27):
In other words, go check out better one on one.
Speaker 4 (31:30):
Yeah, no, yeah, learn from the master, learn from the master.
Speaker 2 (31:34):
I'm good.
Speaker 1 (31:34):
I'm getting shameless plug but like, no, super love that
you said that because and it's funny because like you're talking,
you know what I was actually visualizing, so me they
justabby We're hanging out at one of his sides in
Cambridge when it came to Boston. And that's what I
was most enamored by. When I was watching you like mix,
I was like, ah, I was like, it's giving, Like
this man knows where he's going, he has a plan.
(31:57):
I love a DJ with the plan. I don't know
and l L L and those asthmal no solo, we
know that they like you looked at the crowd sometimes
like watch this and then the crowd like and I
was in the back, like you know, like the crewdit
being But I think that really resonates with what you
just said because it's giving.
Speaker 2 (32:16):
I forgot what edit it was.
Speaker 1 (32:18):
I have it on camera. I'm finding but like there's
a mix that you did and edit was like I
was like, oh, okay, that's what we're doing today.
Speaker 2 (32:26):
I love it.
Speaker 1 (32:27):
And that can only be accomplished if you know what
sounds you're going for, So kudos, Like, I super super
super super agree with that. And as a as a
baby DJ myself, yeah, like that's something that I've been
as mostly that's one thing, but mixing in real time
whole different.
Speaker 2 (32:44):
Skills, So thank you.
Speaker 4 (32:45):
For for that.
Speaker 2 (32:46):
With that said, what has your hot? What is your hot?
Speaker 4 (32:52):
Take?
Speaker 1 (32:53):
Right? Because one thing about me, like theders.
Speaker 2 (32:57):
Are so sassy online bro, Like there's so many.
Speaker 1 (33:00):
I was literally laughing because I think it was Serato
or beat Source, one of the two. But they made
a post about like like DJ requests right and if
they if DJs prefer for people to have like a
sign up sheet or to do the whole phone thing,
which personally pisses me the fuck off because it just
(33:21):
feels so arrogant. I don't know, I don't mind request
it's just write it down like I don't want to.
I don't know it meant that, But like the whole
point was there was like a conversation on like how
you know that should be facilitated, if the venue should
get involved in like blocking the booth or what it is,
And I'm like, you're.
Speaker 2 (33:40):
Playing the music for the party, Like if if it
makes sense. Why not? Anyway, My entire point is not
even that.
Speaker 1 (33:46):
It's the point of, like, there's a lot of sass online,
right with things like that, with things of like there's.
Speaker 2 (33:52):
So many DJs now, everybody's a DJA. What's your heart
take on that? Like, what's your heart take on everybody's
a DJ now? And it's this in right, what's what's
your heartache?
Speaker 8 (34:02):
I think I'm going to take the unconventional route and
say that I kind of I kind of love that
everybody's like experimenting now with the creativity of like being
a DJ. I think, I mean the fact that people
are trying to become a DJ in some way like ads,
I mean, I think it gives it, like you know,
some respect and value to it. The fact that people
are see it as something that's worth learning. I think
it's all about intention. Like if someone is doing with
(34:24):
the right intention, if they're going into it with the
creative mindset, they want to just thing because they authentically
like it and they want to create a new experience
for their community. I completely support it. I think like
just having more having more people out there trying to
create something new is not necessarily a bad thing. I
think it just takes yeah, it just takes like respect
for the craft, creativity, and I think, yeah, as long
(34:48):
as you're in there for the right reasons, I'm like
fully supportive for more people to take to you know,
open their wings and try to try to try it
out and see see if they like it. I mean,
I think it's not not necessarily for everyone, but everyone
is it's worth to try for everyone. I think, so yeah,
I would say like I'm I'm in supportive of it.
I think that you know, as long as people do
(35:09):
take take a note of technique and like you know,
put their full effort towards it, I'm definitely supportive.
Speaker 9 (35:27):
Against mon no no Seguindona's doing. And again see the
hand lo some mocas get on my charm and had
on a little time. No no no chan I's done,
so then hand on me better the but or not,
(35:49):
I'm wow, Claudo, then start hating. We'll be right back
after these messages.
Speaker 4 (35:58):
Don't move and.
Speaker 2 (36:02):
Maybe you know what I'm saying.
Speaker 1 (36:19):
I know it's uncomfortable for like people who've been doing
things for a while to start like new people. Like
it's uncomfortable because it's like you know what I mean,
it's like, oh, more people great, you know, like there's
that certain level of like thinking. But like I think
that you know, on the note of just letting people rock.
One thing that no one can ever say, one thing
(36:40):
that no one can ever take away from.
Speaker 2 (36:42):
Like a really good DJ is like you're a really
good DJ.
Speaker 1 (36:45):
If you're popping, You'll always be good because because.
Speaker 2 (36:51):
You can't replicate it. You know, people could could copy.
Speaker 1 (36:54):
Your your your mixes, you know what I mean, but
like the the entire creation and I'm being that you're making, people.
Speaker 2 (37:01):
Can replicate that. So you're always gonna be good. Just
focus on you, bro, Like.
Speaker 4 (37:05):
That's my PSA, that's my house. That's how I feel too.
That's a big thing.
Speaker 8 (37:09):
Like be secure in yourself, like you know, respect others
and try to build community in a natural way.
Speaker 4 (37:15):
Like that's the biggest advice I have to give to people.
Speaker 2 (37:18):
Heavy on the bill community.
Speaker 4 (37:20):
This is why I love you.
Speaker 1 (37:21):
And so with last said, talk to me about We
spoke a little bit about hyper Peral, but I want
to dig a little deeper, Like what's the story behind
the name.
Speaker 2 (37:31):
It's so like ravy and like groovy. I love it.
What's what's the story behind it.
Speaker 8 (37:38):
Yeah, I would say like hyper Pereal. So when I
started djaing, I started playing because that's what that's what
I love to listen to them.
Speaker 4 (37:45):
Dumbo even some by their punk.
Speaker 8 (37:48):
And actually I would start playing the songs a little
bit sped up because I'm someone that's always trying to
listen to me fast energetic. I don't want to be
at the club in the corner just watching. I want
to be on the dance floor. And I think I
really started like getio hyper Perreal just from that idea
of speeding up Pereal songs. But then I realized that
I have also like a background and interest in hyper
(38:09):
pop and you know, alternative race culture. And right now
across Latin America there are growing movements like Latin Core
from Colombia and boglah Dah and in Chile like now
Pereo that are trying to push like, you know, a
completely alternative, queered lens of reggaeton that doesn't center what
typically centered, which is heterosexual, which is usually mainstream or normative,
(38:34):
and it's an alternative like take on what reggaeton can be.
You know, it can include like let's say, like a
pitched up or like nightcore edit or remix. It can
include lyrics that are more about like you know, like
liberation and freedom for people and also just a lot
more based in undercurrents of what's happening in culture right now.
(38:58):
And so yeah, Perpereal, I wanted it to be like,
you know, a safe space for queer people, for anyone
outside of the norm in Miami, and Miami I would say,
is a city that definitely values the normative. It definitely
values those with money. I mean, you see what's happening
across the Miami with developers coming in and taking over
a lot of Miami's cultural hotspots that I would say
(39:20):
Miami is a city where you have to really push
and pave out your own path, even if it means
going against forces that are really big. So hyper pera
I feel like it's a way to push, you know,
the undercurrents, highlight you know, what's actually going on in
local Miami, what's going on across the world.
Speaker 4 (39:37):
When it comes to new electronic.
Speaker 8 (39:38):
Movements, which I would say hyper Perreal is part of
a movement of other electronic music that is really new actually,
like maybe the past twenty years, This new sound has
really been pushed out, and I think I see us
as like like brother and sisters with all these other
kinds of music coming out of the world. So auld
a hyper Perreal is. Yeah, it's supposed to be a
(40:01):
forward looking like reinvention, reggadon, dembo, made to make you dance,
made them never make you bored. Hyper Pereal is in
the name. It's always high energy and definitely meant to
just give a different take on you know, the every day,
the every day that you hear, whether it be dumb,
(40:25):
all kinds of Latin music I see under like you know,
under this big umbrella, but distinct in their own place.
Speaker 4 (40:33):
You know. I think that's the one thing I wanted
to push as well.
Speaker 8 (40:35):
With hyper Perreal is that, you know, I would call
it hyper perreal, but in reality, it's every kind of
Latin music. And because we're not a monolith in the
Latin community, I wanted to highlight that there's place for everyone,
and that's the idea kind of inclusion and progression of
music altogether.
Speaker 1 (40:51):
You know, I love that and that's what I feel
when I'm there. So again, thank you for making this happen,
and I missed if I don't ask these next two questions.
One tell me a story about how when someone put
you on.
Speaker 4 (41:11):
Yeah, that's a good question, I would say. Okay.
Speaker 8 (41:14):
So January of this year, I made my first attempt
to do like a real, real tour, which I had
never done before. I mean, I did a few shows
that I organized with local DJs and collaboration in Washington,
d C. And other cities across the US, but I
had never kind of attempted to put on you know,
a multi city, you know, complicated tour. And this it
(41:39):
took me to reach out to people who I had
kind of been connected with just from the Internet, like
people who had been in touch with that are other
DJs that are on the West Coast, so in LA,
in San Francisco and Seattle. It took me to reach
out to them them to see understand like the vision
Hyperpetitor back then, Hyperpetitor was half the size of this
now it was still growing. But after reaching out to
(42:03):
them and telling them, hey, I'm gonna be on the
West Coast I would love to make something happen, they
found ways, you know, to include me and their vision
of their existing parties literally make a party just for
me to be out there with them, and I would say,
like that leap of faith for them to trust in
my vision when Hyperbetera was, like I said, like half
(42:24):
the size it is now still growing. That would it
that they really put me on to seeing a whole
different side of the country, to having an opportunity to
do collaborative parties and just it was. It was insane
to see after they helped put me on and play
at their parties, and yeah, three different cities in the
(42:44):
West Coast to see the reception of people in real
life was so surreal after I had been building my
own party out of Miami with no.
Speaker 4 (42:52):
Basis back out there.
Speaker 8 (42:53):
So yeah, I would say like that that whole West
Coast tour for me, like felt like a major moment,
a major step up. And it and have been possible
if people hadn't brought me into their to their world
and let me see, you know how how we parallel
each other in a lot of ways.
Speaker 2 (43:08):
Give me where are their names? Shout them out?
Speaker 8 (43:11):
Yes, I want to give a shout out to Sassan
Seattle club in Hazard Hazardous Nemesis, also Toxic House in
La and club Club Bubu and in San Francisco as well.
Uh yeah, there's so many amazing organizers who have a
similar queer and alternative vision for what Latin American culture
(43:34):
can can be represented as in the US now.
Speaker 4 (43:37):
And I think it's just we have so much respect
for each other.
Speaker 8 (43:39):
We we like see we see each other on a
on a very equal footing, and like we see each
other as like as like geniuses.
Speaker 4 (43:47):
It's like really incredible in our own ways, and it's
just cool to see.
Speaker 8 (43:51):
Yeah, all of us on our own paths, but supporting
each other how we can, and that's really the way
to go. I think, like in reality, like the Latin
community in the US, like we're still a minority, We're
still having to face a lot of barriers the other
groups also face as well, And I think it's just
a matter of coming together and recognizing our similarities and yeah,
(44:11):
finding ways to like pay pay that path forward. That's
the best way, in my opinion.
Speaker 1 (44:16):
Love it.
Speaker 2 (44:17):
I literally went through something very similar last year. Shout
out to everyone that I collabed with.
Speaker 1 (44:22):
I think I did like twelve different cities, which I
mean like reaching out like community, like it's it's saying Gambia.
Speaker 2 (44:29):
Not all of those people on the West Coast have
community with.
Speaker 1 (44:32):
You in Miami, and I think that's beautiful, Like I
love that that cross cultural connection and so and lastly
I'm dying to know. So that's how they put you on.
How are you paying it forward? How are you putting
others on?
Speaker 4 (44:46):
Yes?
Speaker 8 (44:49):
Before I consider hyper Party, I would always consider it
like a platform, like from the beginning, like my vision
piper Pero is that, like there are so many unrecognized
artists and DJs who are doing Latin electronic music in
their own way or even doing new styles of Perrero
that haven't don't necessarily have a place to go. I
mean there's I don't necessarily think a lot of you know,
(45:12):
top forty radio stations are like doing the necessary scouting
to sign these people that are locally pushing a really
new and interesting sound all the time. So it takes
people that are independent, that are maybe even like would
be considered new and like fresh to give them its
place to share their music. So, I mean, even from
the first episodes on Miami Community Radio, which is a
(45:34):
local like underground independent radio station, I made it a
point to bring people on from the local community that
are I brought on a Cordumbo artist, I brought on
a Latin indie artists, people who are really talented and
need a place to share their music. And through all
the curation I do, I make sure to focus on
(45:55):
the career, the alternative, the underground and give them a platform,
whether it be on my radio show or at parties.
I mean every stop I do. When I have a
hyper Predator in a different city, I always center local talent.
It's just usually me and let's say two or three
DJs or two or three live artists from the local area,
because I think that's the way it should be done.
Speaker 4 (46:16):
Honestly, there are so.
Speaker 8 (46:17):
Many people who want who need an outlet for expression,
and by putting in the work and the event production
and in coordinating, you can really give them a place
to share, to share their own art and that they
wouldn't have otherwise. So yeah, for me, it's just yeah,
because there's such a limited space for alternative culture, Like
(46:38):
I see myself as a conduit to try to make
it possible for other people to share their art, and yeah,
that's actually myself putting other people on. And it's always,
you know, I think it's always in exchange because we
help each other out in a lot of ways. And
it's never like it's never about what you get out
of it's mostly about just building healthy new forms of
(46:59):
art community together and culture. No, and culture because like
I said, in America right now, culture is under to
tackle lot in a lot of ways.
Speaker 4 (47:07):
This is our way. This is our way to like
really tell them we're here.
Speaker 8 (47:12):
We're here, and we have something to say, and we
can't be silenced, we can't be bought out. Like that's
really the message I want to give that there's like
really underground, authentic culture homegrown in South America and in
the Caribbean, in South Florida, that yeah, that can't be
bossed around and we really have something to say.
Speaker 4 (47:32):
So I'm proud of that.
Speaker 2 (47:34):
I don't know how many times I said this is
why I love you on this episode.
Speaker 4 (47:39):
Thank you you too, savy like and you know it.
Speaker 1 (47:44):
No, that's amazing, real, recognize real. I only want to
surround myself with.
Speaker 4 (47:50):
People who move like this.
Speaker 2 (47:51):
So thank you for moving like this, because.
Speaker 1 (47:53):
I mean, who it's it's I just think that culture
and community is better when we you know, like moving
this way. So thank you and to me, I think
these are many codigos I I simply can't thank you
enough for for joining me here men.
Speaker 2 (48:12):
This ISAVI and Look.
Speaker 1 (48:26):
Podcast is an iHeartMedia production co Executive Producers a Media.
The Kiero producer is Grace Gonstalez. The Kiero music engineer
Habby Vibe. The Kiero production assistants Naomi A. Savello and
Kayla Ecleston. The show is edited by Walking Cutler and
(48:47):
I'm your host Lagata. A shout out to Clevelander and
Miami Beach, so you're right here next week on the
iHeartRadio app
They're not like us.
Speaker 2 (00:08):
They're not like.
Speaker 3 (00:11):
You.
Speaker 1 (00:11):
Hear that Mehanda, you hear that? That's my baby, that's
me unreleased Reggaetona rocket to remember who did it first? Ala,
I'm kidding who Look who did it first? Was with
singing Adel for the record, but not me hnter by
looking Nozepa.
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Your sorro Quera, you s reg.
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Nazi.
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Yes we exist, antl perrel ant.
Speaker 2 (00:44):
Avia la regat.
Speaker 4 (00:48):
Does me?
Speaker 2 (00:48):
We all here? Baby?
Speaker 1 (00:51):
So in twenty twenty five, when I see an artist
like Rubio Chilena Dora who is mastro, of course if
you know her music, you would know and you would
automatically get the fascination that I had when I heard her.
And to quote Julisa shout out to Julisa rolling Stone
(01:11):
who had said in her article on profile of her
that her music captures who she is creatively in a
perfect sense.
Speaker 2 (01:20):
Be hinted.
Speaker 1 (01:21):
That's the best intro that I can give for someone
like Robo. It's an amazing musikera, an amazing instrumentalist, an
amazing songwriter who puts her soul into the music.
Speaker 2 (01:33):
And with no further ado.
Speaker 1 (01:35):
This is a interview with Rubio and much later los Co,
digzoi Osea or DJ Savi. Let's get into it, akihn.
(02:19):
So you got to don't call Gata and Big and
Clevelander and South Beach a Clevelander and Grandpa nor the.
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Francis.
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Yeah, oh my god, I love it. Men, Ganta to
Mosa and Ganta to flow and don't flown like yes
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two so yeah, yes, yeah, I want try like Pianosa,
You're you're very you look at you and I see you.
You know PRIs if A key and Vanda Grammys, Mama off,
(03:23):
you've been working hard, Cotistan.
Speaker 5 (03:30):
And the see when Ruby and Momentum Momento represented and the.
Speaker 6 (03:51):
People them being the Rubio and season We're want to
come on logo for the Domina and fru raise.
Speaker 5 (04:02):
You talk content.
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Then no, that's not really honestly when Electrica like I'm
in Ganda, honestly, first I lost or public like in
the Mask and the Prince your boys, I won my
(04:26):
Guatama Storia, the como come, music comes.
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and you come after party you Prano and concerto. Yeah,
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your men. The class.
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Musical percussion African legal apprecussion to the composition and Mundo
melodicogan he.
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Pasokamino young recorrido, Porto arista to whoever you know, Camino
damn artists.
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Are your.
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Yes as a rubio ravanda projecto the moment Mona consolidario
is the pressing gilm.
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Rold movies and precis the maintaining the.
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team of Rio melancholic poetic in fu Mitya.
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potent the politico.
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Dip you.
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Ami race.
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That's a Chile men can't get Phantasila assistant musica politica.
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And Clara Ya pero.
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Gonna comensoto music, gonna comensoto, Nacion Kai, nacio porque and
harmaica for loose political estava dividion bays No, it's a
fluencia for Panama and Panama riega ala no alabre you
(08:29):
know Eldni la policia rivala, the Noriegada is the pueblos,
you know, Claro premier s La is the puestao right, yeah,
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(08:57):
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more the movin then you're pork wow as and regator's okay.
Different media Chile no different b san dio donant protest
(09:20):
curios so as.
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como or medio that hass a'll gokay your cevel demota
and supersentis forms.
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So most poet.
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Commonly he said, well, he said, okay, not always okay
you see then where the masque mass comtistan getting dunda
like a lad and and and so you.
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Will come up with love my emotional.
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Yeah, and mesa intro lesa la.
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La the la vida comida and.
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Marti theresa in throm.
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Musical music.
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Ar a more and more ensa androma.
Speaker 1 (10:59):
Yeah, I mean.
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Or gargo.
Speaker 6 (11:07):
Alem pati la consciencia, and I met love manas in
present and you move to the and then lo manoo
and and and popular reflection as means get them sistants
(11:28):
the man looks and sar personal malamen connect from the
novelsa did you.
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one amends difficult like got and long there I mass
read sorry in menos connect pork I have community. I
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(12:47):
gay person you saw like tom like like com they
feasted the.
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Cone masco mass like sargo propacho.
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Cost has sus and to concente, so come on remi and.
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in prenator Sorry sorry for super.
Speaker 1 (14:08):
Me here.
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So al Go said, do you know I'm gonna get
you aren't gonna look.
Speaker 1 (14:18):
Yes, Ma, it's gotta so on so on right called
Marc Robo the plata man sigh, will be right back
after these messages taken seven way one don't know h
(15:03):
acasta and format and slom where's pregnant form how do
you do that?
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And will.
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Come on and co ipo from moving unicammu coma a
super can rememberation over I say your liberation.
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like I said, Rotomo super net called personas a wheels.
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Using the movements alactive.
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Importamo to.
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you know that him and.
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intimately blena to you know my travels.
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Com com the tractorial thing.
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men they take and.
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The personal identific.
Speaker 1 (17:17):
Like I guess from like are you very I know
we get we look, okay, how do I ask without
being It's like queer but sorry, you know, like I'm
just like, how do you ask the question? Get the sad.
Speaker 5 (17:42):
Moment? No man, not a faith than.
Speaker 1 (17:45):
You and you right, okay, get up. You're on the
hand that I just want to like approach it like
respectful as some toil from inside employ m h, I'll see,
(18:07):
I'll see influence to mosica second Omi sign mad right,
your mental claro.
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Intussic.
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When I taket me, we're like, oh my god, it's mohadas.
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And tom say and sand and the hand it onto see.
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I'm talking to girls, all girls like skip with w
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Your story is.
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Your moment and because but I think I sy put
your sign and goms employer to.
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Process or artistic girl.
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And send them more lementary or someone. I said no
nod compared to literal.
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Lo. I mean, so you said you make no affect.
Speaker 6 (19:35):
Setting seall you know sallo.
Speaker 3 (19:47):
Six mini okay, okay, you know you're s you take
you you love instruments like you actually play instruments, and.
Speaker 5 (20:03):
My brain is like going in that direction Grand musica.
Speaker 1 (20:12):
So like when you're sorry, the team is here and
then we're smiling at the team, and the team is
smiling back. I don't know, and try to quant process.
So like Romantosban like how.
Speaker 5 (20:33):
You come on yourself.
Speaker 6 (20:41):
Musicas and melodia lists ye, and.
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You're not going to get so the list.
Speaker 6 (21:01):
Okay my process and I can said.
Speaker 4 (21:08):
You do that.
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This a few.
Speaker 6 (21:18):
Let me yeah to see yo pro cela indolod.
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That okay, thinking something the second that's what you said.
That's when I go for.
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Robert, the anamals, the super processor, artistic, the alument and
I un okay, okay.
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Fast, you.
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Know you can get the super that's them, come get
them in MS.
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Program and we can I mean tlaba insa the politic okay.
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Later and me and.
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Cargo La and Orient.
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List to press press.
Speaker 1 (22:28):
One hand. This is La and Ristam.
Speaker 4 (22:35):
For Star and.
Speaker 5 (22:39):
Approx.
Speaker 2 (22:57):
Yeah, I'm it's got.
Speaker 1 (23:09):
I love it. I love that time with her. I'm
getting to know more about her story and coming up
let's go right into love scorios.
Speaker 5 (23:19):
But DJ sab.
Speaker 1 (23:20):
Adope DJ from Miami Cultural Curator Community event organizer is
a persona let's get into it.
Speaker 2 (23:39):
I'm excited because it's.
Speaker 1 (23:41):
Amos en los s codigos me Victima the O s DJ,
Savi DJ and Miami and Superhannio the Hyperperal.
Speaker 4 (23:53):
How you doing, my love, I'm doing good.
Speaker 2 (23:55):
Thank you for inviting me, of course, of course, thank
you for being here. Love Scodigos. You ready, you in the.
Speaker 4 (24:01):
Sea, Yes, I'm ready, You in the hot seat.
Speaker 2 (24:04):
Let's go for it.
Speaker 1 (24:05):
Okay, go song first and foremost your bod Ricoa. Talk
to me about your roots and your pride. Yeah, cause
I know it's one thing you guys have. It's that
I want to hear about that in your words.
Speaker 8 (24:17):
Yes, my both my parents are from Puerto Rico, born
and raised Ricoa. My mom is from Carolina, my dad
is from Rios, and I think especially in South Florida,
everyone is Latino, but I feel like especially being Puerto
Rican and South Florida's a whole different context. Yeah, I
think I bring it into everything I do. I mean,
of course, perel the roma from Puerto Rico, from all
(24:39):
the Caribbean, and I think that just having that background,
it inspires me to keep pushing out the sound. And yeah,
I'm just proud of it, but always proud of it.
Speaker 4 (24:48):
I love that. I love that.
Speaker 2 (24:50):
And for those who are wondering obviously.
Speaker 1 (24:55):
I would love to hear about you, you know, your
like your pride as well, because I mean putting on
like you'd be putting on for us. So please talk
to me about that, because I think that sold up.
You're an amazing DJ, creative Baudricoa who's queer at I
don't want to label you queer and this grace, so
I mean, talk to me about that as well, Like
I love that it's true.
Speaker 8 (25:16):
And also, like I mean, South Florida is like a
hotbed for culture. We have every type of we have
every type of culture. We have Caribbean, Latin American, anyone
from Venezuela to Colombia to Puerto Rico. And I think,
I mean, I feel like my duty is, you know,
someone that's organizing events here is just to try to
give a little slice of everything and give everybody of
space to share their music, share their style. And yeah,
(25:40):
I just love the fact that you know, coming from
the underground, you can embrace things that are alternative or
things that aren't necessarily always at the forefront of Miami.
Speaker 4 (25:48):
And that's really what I try to do.
Speaker 1 (25:50):
Amazing, and thank you for putting on safe spaces for
you know, lack omni that because SA so thank you
for that, migo to So tell me, how did you
come to the decision?
Speaker 2 (26:04):
How did you get here?
Speaker 4 (26:05):
You know what I mean?
Speaker 1 (26:05):
Like, how did you come to the decision of becoming
a DJ and i've producer?
Speaker 2 (26:10):
What's that story?
Speaker 8 (26:13):
Yeah, so it's been yeah, this it has been years
and years where I started taking DJing seriously. But I
think my real inspiration came I would say about five
years ago, when I was actually like on an exchange
in Spain. It's a really interesting story because when I
was on exchange in Spain, I think I started to
realize that Latin culture, and especially Latin rave culture was
(26:33):
starting to emerge in places like Spain where there's second
generation and their generation immigrants from Latin America establishing themselves
and trying to reinvent, you know, Latin American culture in
a fun like in different way. I started to think, well,
because I was starting to do I started to, you know,
realize that I could start. There wasn't much barrier between
me and other people who I had start, who had
(26:54):
started event producing, and so I started to think I
could do it myself. It took a while, actually I
started applying through my application for a residency on Miami
Community Radio to have my own radio show, where I
started to try to like test trial, like how it
would be to have a party, How would it be
to try to bring people out to try to curate
a certain type of sound, and from that, from it
(27:16):
going successfully, I realized that it really could like feasibly
be a party. We had our first party in a
few small spaces in Miami actually, like in the outskirts
of Miami, and eventually we got we moved up and
up until we started doing events and places like winn.
Speaker 4 (27:29):
Wood in Brickel.
Speaker 8 (27:31):
And now because of all that, it le's to the
point now where I'm able to go on tour and
see different parts of the world and connect with people
like that. And yeah, I'm just grateful because every little
piece of it, even from the small steps of the beginning,
connected me with people who saw the vision and genuinely
were supporting and yeah, it all kind of came full circle.
Speaker 4 (27:52):
Funny, thank you any dollars?
Speaker 1 (27:56):
No, seriously, because you know, I you know, as a
did it myself and as a person who works in
Latin music, yes, you you know you're right on the money.
And that there's like this they call it the boom, right,
so many booms in Latin culture, right in Latin music, right,
but I had this boom right of at the like
eighty m, like really growing like you know, globally and whatever.
(28:19):
But one thing I really like admire of you, it's
honestly your roots. Like I see a lot of Puerto
Rican nests without Puerto Rican people, which is crazy in
the year of Bad Bunny, right, Like it's like said,
you know what I mean, every is is Puerto Rican
like mostly and it's like, well that's true. But like
while legatone is like going into Latin eight M, I
(28:42):
don't see a lot of Puerto Ricans.
Speaker 2 (28:43):
So thank you for taking up space.
Speaker 1 (28:45):
Because the nessasita and yeah, like you know, like what
people are getting there in Like I think it's just
important that body could have a seat at the table.
Speaker 2 (28:53):
So go off with that said, I would love because
dj is freaking hard.
Speaker 1 (28:59):
Like speaking for myself, DJing is hard, and I'm talking
about the technical because it's something you got a master
over time with practice and like really having an ear
and understanding creation in musicology and other things.
Speaker 2 (29:10):
Fed DJing is hard because.
Speaker 1 (29:13):
You know, like, you really have to understand who you are,
what type of performance you want to put out. You
have to maintain energy. That's hard, you know what I mean.
And then on top of that all the social pressure
and nonsense I could come with the s.
Speaker 2 (29:27):
So with that said, there's a.
Speaker 1 (29:28):
Type of discipline that has to be developed over time,
otherwise you're not going to stand a chance.
Speaker 2 (29:34):
Not professionally. So with that said, what advice.
Speaker 1 (29:37):
Would you give to younger DJ Sabby if you were
just if you're looking at younger you starting out right now,
what would you tell younger you?
Speaker 8 (29:45):
So, I think the most interesting advice I would get
to the younger JJ Sabi is study your music history.
Speaker 4 (29:52):
Study your music history, and I.
Speaker 8 (29:54):
Would say, before you start looking for remixes, before you
start looking for other people you know that have put
in the work, try to always start with the basics.
Speaker 4 (30:04):
Basics.
Speaker 8 (30:04):
I think that that knowing the basics of what your
own what your own style is, can can actually like
have you combine things that you think were ever possible before.
Speaker 4 (30:15):
I think it's really interesting.
Speaker 8 (30:17):
Like I think, you know, especially from like the Latin
electronic discipline, we're always you know, like remixing things and
reinventing things. I think for someone that's just starting out,
I would recommend that you start trying to imagine for yourself,
like what is your own vision of what Latin electronic
music can be if you were to start from square one,
(30:37):
Like I think, the most interesting thing about like hyper
Pera for me is the fact that we are, Like
you have to respect that we come. It's it's a
whole legacy of electronic music, be heppy for us. There
was Mumbaton, there's Guadaccha from Colombia now Perero, and so
many different styles that come from all across Latin America
and the Caribbean and even even beyond that. We're coming,
(30:59):
you know, and you have we have to respect the
history before us as well. So I think just the
best thing I could recommend to tsho are starting out
is dig deep into your creative music. Try to study
like the music history as much as possible, and understand
like that all the music you're playing now comes from
years and years of movements before you, of people who
have been experimenting, and the best thing you can do
(31:21):
is connect back to connect back to those roots and
try to understand where you sit into everything.
Speaker 2 (31:27):
In other words, go check out better one on one.
Speaker 4 (31:30):
Yeah, no, yeah, learn from the master, learn from the master.
Speaker 2 (31:34):
I'm good.
Speaker 1 (31:34):
I'm getting shameless plug but like, no, super love that
you said that because and it's funny because like you're talking,
you know what I was actually visualizing, so me they
justabby We're hanging out at one of his sides in
Cambridge when it came to Boston. And that's what I
was most enamored by. When I was watching you like mix,
I was like, ah, I was like, it's giving, Like
this man knows where he's going, he has a plan.
(31:57):
I love a DJ with the plan. I don't know
and l L L and those asthmal no solo, we
know that they like you looked at the crowd sometimes
like watch this and then the crowd like and I
was in the back, like you know, like the crewdit
being But I think that really resonates with what you
just said because it's giving.
Speaker 2 (32:16):
I forgot what edit it was.
Speaker 1 (32:18):
I have it on camera. I'm finding but like there's
a mix that you did and edit was like I
was like, oh, okay, that's what we're doing today.
Speaker 2 (32:26):
I love it.
Speaker 1 (32:27):
And that can only be accomplished if you know what
sounds you're going for, So kudos, Like, I super super
super super agree with that. And as a as a
baby DJ myself, yeah, like that's something that I've been
as mostly that's one thing, but mixing in real time
whole different.
Speaker 2 (32:44):
Skills, So thank you.
Speaker 4 (32:45):
For for that.
Speaker 2 (32:46):
With that said, what has your hot? What is your hot?
Speaker 4 (32:52):
Take?
Speaker 1 (32:53):
Right? Because one thing about me, like theders.
Speaker 2 (32:57):
Are so sassy online bro, Like there's so many.
Speaker 1 (33:00):
I was literally laughing because I think it was Serato
or beat Source, one of the two. But they made
a post about like like DJ requests right and if
they if DJs prefer for people to have like a
sign up sheet or to do the whole phone thing,
which personally pisses me the fuck off because it just
(33:21):
feels so arrogant. I don't know, I don't mind request
it's just write it down like I don't want to.
I don't know it meant that, But like the whole
point was there was like a conversation on like how
you know that should be facilitated, if the venue should
get involved in like blocking the booth or what it is,
And I'm like, you're.
Speaker 2 (33:40):
Playing the music for the party, Like if if it
makes sense. Why not? Anyway, My entire point is not
even that.
Speaker 1 (33:46):
It's the point of, like, there's a lot of sass online,
right with things like that, with things of like there's.
Speaker 2 (33:52):
So many DJs now, everybody's a DJA. What's your heart
take on that? Like, what's your heart take on everybody's
a DJ now? And it's this in right, what's what's
your heartache?
Speaker 8 (34:02):
I think I'm going to take the unconventional route and
say that I kind of I kind of love that
everybody's like experimenting now with the creativity of like being
a DJ. I think, I mean the fact that people
are trying to become a DJ in some way like ads,
I mean, I think it gives it, like you know,
some respect and value to it. The fact that people
are see it as something that's worth learning. I think
it's all about intention. Like if someone is doing with
(34:24):
the right intention, if they're going into it with the
creative mindset, they want to just thing because they authentically
like it and they want to create a new experience
for their community. I completely support it. I think like
just having more having more people out there trying to
create something new is not necessarily a bad thing. I
think it just takes yeah, it just takes like respect
for the craft, creativity, and I think, yeah, as long
(34:48):
as you're in there for the right reasons, I'm like
fully supportive for more people to take to you know,
open their wings and try to try to try it
out and see see if they like it. I mean,
I think it's not not necessarily for everyone, but everyone
is it's worth to try for everyone. I think, so yeah,
I would say like I'm I'm in supportive of it.
I think that you know, as long as people do
(35:09):
take take a note of technique and like you know,
put their full effort towards it, I'm definitely supportive.
Speaker 9 (35:27):
Against mon no no Seguindona's doing. And again see the
hand lo some mocas get on my charm and had
on a little time. No no no chan I's done,
so then hand on me better the but or not,
(35:49):
I'm wow, Claudo, then start hating. We'll be right back
after these messages.
Speaker 4 (35:58):
Don't move and.
Speaker 2 (36:02):
Maybe you know what I'm saying.
Speaker 1 (36:19):
I know it's uncomfortable for like people who've been doing
things for a while to start like new people. Like
it's uncomfortable because it's like you know what I mean,
it's like, oh, more people great, you know, like there's
that certain level of like thinking. But like I think
that you know, on the note of just letting people rock.
One thing that no one can ever say, one thing
(36:40):
that no one can ever take away from.
Speaker 2 (36:42):
Like a really good DJ is like you're a really
good DJ.
Speaker 1 (36:45):
If you're popping, You'll always be good because because.
Speaker 2 (36:51):
You can't replicate it. You know, people could could copy.
Speaker 1 (36:54):
Your your your mixes, you know what I mean, but
like the the entire creation and I'm being that you're making, people.
Speaker 2 (37:01):
Can replicate that. So you're always gonna be good. Just
focus on you, bro, Like.
Speaker 4 (37:05):
That's my PSA, that's my house. That's how I feel too.
That's a big thing.
Speaker 8 (37:09):
Like be secure in yourself, like you know, respect others
and try to build community in a natural way.
Speaker 4 (37:15):
Like that's the biggest advice I have to give to people.
Speaker 2 (37:18):
Heavy on the bill community.
Speaker 4 (37:20):
This is why I love you.
Speaker 1 (37:21):
And so with last said, talk to me about We
spoke a little bit about hyper Peral, but I want
to dig a little deeper, Like what's the story behind
the name.
Speaker 2 (37:31):
It's so like ravy and like groovy. I love it.
What's what's the story behind it.
Speaker 8 (37:38):
Yeah, I would say like hyper Pereal. So when I
started djaing, I started playing because that's what that's what
I love to listen to them.
Speaker 4 (37:45):
Dumbo even some by their punk.
Speaker 8 (37:48):
And actually I would start playing the songs a little
bit sped up because I'm someone that's always trying to
listen to me fast energetic. I don't want to be
at the club in the corner just watching. I want
to be on the dance floor. And I think I
really started like getio hyper Perreal just from that idea
of speeding up Pereal songs. But then I realized that
I have also like a background and interest in hyper
(38:09):
pop and you know, alternative race culture. And right now
across Latin America there are growing movements like Latin Core
from Colombia and boglah Dah and in Chile like now
Pereo that are trying to push like, you know, a
completely alternative, queered lens of reggaeton that doesn't center what
typically centered, which is heterosexual, which is usually mainstream or normative,
(38:34):
and it's an alternative like take on what reggaeton can be.
You know, it can include like let's say, like a
pitched up or like nightcore edit or remix. It can
include lyrics that are more about like you know, like
liberation and freedom for people and also just a lot
more based in undercurrents of what's happening in culture right now.
(38:58):
And so yeah, Perpereal, I wanted it to be like,
you know, a safe space for queer people, for anyone
outside of the norm in Miami, and Miami I would say,
is a city that definitely values the normative. It definitely
values those with money. I mean, you see what's happening
across the Miami with developers coming in and taking over
a lot of Miami's cultural hotspots that I would say
(39:20):
Miami is a city where you have to really push
and pave out your own path, even if it means
going against forces that are really big. So hyper pera
I feel like it's a way to push, you know,
the undercurrents, highlight you know, what's actually going on in
local Miami, what's going on across the world.
Speaker 4 (39:37):
When it comes to new electronic.
Speaker 8 (39:38):
Movements, which I would say hyper Perreal is part of
a movement of other electronic music that is really new actually,
like maybe the past twenty years, This new sound has
really been pushed out, and I think I see us
as like like brother and sisters with all these other
kinds of music coming out of the world. So auld
a hyper Perreal is. Yeah, it's supposed to be a
(40:01):
forward looking like reinvention, reggadon, dembo, made to make you dance,
made them never make you bored. Hyper Pereal is in
the name. It's always high energy and definitely meant to
just give a different take on you know, the every day,
the every day that you hear, whether it be dumb,
(40:25):
all kinds of Latin music I see under like you know,
under this big umbrella, but distinct in their own place.
Speaker 4 (40:33):
You know. I think that's the one thing I wanted
to push as well.
Speaker 8 (40:35):
With hyper Perreal is that, you know, I would call
it hyper perreal, but in reality, it's every kind of
Latin music. And because we're not a monolith in the
Latin community, I wanted to highlight that there's place for everyone,
and that's the idea kind of inclusion and progression of
music altogether.
Speaker 1 (40:51):
You know, I love that and that's what I feel
when I'm there. So again, thank you for making this happen,
and I missed if I don't ask these next two questions.
One tell me a story about how when someone put
you on.
Speaker 4 (41:11):
Yeah, that's a good question, I would say. Okay.
Speaker 8 (41:14):
So January of this year, I made my first attempt
to do like a real, real tour, which I had
never done before. I mean, I did a few shows
that I organized with local DJs and collaboration in Washington,
d C. And other cities across the US, but I
had never kind of attempted to put on you know,
a multi city, you know, complicated tour. And this it
(41:39):
took me to reach out to people who I had
kind of been connected with just from the Internet, like
people who had been in touch with that are other
DJs that are on the West Coast, so in LA,
in San Francisco and Seattle. It took me to reach
out to them them to see understand like the vision
Hyperpetitor back then, Hyperpetitor was half the size of this
now it was still growing. But after reaching out to
(42:03):
them and telling them, hey, I'm gonna be on the
West Coast I would love to make something happen, they
found ways, you know, to include me and their vision
of their existing parties literally make a party just for
me to be out there with them, and I would say,
like that leap of faith for them to trust in
my vision when Hyperbetera was, like I said, like half
(42:24):
the size it is now still growing. That would it
that they really put me on to seeing a whole
different side of the country, to having an opportunity to
do collaborative parties and just it was. It was insane
to see after they helped put me on and play
at their parties, and yeah, three different cities in the
(42:44):
West Coast to see the reception of people in real
life was so surreal after I had been building my
own party out of Miami with no.
Speaker 4 (42:52):
Basis back out there.
Speaker 8 (42:53):
So yeah, I would say like that that whole West
Coast tour for me, like felt like a major moment,
a major step up. And it and have been possible
if people hadn't brought me into their to their world
and let me see, you know how how we parallel
each other in a lot of ways.
Speaker 2 (43:08):
Give me where are their names? Shout them out?
Speaker 8 (43:11):
Yes, I want to give a shout out to Sassan
Seattle club in Hazard Hazardous Nemesis, also Toxic House in
La and club Club Bubu and in San Francisco as well.
Uh yeah, there's so many amazing organizers who have a
similar queer and alternative vision for what Latin American culture
(43:34):
can can be represented as in the US now.
Speaker 4 (43:37):
And I think it's just we have so much respect
for each other.
Speaker 8 (43:39):
We we like see we see each other on a
on a very equal footing, and like we see each
other as like as like geniuses.
Speaker 4 (43:47):
It's like really incredible in our own ways, and it's
just cool to see.
Speaker 8 (43:51):
Yeah, all of us on our own paths, but supporting
each other how we can, and that's really the way
to go. I think, like in reality, like the Latin
community in the US, like we're still a minority, We're
still having to face a lot of barriers the other
groups also face as well, And I think it's just
a matter of coming together and recognizing our similarities and yeah,
(44:11):
finding ways to like pay pay that path forward. That's
the best way, in my opinion.
Speaker 1 (44:16):
Love it.
Speaker 2 (44:17):
I literally went through something very similar last year. Shout
out to everyone that I collabed with.
Speaker 1 (44:22):
I think I did like twelve different cities, which I
mean like reaching out like community, like it's it's saying Gambia.
Speaker 2 (44:29):
Not all of those people on the West Coast have
community with.
Speaker 1 (44:32):
You in Miami, and I think that's beautiful, Like I
love that that cross cultural connection and so and lastly
I'm dying to know. So that's how they put you on.
How are you paying it forward? How are you putting
others on?
Speaker 4 (44:46):
Yes?
Speaker 8 (44:49):
Before I consider hyper Party, I would always consider it
like a platform, like from the beginning, like my vision
piper Pero is that, like there are so many unrecognized
artists and DJs who are doing Latin electronic music in
their own way or even doing new styles of Perrero
that haven't don't necessarily have a place to go. I
mean there's I don't necessarily think a lot of you know,
(45:12):
top forty radio stations are like doing the necessary scouting
to sign these people that are locally pushing a really
new and interesting sound all the time. So it takes
people that are independent, that are maybe even like would
be considered new and like fresh to give them its
place to share their music. So, I mean, even from
the first episodes on Miami Community Radio, which is a
(45:34):
local like underground independent radio station, I made it a
point to bring people on from the local community that
are I brought on a Cordumbo artist, I brought on
a Latin indie artists, people who are really talented and
need a place to share their music. And through all
the curation I do, I make sure to focus on
(45:55):
the career, the alternative, the underground and give them a platform,
whether it be on my radio show or at parties.
I mean every stop I do. When I have a
hyper Predator in a different city, I always center local talent.
It's just usually me and let's say two or three
DJs or two or three live artists from the local area,
because I think that's the way it should be done.
Speaker 4 (46:16):
Honestly, there are so.
Speaker 8 (46:17):
Many people who want who need an outlet for expression,
and by putting in the work and the event production
and in coordinating, you can really give them a place
to share, to share their own art and that they
wouldn't have otherwise. So yeah, for me, it's just yeah,
because there's such a limited space for alternative culture, Like
(46:38):
I see myself as a conduit to try to make
it possible for other people to share their art, and yeah,
that's actually myself putting other people on. And it's always,
you know, I think it's always in exchange because we
help each other out in a lot of ways. And
it's never like it's never about what you get out
of it's mostly about just building healthy new forms of
(46:59):
art community together and culture. No, and culture because like
I said, in America right now, culture is under to
tackle lot in a lot of ways.
Speaker 4 (47:07):
This is our way. This is our way to like
really tell them we're here.
Speaker 8 (47:12):
We're here, and we have something to say, and we
can't be silenced, we can't be bought out. Like that's
really the message I want to give that there's like
really underground, authentic culture homegrown in South America and in
the Caribbean, in South Florida, that yeah, that can't be
bossed around and we really have something to say.
Speaker 4 (47:32):
So I'm proud of that.
Speaker 2 (47:34):
I don't know how many times I said this is
why I love you on this episode.
Speaker 4 (47:39):
Thank you you too, savy like and you know it.
Speaker 1 (47:44):
No, that's amazing, real, recognize real. I only want to
surround myself with.
Speaker 4 (47:50):
People who move like this.
Speaker 2 (47:51):
So thank you for moving like this, because.
Speaker 1 (47:53):
I mean, who it's it's I just think that culture
and community is better when we you know, like moving
this way. So thank you and to me, I think
these are many codigos I I simply can't thank you
enough for for joining me here men.
Speaker 2 (48:12):
This ISAVI and Look.
Speaker 1 (48:26):
Podcast is an iHeartMedia production co Executive Producers a Media.
The Kiero producer is Grace Gonstalez. The Kiero music engineer
Habby Vibe. The Kiero production assistants Naomi A. Savello and
Kayla Ecleston. The show is edited by Walking Cutler and
(48:47):
I'm your host Lagata. A shout out to Clevelander and
Miami Beach, so you're right here next week on the
iHeartRadio app
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