October 20, 2025 • 59 mins
Desde Panamá hasta Puerto Rico, República Dominicana y la diáspora. Y hoy, en Colombia, Chile, Argentina y, entre otros lugares, México, el reguetón es mundial. Permítanme analizar lo que está sucediendo en la escena mexicana y los referentes del sonido que, me atrevo a decir, están haciendo honor al perreo y su sonido & Los Codigos of the Week w Bronx's very own JFUSE.
Gracias por escuchar, bajar, y calificar este episodio a 5 estrellas y por compartirla!
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:45):
Miss Gottra son Son something like a.
Speaker 2 (00:53):
Friend, Come antea conte a mente a process Orbulus Young, Regato, Mexa, Meta, Pragita, Teflico, Antario,
mene On, Regaton gone underground called Peroo Rega and dance
(01:14):
on Tosa Musica too, Senros Venlugal, Polydica, if con Proposito,
p s laos, Condra Milita and Panama nor Riega, Contra
rose nador I, Velda Gonzalez and Puerto Rico La Musica
sefue come on Medio Resistance, Cavalos j Nado and a musica.
Speaker 1 (01:40):
El perrel e.
Speaker 2 (01:42):
O medet Regros knows rock stars solos rock Stars, a processor,
the Cruta Musica and with diferente anti menta villallos cassettesa
via CD lime wire is a post dreaming e o
i on implementedos sou laptop ipang On moving me and
(02:07):
top Plana format and tons Regaton Mexa, It's my inter
se perquet Basica, menta, the loke jovel algunos Artistas Paraombrallo
and Maliya Charlie Jane Young Lucas Spesso ploma Bia cas
(02:28):
avela casa Quadello, Mama.
Speaker 1 (02:45):
Getting moa, Danny flow Rivo.
Speaker 2 (02:50):
Alan Aeta and Brando lotos pero eto c soon algon Marcando,
Historia del consider Regato Mexa, Aura dom commentsan on yo
(03:14):
your pressium lasplication maa vio a rolling Stone, Quantaplicando el
niar rismo ossa hea Mexicana Lisa Lisa ideo Hi, I'm gatta,
I'm American com Lisa and Regatto Mexa.
Speaker 1 (03:35):
Okay, Yeah, let's have a Picano.
Speaker 2 (03:37):
Regato Mexa is different ports Alan, different Kanto, different Latin
Americano Verico. I'll let you guys argue Allada.
Speaker 1 (03:52):
Pero alfinale es Espanol. Okay.
Speaker 2 (03:56):
The series Claro cada qual tis Tennessee, the Alecto, Yes,
loke your viero Regato mexasdinta Regaton, the Puerto Rico Regaton,
the Panama Regaton, Colombiano et cetera, pork tennes Elemento, supropio
herga cracas valido save as a cosa cania mencanta your
(04:21):
sim pre rico your no kera cuchan reggaton Colombiano I
ecuchan lo Colombiano di cosa Caeson, boriqua, tiendo regaton mass
popular and albundo pre alos borricosa, no comparasion coloqu cieron
los grandees to the hectory titoo Joeli Randi, Zanny Lennox,
(04:48):
La Lisa Lia ra mende continua croquet at mills.
Speaker 1 (04:53):
There's thousands of them.
Speaker 2 (04:56):
Marcano historia, sclaro, porsi pre and ton say no como
associal reggaeton come reggaeton, the lokez puerto rico pro digo
yo see artist Algoni scenario, ke a Graham, your caracu
(05:18):
regaton them brasileno cas us come y Malandra, you record
that can Twitter, your cancio jr. Como saying your voyen
four yard chinga cingar that proprir pies your prendo mocha
(05:42):
just calls us this meal the hama sea less like
mesop math londo reo croquet nada naw super londo pi
sal this meal the mesuna tan vulgard in your sema
bla the pasarn i used me okay cosa mas okay
(06:06):
okay maragatoxa canda the kelican proprio son proprio herga is
a propriated pork ja, caramelos, verver algonuevo dio joe okay remos,
the last persona and canton it's a confessors proms para
(06:32):
commentsarde jocos basicamente okay. Analysis is lame man the episodio
porque dan no comte and el l l prod puerto
rico itabaiano, the bajo, the the the prod to, the legenda,
(06:58):
d J blast or plagero, you're due east star crevendo
and in tempo real and don't say you matin and
the like what you're not saying a seno mas como analysis,
the Los Alticas Magran the caxis and Reggatto Mexa Proust
(07:20):
principal mente joke commentsar con like case larena, the Reggatton
Mexa ba ca ba casvento an ito agadne on on
certificaalo oh yeah, the laela yesukaa okay, sukana tita claro
(07:46):
yo la coco coros per reggaetto champan Pampam Bam Bam
Bam super pegga ho sam and canto como di jocky
shut out to baya cass by a claro.
Speaker 1 (08:05):
Now that is perfect.
Speaker 2 (08:08):
You're lu Yama la tension he yado and gono controversia
yo aurato torndo am scenario de loceez elfarrandola, machito and
bella parana your emplemtooyments. You're not a so pero the
(08:28):
the lokey yo yeah, Vito, okay, your press okay presso
de k tm being actualmente and Ton said mancanto porque
yim dress maa mio and Ton say Canada ca se
tsu so controversia Harris so I love that claro gonna
(08:58):
cos sitas you am bistome the meme.
Speaker 1 (09:04):
Compartito parisio.
Speaker 2 (09:07):
Then side note, side tangent, this is my show Yama
okay agen your son heles dono if retarante, the crabes, candalos, crapes, frances.
Speaker 1 (09:27):
Santa claro l you're better no person.
Speaker 2 (09:40):
Retarantela, comego, no problemma his son context.
Speaker 1 (09:48):
And reference a la parisio.
Speaker 2 (09:53):
The brown maroons right, they're always they're bran your your cochado.
Speaker 1 (10:04):
I'm brown brown pride come pie brown.
Speaker 2 (10:14):
An brown, Mexicano brown okay I and trava and groups okay,
m blancas okay.
Speaker 1 (10:24):
And this is where the things change.
Speaker 2 (10:26):
A commes casas.
Speaker 1 (10:29):
Right, and I'm bienta the penta, I don't not a gas.
Speaker 3 (10:44):
And and and.
Speaker 2 (10:48):
And I was like what I have never seen white,
I'm brown discrimination never And I'm like, wow, I only
thought they did that ships us, but apparently they do
it to them too, by a cat cito or.
Speaker 1 (11:08):
So hi. But also you know called for.
Speaker 2 (11:12):
Punto the compartiala parisio amochas personas the personas aga representa
Excellentiamicana dula to form in conmundo cones not.
Speaker 1 (11:39):
Enemiga.
Speaker 2 (11:39):
Okay, we don't need to be our own worst enemy.
So you know se por kee compartisto so the si
pre iago and porque compartiso perm see jap latio on
(12:00):
be a cat a gas c uh pracono. Impact of
the mbodo minicano adam Alberto Poyado and lareres meguto just when.
Speaker 1 (12:14):
I see Danny floor.
Speaker 2 (12:26):
And mecanada suena Mexicana and and cons ok said no
at a Mexicana and on track the thembo mencantae and
it's perfect. Mundo, your carol, your Malatisca's La ma hone
(12:53):
man put on capsul impact of the the na cal Rena,
the Regato Max Time, Tam pursus no metal sk and
Google no.
Speaker 1 (13:09):
Me Scott son Son and don't make sts like blowing.
Speaker 2 (13:12):
Your mind right now, but we'll be right back after
these messages. That's it can know some where.
Speaker 1 (13:58):
Our You're not Atlante and Maliya.
Speaker 2 (14:02):
First of all, this man is handsome, beg Yo be anitos,
Oh my God so young featuring valving El Presentala and Corchella, but.
Speaker 1 (14:20):
And es el mismo.
Speaker 2 (14:23):
Esta Musicato Mexican so musica, and they were still local
Mass Melodico, the Loop and Mass and the Sonido Maso
per the Musica is Mass Melodicotro's Artistos and Senna Goriano
(14:51):
where still Cresciando popular tiss feature My Impression, Antesa's present Tasion,
Dambian Fairly cesars Aura abelsensa Yo la Mia Personal two,
(15:12):
Child's Historia and Tarita, an episode of Quatro and this
episode of Composer, the Panama, Our licensas Young's when I.
Speaker 1 (15:21):
Taste Queer ye Ya and Comparasion.
Speaker 2 (15:27):
Those was the mask collegas Aga, the reflex your mocho,
mask Carvena and Susilo, but todavias when Aga Mexicana, the
lof said mask Lara, sus bad, suspictas lastroment l la
(15:49):
composi young itam bang pressa di go yo. Then I
come on mass parloses carven in a memo lester.
Speaker 1 (16:01):
You na Mexicana, boeys.
Speaker 2 (16:07):
Su Marca suega and lokus canta frutar simpenser.
Speaker 1 (16:15):
Okay, it was appropriate, Uncle durang. That's lo propria gando algo.
The locates a playa.
Speaker 2 (16:25):
Rete yeri moa Hami madri jerimo esta joven sita ita cosa.
Speaker 1 (16:36):
I don't know what image it was you.
Speaker 2 (16:41):
O fast lo kera it hul okay yo anto the
comy had the ham Yo buska querra.
Speaker 1 (16:55):
Kera per case Caussie. It is so volving.
Speaker 3 (17:15):
It.
Speaker 1 (17:17):
But I look at this para yell they were owned
souper super l d n a l retro. I don't know.
I have no bit for balving bro Yenny moa super hoving.
(17:41):
And I say that in the.
Speaker 2 (17:42):
Sense that like there's so much to learn, there's so
much that she needs to hone in on with her
emotions and how she expresses herself, and that's it. I
just feel like she's like a little girl and like
you know, her woman, herd and whatnot. I I'm just
recognizing that she's super young and that I think some
(18:03):
things come with maturity. With that said, the okay, your
s commentan is no paran el bollying, you know, and
thenna forma and then like parana hamas bullying and okay,
(18:24):
you know the Launcheicano Arco mantrapaes super.
Speaker 1 (18:33):
Fail, okay, Tcho.
Speaker 2 (18:40):
Jeannette, the Remeka and sure Vista, the k se Aga.
Speaker 1 (18:47):
And a ya Ama.
Speaker 2 (18:53):
Esconder pork Le Savosan first of all, respect like I
respect that its madramatica context, the Carablus apparentamente launch Mexicano,
(19:16):
lettrodes iss fans.
Speaker 1 (19:21):
Let m bullying pero envolucrando narcos me hinter.
Speaker 2 (19:35):
I don't know how much you know, but the k
Colon Narco so pars super fail.
Speaker 1 (19:44):
And I will never.
Speaker 2 (19:46):
Validata super fail, okay, a Lissa Grande, Danny Flow and Champagne,
then on da On stamp On, Trademark, super Volga.
Speaker 1 (20:07):
And Masa Record, the the the Las canciones, the rega como.
Speaker 2 (20:15):
Palleta yankee malas okay, your applica do lar laurel and
the episodia.
Speaker 1 (20:28):
So regaton the s l l flo.
Speaker 2 (20:40):
Then me them people lado is suplami the okay no,
(21:00):
then okay cam or some player the plain, then a
raga muffin.
Speaker 1 (21:09):
I don't know if it's cleared. Pero se.
Speaker 2 (21:14):
Regato, Mexa cato and comm come and rise to the
raise to the seconds, get handed hander the kyo ma
regaton and don't, says Joe Los.
Speaker 1 (21:34):
Some player.
Speaker 2 (21:35):
Pero bueno, Ryan bouton Man Mammy, segato, Mexa nod mocho
analy yo cucado and Spotify, and and and YouTube, make
(22:00):
contact VI mass lo fi, mass lo fi, massa pencer
coma musica, joy boy, Jody boyl varees mass melogna Okay,
the analysis, the lomple resto di go joke, villa ciendo
(22:26):
e crita and tempo Anton says analysa.
Speaker 1 (22:33):
They go yo. Let's let them rock for a little bit.
Let's see what it is.
Speaker 2 (22:36):
Como cabana cosa eta musica, no metri tanto pork pork
stand stinto quisa a sento quisas is la herga poras
my personan, pores la.
Speaker 1 (22:57):
Dentifico, so nat per malo and so At.
Speaker 2 (23:08):
Cultura America Latin and don sat music, you are pressed
with the sister porque alfinan on movie see like.
Speaker 1 (23:25):
Johamas vat on.
Speaker 2 (23:28):
Moviemno pero versa kegan cosas k pu las moeres.
Speaker 1 (23:38):
Pasio masa.
Speaker 2 (23:40):
They got your music reflections on the real las cosas
campre primero and.
Speaker 1 (23:50):
Sol and et cetera.
Speaker 2 (23:53):
And don't say that digo i agnos like pa American.
There's a little bit of gaps. I don't know how
much to say that in Spanish. And yes, all this
is off the cuff. I'm not reading a script here, Plumber.
Even in their early music at Musica mas public one,
(24:21):
then they don't laugh. Formola de lo regaton and then
a hook that hits melodias, that seduced you, bars that
add something to the message. To me, that's like the
(24:41):
most simple type of formula that you can have in reggaeton.
It was not deep, you know, my god, formula I'm
balance okay exist and regato basena the yo como for
(25:11):
exists as portlos elementos. They're all there and don't say.
And my opinion parace p bueno ma simply you know
(25:34):
being they go y okay I kisa valanc Reggato Mexa
cojo antes coma al prima.
Speaker 1 (25:46):
You know our first glance, I was like, okay.
Speaker 2 (25:51):
Aha, super tula, super super tula mente.
Speaker 1 (25:58):
Random.
Speaker 2 (26:07):
Maybe I do believe that all music does not need
to be deep, that it's a reflection of life. With
that said, most of the Mexas stars have something in common.
Speaker 1 (26:26):
My area, so.
Speaker 2 (26:30):
Honestly, this debauchery on a different level. Reggaeton comes from
a poor place historically, so these takes often associated with
the poor.
Speaker 1 (26:41):
Now being on the ridge is very interesting. Esk and
come sing vm.
Speaker 2 (26:58):
Pero is moylmo it mihantajo analysis Yo pork so ando
like toda vita marcando Vittoria is the finiando s shao
(27:20):
as Nina shadow Chardi, Janolas lashes and especial Regato Mexa, Porky,
jes time centralo. When you are centered, When we're centered,
that things move better sonically, so alas most analysis Regato Mexa.
Speaker 1 (27:45):
And friend friend for alpest no for you know, my lady.
Speaker 2 (28:09):
Scott Son be right back after these messages that you
can know some wherever it contary. So I think it's
(29:00):
time for Loca Mana. This week is with j Fuse
the Personal Okay John.
Speaker 1 (29:08):
In the podcast.
Speaker 2 (29:10):
J Fuse is a dope DJ Dominican from the Bronx
and he's been at this for twenty years. Okay at nineteen,
but we're gonna just say twenty because I mean no.
But seriously, I'm super proud of him and I learned
from him a lot, so why not put him right
here in Loca. Ve's got somos n los cogo.
Speaker 1 (29:40):
I got that. I'm excited, yes and flows Spanglish. I amigo.
J Fuse DJ, how you doing?
Speaker 3 (29:53):
Thank you for having me. It's a it's a pleasure,
always an honor.
Speaker 1 (29:58):
Finally got you on the path. I'm excited.
Speaker 3 (30:01):
You're right, let's do it.
Speaker 1 (30:07):
Let's go. Okay, So.
Speaker 2 (30:14):
Some SEGMENTO and the cheat codes. I want to know
the cheat codes of people's careers. I have spoken with producers,
I spoke with artists, are spoken with managers, are spoken
with curators. J Fuel just happens to be a dope
ass DJ and So the first question I have is
(30:35):
how long have you been DJing? I know this, I
know the answers to these questions.
Speaker 3 (30:38):
You know, for those that don't know, how long have.
Speaker 1 (30:42):
You been your DJing style, it's it's.
Speaker 4 (30:45):
Been a while now. I mean I started when I
was sixteen. Next year will be twenty years. So that's exciting,
you know, like it's probably the only thing that I've
done for so long consecutively in my like, So, yeah,
twenty years djaning.
Speaker 3 (31:04):
I think my style is just just whatever the whatever
I want it to be.
Speaker 4 (31:10):
I feel like i'm my style is more like a
poetic type of style of DJing. You know, it needs
to make sense from the first song to the last one.
There's a there's a story to it, a lot of wordplay,
a lot of emotions and feelings. It's not just playing
present play on the track home. So yeah, I think
it's poetry.
Speaker 3 (31:31):
That's my style.
Speaker 2 (31:33):
Twenty years is crazy. I can't even imagine this podcast
is the number one thing I've done consecutively shut out life,
so like a story.
Speaker 1 (31:44):
I feel like it's the wave. I don't know.
Speaker 2 (31:47):
Oh my god, twenty years is insane. I want to
know because everybody can't say that, like who else to you?
Speaker 1 (31:53):
Thank you take me to like some of your favorite
memories to walk me that memory twenty years, Like.
Speaker 2 (32:02):
I know there are some parties that never leave you,
Like what are those parties and what are those moments?
Speaker 1 (32:07):
I just want to hear on a personal.
Speaker 4 (32:09):
Note, I mean, the parties that never leave me are
the ones that stay true to me to my heart,
which is like a house party, like when I first started.
You know, it's not these big clubs or these festivals.
It's the origins of just being in somebody's house and
having the freedom to just be yourself.
Speaker 3 (32:29):
And cater to those people in that in that space
that you know very well are going to rock with you.
So twenty years is a long time, too long of
a time.
Speaker 4 (32:40):
So like my memory is just like I gotta really
like sit here and think back because I was only
sixteen years old, right, A lot has happened since.
Speaker 3 (32:50):
But there's a ton of memories. Man, there's too many.
Speaker 1 (32:55):
I think maybe recently, let's say past year highlight.
Speaker 3 (32:59):
Talk to me, highlight the past years I've been able
to do things, you know that the little kidding me.
Speaker 4 (33:08):
I was very happy about, like being in DC with
bedroom night and being able to open it for eby
Queen or I traveled to d R and I played
with se. You know, these these are people like as
a child, I'm just like dancing in my living room
to my parents playing their music. And now I'm on
stage with them and get into showcase what I've learned
(33:33):
through them.
Speaker 3 (33:34):
It's pretty cool.
Speaker 2 (33:36):
I absolutely love that you mentioned sixteen year old j
Fuse and when that's when you started. Also that you
know in the sense of what would you tell younger
J Fuse, Like if you had to go back then
with everything you know now, what would you tell him.
Speaker 4 (33:55):
I would tell little J that it's okay to fail
sometimes and it's okay to slow down. I would tell
my younger self to get sober sooner and locking.
Speaker 3 (34:12):
You know, real life things.
Speaker 4 (34:15):
A lot of that stuff comes with the nightlife, right,
just drinking all the time or doing whatever it is
you're doing the copra make it through the night.
Speaker 3 (34:25):
But that that sets you back.
Speaker 4 (34:27):
And I think if I would have like locked in sooner,
I would have accomplished things sooner as well. But so
that's with d mple, right, But I would have that
conversation with the younger me and just like slow down.
Speaker 3 (34:45):
And locking.
Speaker 2 (34:47):
I love that it's simple, but I mean I super
get and I imagine a lot of people are gonna
relate to being I love that.
Speaker 1 (34:55):
Oh my god. Okay, so you're not just a DJ,
you like you're a curator. You're someone I admire a lot,
and you.
Speaker 2 (35:05):
Like twenty years in your adaptable as fuck, like you
could like you just jump in, what's what's the tech?
Speaker 1 (35:12):
You know what I mean?
Speaker 2 (35:13):
Like you just show up and like you're a professional.
I guess, is my point. One of the mediums that
you work with that I am truly in love is vinyl.
Speaker 1 (35:23):
That because.
Speaker 2 (35:27):
A lot of people are becoming DJs. God knows, I
became one of turn twenty four, but it's.
Speaker 3 (35:35):
It's not a time to learn anything.
Speaker 1 (35:39):
That you're very kind friend.
Speaker 2 (35:41):
But also I do acknowledge that there's like a wave,
right and I didn't do so because of the wave
by this, So first of all, but we're not talking
about me, we're talking about you. Vinyl is one of
your mediums and it's something that you truly have to understand.
Just talk to me a little bit about it because
I'm truly ignorant, Like what is it about final when
you're making up different than like a CDJ or like
(36:04):
a controller.
Speaker 4 (36:06):
I just like to think of it personally more like
as a canvas. I don't I don't want to, Like,
I don't know if I was a painter or something,
I'd rather paint on a canvas than like do it
on my laptop or on an iPad. Right if it
was more organic, it feels like I'm connecting more to
collect the roots and the art of what DJing is
(36:27):
and and what if I know, it's just like I
think that's as close as you can.
Speaker 3 (36:31):
Get to music.
Speaker 4 (36:32):
You're literally putting a needle to find the song all
in real time. You know, There's there's not like fancy
buttons you're pushing to make you skip like one hundred steps.
You're you're doing everything right there in real time, and
you just feel more connected that way and more human
because you know, with CDJs and all of that, which
I love and nowadays I do prefer it because technology
(36:56):
has evolved and it does make things easier. I mean,
I'm not sure trying to like live a life where
things get harder for me. So I really do appreciate technology,
but I do think you should always go back to
how things first started to to kind of just like
level up that way and and.
Speaker 3 (37:17):
Yeah, and just love the culture for what it is
and the art for what it is.
Speaker 1 (37:22):
Sport up. I appreciate that and that same note, what's
your heart take on DJ? The DJ scene today?
Speaker 2 (37:32):
God knows, every time I open TikTok there's a different
payoade or someone ranting it's.
Speaker 1 (37:42):
Where are you at with it? Like, what's what's your
take on the scene?
Speaker 4 (37:48):
My heart take is like I do think we need
more plumbers, more doctors, more scientists. Yeah, we need more
cashiers at the at the Family Dollar, they only have
you having one person.
Speaker 3 (37:58):
In there, and it's just like, yeah, let's focus on
different things.
Speaker 4 (38:03):
I really do like admire and insolute anyone that wants
to learn how to DJ. I think the problem now
is that you're doing it for the wrong reasons, right.
It revolves around clout, around fast money, and the art
within itself has died out. I'm not trying to hate
(38:25):
on nobody, but it seems like when I'm scrolling doom
scrolling on TikTok, it's just like it's really like on
some chat GBT shit like somebody literally typed in, like
how do I do this? And then it tells you
instead of you like learning and pressing buttons and making
mistakes and taking the time to putting your ten thousand hours,
(38:46):
because that's what's going to separate you and give you
an identity. If you're following like this booklet on how
to dj, and you're just going to all sound the same.
And I think that's what's happening. Everyone just like sounds
the same because they're just copying each other or doing
like minimal things that Spotify already does. It's just like,
(39:10):
you're not trying to dj. I don't think this is
what you're.
Speaker 3 (39:12):
Trying to do.
Speaker 1 (39:14):
Yeah, oh man, And I think that's valid. Now I'll
chime in. God knows.
Speaker 2 (39:20):
Like I had mentioned earlier that i've you know, I
started DJing in twenty twenty four. It was out of survival.
It was not on some all my friends at dj
is let me do it too. I could care less
what people around me are doing because I'm not friends
with people for what they do about who they are.
But DJing was honestly humbling.
Speaker 1 (39:39):
It was fun. I'm a music collegist. I feel like
I love raton in ways that truly has made my career.
It's why we're here, it's why we're on.
Speaker 2 (39:48):
iHeart but get that the go playing live whole different monster,
making live whole different monster. DJing has made me realize that.
And instead of being behind the decks, which I truly respect,
I'd rather be in front of the crowd with a
mic in my hand.
Speaker 1 (40:07):
So like I forgot music people, because that's that's what
my heart is.
Speaker 2 (40:11):
That's that's where my heart is. Like I'm not saying
I won't DJ ever again, but I'm just saying, like
my heart is with the mic.
Speaker 4 (40:17):
In my hand. But I can on that because I
did see when when you wanted to start DJing, and
I do think that you moved correctly and you did
it the right way.
Speaker 3 (40:30):
I mean, you use the tools around you.
Speaker 4 (40:32):
You ask the people that you respect and know what
they're doing for help when you needed help.
Speaker 3 (40:38):
Right, And and that's a that's a big thing.
Speaker 4 (40:41):
I think a lot of people should use the tools
around them to get better. And you love and you
respect this this whole art, So I think you did
it right. I was speaking the hot takes truly on
people that just want to do it.
Speaker 1 (40:58):
I was taken it personally.
Speaker 3 (41:01):
But not but I not.
Speaker 1 (41:03):
And I appreciate you saying that just for people here.
I wasn't taken that personally.
Speaker 2 (41:08):
But I'm also the type of person that if it's applicable,
own it, you know, like you know, I feel like
there is and I appreciate that, friend. I was trying
to be ethical, you know, like I do know that
you know there's And we could talk on this too,
because this is something that's a phenomenon in culture. There's
a phenomenon in culture, I think specifically in nightlife where
(41:31):
people do admire other people in regards to like what
they do, and they don't think about how tacky they
can be sometimes in regards to like approaching people on some.
Speaker 1 (41:41):
Like hey, you know how I like that you did that?
How did you do that?
Speaker 2 (41:47):
But not with the intention of learning, but in the
intention of I'm gonna do that, and then not thinking
about the years like I need people to pause, just
be say, I need people to pause and think about
these are people's livelihoods. These are people's like these are crafts.
They didn't just pick things up one day. They've been
(42:08):
at it for years. They've made mistakes, they've built community,
they've built bonds, they've you know what I mean. So
I do think that it is a phenomenon of people
trying to cut the line in a sort of sense.
And I've been I've been really watching that discourse online too,
because it's like it's not just you know, anyone who
sees someone new coming into their realm, you know, like
(42:31):
they're automatically like, who's this and how do they get here?
After all the blood, sweat in tears that one person did?
And so I just feel like it's very human to
like appreciate all the work one person has done, you know,
on their own path, and then how uncomfortable it could be,
you know, seeing other people like heyo, I'm.
Speaker 1 (42:52):
Just that ain't hard. That that ain't hard. It's crazy,
you know what I mean that that because.
Speaker 4 (42:59):
Because of technology, it's like we are at it at
a day and age where it's like, what took me
a good like templus years to learn or whatever, you
can learn.
Speaker 3 (43:10):
In two months now, right.
Speaker 4 (43:12):
Yeah, So like, yeah, I've been in this for twenty years,
but somebody that comes in brand new, it was like
running laps around me because it is that easy now.
Speaker 2 (43:22):
Yeah, but they can learn it in two months, but
that doesn't mean they master it yet and they're.
Speaker 4 (43:27):
Master yeah, yeah, you do, not ten thousand hours. And
like I said, you need to build like who you are.
Everybody has their own sound even though you're playing other
people's music. Essentially you can play with music and that's
what DJ and is DJ and you know, the turntable
is an instrument. Like I can reshape my favorite songs.
I can, I can make them. I can just do
(43:49):
whatever I want, which is why the name is jfuse,
Like it's what I wanted to do. It's just like
fuse all these different things that I can with one
m P three or one vinyl or whatever they kicks in.
Speaker 3 (44:01):
It's not just person place, right, there.
Speaker 2 (44:05):
Is this thing you just said, you said, you know,
making the music your own, that there's another phenomenon within
the world of DJing. I am excited to hear your
thoughts on this where like people do sometimes and this
is kind of where I was coming from a little
bit in the sense that people, you know, see someone
doing a dope edit.
Speaker 1 (44:26):
What is your take on like, because it's it's it's.
Speaker 2 (44:31):
I'm very I'm I don't know, I'm an IP queen,
intellectual property queen, like ain't nobody.
Speaker 1 (44:36):
But use better? I want to one without writing permission
for me. I love a season this is.
Speaker 2 (44:40):
But in DJing it's different because you, like you just said,
DJs don't own music, but when DJs do very specific edits,
you know what I mean, Like it's like, yo.
Speaker 1 (44:50):
That came from you.
Speaker 2 (44:50):
That's technically new and i'd be seeing. And when I
say new, I mean like you technically own that creation,
like you created that, you know someone. My favorite edit
just in memory Dana Lou shout out to Dana J.
I love Dana she DJ, but I want to one
and I I texted, I was like, girl, I will
(45:11):
credit you put your tag in it.
Speaker 1 (45:13):
Like she mixed then with by Beani. Man, it was
it was fire. Everybody lost it.
Speaker 2 (45:25):
I have that hit it on and so it's like
I was like, I'm about to go DJ somewhere, but
I'm about to blend that like I just did that.
Speaker 1 (45:31):
I asked her for it, but that's because I respect
her and I love her and I know to hit
her up.
Speaker 2 (45:37):
But people don't be doing that. People people replicate and
then experiences and then am I crazy?
Speaker 1 (45:47):
I guess that.
Speaker 2 (45:48):
Squ am I crazy in the sense that that bothers me,
But like, is it just part of the game, like
I have.
Speaker 4 (45:56):
Got it should be normalized to be part of the game,
to have some like you're asking for, like just respect right.
Speaker 3 (46:07):
Essentially.
Speaker 4 (46:07):
And it's just like it doesn't take much to just
give some credit where it's due. Every everybody's mind works differently,
so in this case, for Dana, she digged in her
brain to create some dope ship like what gives you
the right to just take it and not give the credit?
Like go sit in the corner and think of sign
by yourself and then let me take it from you
(46:29):
and see how you feel.
Speaker 3 (46:31):
And it's like, at the end of the day, it's
just respect. It's very simple.
Speaker 4 (46:35):
But I think, uh, speaking of the cheat codes, like
everybody takes that a little too literal and they really
want like the cheat codes and do the absolute minimum
while getting all this like cloud or gratification and it's
like low key psychotic.
Speaker 3 (46:52):
But yeah, I would so like just like straight up
just just taking It's it's rude.
Speaker 1 (47:05):
Yeah, rude. Rude is definitely a ward a word like
I have so many others.
Speaker 3 (47:09):
But we're gonna kick it.
Speaker 2 (47:16):
Many scott on this be right back after these messages.
That's you can know some way.
Speaker 1 (48:24):
Speaking of taking things.
Speaker 2 (48:26):
You know, you're a DJ, you're of the culture that
with the profounance of for Puerto Rico like I do
as well.
Speaker 1 (48:33):
We we have we found ourselves in Puerto Rico more
than one friend or was it just that one time?
Speaker 2 (48:38):
I don't know, but like.
Speaker 1 (48:41):
Yeah, at this point, which is a testament to how
much we love pre we just oh are you here?
Speaker 2 (48:45):
I'm here over here, but shout out to Puerto Rico,
but go to some My question is, okay, there is
you're of the culture, you're of the diaspora. How do
you keep rayatoon black or connected to its roots? And
(49:05):
what's your take on the whitewashing? As a DJ like
you'd be playing in diasporic places, what's your.
Speaker 3 (49:13):
Take on how do we keep reggaeton black into its roots?
It's fairly simple.
Speaker 4 (49:19):
I think you just have to actively recognize and honor
the genres Afro Caribbean roots, the origins, and you have
to challenge the white washing that happens and support the
community that birth it.
Speaker 3 (49:35):
And like I said, acknowledging the roots.
Speaker 4 (49:36):
Right, So PanAm Amica shout out like Aldo Rhyns obviously
lod I don't even think people know she's Pandamanian. But
just highlighting black reggadon artists today, yesterday, tomorrow, just representation
and educating yourself, calling calling out anti blackness in the industry.
Speaker 3 (49:59):
You know, this industry is so there's a bunch of
favoritism and whitewashing.
Speaker 4 (50:05):
So call that shit out, like um hmm, yeah, you know,
I think people are scared to speak out sometimes just
because it goes out into social media and now one
hundred thousand people have an opinion, and a lot of
it is uneducated people. So you know, sometimes we want
(50:26):
to stay quiet and not deal with the mess of
just like trying to expand yourself to people that don't
know what the fuck they're talking about. But it isn't
hard to speak up, and yeah, keep the ship black
as full.
Speaker 1 (50:40):
I appreciate it. I appreciate it.
Speaker 2 (50:43):
And as we're wrapping up here, I would just love
to know, like, what would you like to see more
in culture? If like, if you had one thought and
you would like it to be applied in a mass sense,
what would what would that be?
Speaker 3 (51:00):
Something I want to see in culture.
Speaker 2 (51:03):
Yeah, like in night life, like in regards to like
people disacting, Like what would that be?
Speaker 1 (51:09):
Like what if you're like I just wish everyone would
What is that for you?
Speaker 4 (51:14):
Uh? I just want things to be dealt with intention right,
do things because you actually love it. I think things
that like should leave the culture more is like the
glorification of overworking, like that toxicity of always having to
do something.
Speaker 3 (51:34):
You know, I've been doing this for twenty years, but
like every day I'm not.
Speaker 4 (51:40):
Just focusing on DJing, Like we all have to step back,
take a breather sometimes, and like there's a lot of
bigger things that are important as well. So to realistic
unrealistic and creates a false idea like if you're not
constantly working on music or doing this or doing that,
it's like you're not ambitious or lazy or whatever the
case might be. But we need to take care of
(52:01):
our mental health and this culture because that very very
fucking spooky. So it's just like, just take a step
back and focus on on things that actually matter. Yeah,
I think the culture needs more discipline and more boundaries.
Speaker 3 (52:21):
With all that.
Speaker 1 (52:23):
I love that friend, Is there anything I didn't ask you?
That you're like, I want to speak on it. Come
to mind.
Speaker 4 (52:31):
I think you asked some really good questions and I'm
always here to answer it to my best ability.
Speaker 3 (52:38):
But I for hav any other questions when you drop
a music.
Speaker 2 (52:45):
Thanksgiving, Okay, I've studied out loud. Okay, Thanksgiving, I am
saying out loud. Shout out to Randy class. Yeah, shout
out to classes and session.
Speaker 1 (53:05):
He shout out.
Speaker 2 (53:09):
But one the ones classes in session is entirely like
inspired by Randy class. Just so Randy class can hear
how much he inspires classes and such. I'm saying it's
on purpose.
Speaker 1 (53:23):
Love you Randy. No, but yeah, Thanksgiving, it's time. I'm done.
I need joy in my life. I feel like he's
a good joy.
Speaker 2 (53:32):
And so thank you for asking. Friends, I'm gonna Thanksgiving.
I'm excited. Thank you. And Okay, you you DJ, your dominic,
you understand things, damn it. In your opinion, who are
(53:52):
the biggest culture shifters in your words, I'm talking about
we're gonna go by genre them.
Speaker 1 (53:58):
Bo, give me your top three.
Speaker 4 (54:02):
Damn all right, So then Bo, I'm gonna put like
Bablo Beatty on there, I'm gonna put sect that be
wrong for me. And you know, I have to say
a lot even though he's become this phenomenon and it
almost feels like that alone feels like a cheat code.
Like what he's done, it's just like sheesh. But he's
(54:25):
he's really one of the shape shifters and who brought
it to the table for it to be a little
more commercialized in a good way because he's stuck to
his roots. He's stuck to to the goli ghosts and
and made them both blow up really from being like
at a house party or an or on the streets.
Speaker 3 (54:47):
To Madison Square Garden. Like that's inspiring as fun.
Speaker 4 (54:51):
Yeah, got to give credit where it's due, for sure,
I'll get a ton also, Like I wish I could
prepare for this question because I can make like a
list of like.
Speaker 3 (55:03):
But those are some of the ones that come to my.
Speaker 2 (55:08):
Yeah, Alf, you know, with everything that he's done, I remember,
I remember, like I'm not a new alpha.
Speaker 1 (55:20):
This man has been around, you know.
Speaker 3 (55:23):
Him when he had hair before the.
Speaker 1 (55:27):
Yeah, No, here's here's a okay them bo.
Speaker 3 (55:32):
Not the for me.
Speaker 2 (55:38):
In culture, like there's the goats. Everyone's gonna say they
go daddy Yankee man. But I mean like in night
life right now, just.
Speaker 1 (55:47):
Like who are you?
Speaker 2 (55:48):
Who are you? Like I.
Speaker 1 (55:51):
Can't play a set without these three.
Speaker 4 (55:57):
It's just like in night life things have become so
like jaded, where the people just want to listen to
Babney like we know this, so I don't want to
say that name even though he's done some amazing ship.
We all love it, like we really do, but we
got to like open up that little pit and make
(56:19):
room for like you know, we still have like a
bunch of ogs that don't get played because you just
keep listening to to the same old things.
Speaker 3 (56:28):
So but yes, I hear you, which is why it's.
Speaker 4 (56:31):
Important, like the work that you do because speaking of
like whitewashing, right, like that's prettyusual, Likeatong is being reshaped
and distanced from its black origins, and like we know,
like everybody in their mama has a peeral party, right,
but not all of it is done with intentions, And
you do a really good job of like classes in
session and.
Speaker 3 (56:54):
Like we're gonna listen to all.
Speaker 4 (56:56):
Like we're going to pretty much like start from the
beginning all the way to that bunny, and I wish
we could do that more in night life. But it
is just like we just want the hits and we're
trying to record for TikTok, so please play this song.
Speaker 3 (57:09):
Or blah blah blah blah blah.
Speaker 4 (57:11):
But yeah, I'm not even going to name like big names.
I think like I don't want you to the people
that I do want to like that. I do play
a lot of their music and I want to continue
to and I want other people to also do. Is
uh people around me right now that I see making
(57:32):
music which happened to be my friend, this is an
awesome favoritism ship.
Speaker 3 (57:35):
It's just like these people are really talented. So somebody
like Michi.
Speaker 4 (57:39):
Mata, she's making some beautiful like simp pop experimental get
don and that shit goes hard in the club if
you're in a rave or you're at to Get Done
party or or somebody like Benley Loved from pr LILMEO.
Speaker 3 (57:57):
I want I want DJ to go back to which
as well in terms of breaking like new artists.
Speaker 4 (58:03):
So like Bad Money don't really need us anymore to
kind of put them on that elevation of a platform,
and that's what I want for for like Michi and Bendi,
I want them to get to that same level too.
But now we have to play their music. We need
to because they have music that's gonna make you dance,
they have music that's gonna make you live cry, Like
it's just great music. And if people like mindset a
(58:26):
shift a little to be a little more open minded
and give other people a chance, then you can see how,
like how I can answer that question even easier, like
I do feel like get down.
Speaker 3 (58:38):
It's still very black, but it's who are we giving
a chance to display that blackness.
Speaker 2 (58:44):
I'm drop in thanksgiving, I promise for it, but no,
I super love that answer. And this is why you
know I'm always in all of you, because yeah, that's
really what DJing was. You know, at a point, it's
not so much anymore of like people around you and
making sure that they're within the set so respect.
Speaker 4 (59:03):
Like I really there's a lot of good music out here,
and it's just like we don't know who that is,
so we want to keep it safe, right, And it's
like that, like music ain't supposed to be that. You're
supposed to be risky, you're supposed to be open minded,
and yeah, gives you a chance some good stuff out there.
Speaker 1 (59:21):
You said Mitchie in my heart flashed before my life,
flashed before my eyes because I actually some vocals. I'm
coming coming on my song too, another song of my
I'm not perfect, but.
Speaker 3 (59:35):
I'm coming right here.
Speaker 1 (59:38):
Yeah, okay, it feels thank you so much.
Speaker 3 (59:42):
For joining me, I thank you for having me.
Speaker 2 (59:45):
Seriously, we hand them.
Speaker 1 (59:53):
Child Child May's got a sound so honest. You know
what time and it is a Tampalas Flores.
Speaker 2 (01:00:02):
And I heard media production for Executive produced by Shaki
Easy Media, produced by Grace Gonsalez. Shout out to my
production assistants Naomi A. Savello and Kayla Ecleston, and shout
out to fucking Cultler, my editor. I'm your host, Lagata,
see you right here next week. And I hear radio
(01:00:23):
app or wherever you listen
Miss Gottra son Son something like a.
Speaker 2 (00:53):
Friend, Come antea conte a mente a process Orbulus Young, Regato, Mexa, Meta, Pragita, Teflico, Antario,
mene On, Regaton gone underground called Peroo Rega and dance
(01:14):
on Tosa Musica too, Senros Venlugal, Polydica, if con Proposito,
p s laos, Condra Milita and Panama nor Riega, Contra
rose nador I, Velda Gonzalez and Puerto Rico La Musica
sefue come on Medio Resistance, Cavalos j Nado and a musica.
Speaker 1 (01:40):
El perrel e.
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the Cruta Musica and with diferente anti menta villallos cassettesa
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and Maliya Charlie Jane Young Lucas Spesso ploma Bia cas
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avela casa Quadello, Mama.
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Getting moa, Danny flow Rivo.
Speaker 2 (02:50):
Alan Aeta and Brando lotos pero eto c soon algon Marcando,
Historia del consider Regato Mexa, Aura dom commentsan on yo
(03:14):
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niar rismo ossa hea Mexicana Lisa Lisa ideo Hi, I'm gatta,
I'm American com Lisa and Regatto Mexa.
Speaker 1 (03:35):
Okay, Yeah, let's have a Picano.
Speaker 2 (03:37):
Regato Mexa is different ports Alan, different Kanto, different Latin
Americano Verico. I'll let you guys argue Allada.
Speaker 1 (03:52):
Pero alfinale es Espanol. Okay.
Speaker 2 (03:56):
The series Claro cada qual tis Tennessee, the Alecto, Yes,
loke your viero Regato mexasdinta Regaton, the Puerto Rico Regaton,
the Panama Regaton, Colombiano et cetera, pork tennes Elemento, supropio
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(04:21):
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los grandees to the hectory titoo Joeli Randi, Zanny Lennox,
(04:48):
La Lisa Lia ra mende continua croquet at mills.
Speaker 1 (04:53):
There's thousands of them.
Speaker 2 (04:56):
Marcano historia, sclaro, porsi pre and ton say no como
associal reggaeton come reggaeton, the lokez puerto rico pro digo
yo see artist Algoni scenario, ke a Graham, your caracu
(05:18):
regaton them brasileno cas us come y Malandra, you record
that can Twitter, your cancio jr. Como saying your voyen
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bla the pasarn i used me okay cosa mas okay
(06:06):
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a propriated pork ja, caramelos, verver algonuevo dio joe okay remos,
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(06:32):
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porque dan no comte and el l l prod puerto
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(06:58):
d J blast or plagero, you're due east star crevendo
and in tempo real and don't say you matin and
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principal mente joke commentsar con like case larena, the Reggatton
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(07:46):
yo la coco coros per reggaetto champan Pampam Bam Bam
Bam super pegga ho sam and canto como di jocky
shut out to baya cass by a claro.
Speaker 1 (08:05):
Now that is perfect.
Speaker 2 (08:08):
You're lu Yama la tension he yado and gono controversia
yo aurato torndo am scenario de loceez elfarrandola, machito and
bella parana your emplemtooyments. You're not a so pero the
(08:28):
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de k tm being actualmente and Ton said mancanto porque
yim dress maa mio and Ton say Canada ca se
tsu so controversia Harris so I love that claro gonna
(08:58):
cos sitas you am bistome the meme.
Speaker 1 (09:04):
Compartito parisio.
Speaker 2 (09:07):
Then side note, side tangent, this is my show Yama
okay agen your son heles dono if retarante, the crabes, candalos, crapes, frances.
Speaker 1 (09:27):
Santa claro l you're better no person.
Speaker 2 (09:40):
Retarantela, comego, no problemma his son context.
Speaker 1 (09:48):
And reference a la parisio.
Speaker 2 (09:53):
The brown maroons right, they're always they're bran your your cochado.
Speaker 1 (10:04):
I'm brown brown pride come pie brown.
Speaker 2 (10:14):
An brown, Mexicano brown okay I and trava and groups okay,
m blancas okay.
Speaker 1 (10:24):
And this is where the things change.
Speaker 2 (10:26):
A commes casas.
Speaker 1 (10:29):
Right, and I'm bienta the penta, I don't not a gas.
Speaker 3 (10:44):
And and and.
Speaker 2 (10:48):
And I was like what I have never seen white,
I'm brown discrimination never And I'm like, wow, I only
thought they did that ships us, but apparently they do
it to them too, by a cat cito or.
Speaker 1 (11:08):
So hi. But also you know called for.
Speaker 2 (11:12):
Punto the compartiala parisio amochas personas the personas aga representa
Excellentiamicana dula to form in conmundo cones not.
Speaker 1 (11:39):
Enemiga.
Speaker 2 (11:39):
Okay, we don't need to be our own worst enemy.
So you know se por kee compartisto so the si
pre iago and porque compartiso perm see jap latio on
(12:00):
be a cat a gas c uh pracono. Impact of
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Speaker 1 (12:14):
I see Danny floor.
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And mecanada suena Mexicana and and cons ok said no
at a Mexicana and on track the thembo mencantae and
it's perfect. Mundo, your carol, your Malatisca's La ma hone
(12:53):
man put on capsul impact of the the na cal Rena,
the Regato Max Time, Tam pursus no metal sk and
Google no.
Speaker 1 (13:09):
Me Scott son Son and don't make sts like blowing.
Speaker 2 (13:12):
Your mind right now, but we'll be right back after
these messages. That's it can know some where.
Speaker 1 (13:58):
Our You're not Atlante and Maliya.
Speaker 2 (14:02):
First of all, this man is handsome, beg Yo be anitos,
Oh my God so young featuring valving El Presentala and Corchella, but.
Speaker 1 (14:20):
And es el mismo.
Speaker 2 (14:23):
Esta Musicato Mexican so musica, and they were still local
Mass Melodico, the Loop and Mass and the Sonido Maso
per the Musica is Mass Melodicotro's Artistos and Senna Goriano
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Dambian Fairly cesars Aura abelsensa Yo la Mia Personal two,
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Child's Historia and Tarita, an episode of Quatro and this
episode of Composer, the Panama, Our licensas Young's when I.
Speaker 1 (15:21):
Taste Queer ye Ya and Comparasion.
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Those was the mask collegas Aga, the reflex your mocho,
mask Carvena and Susilo, but todavias when Aga Mexicana, the
lof said mask Lara, sus bad, suspictas lastroment l la
(15:49):
composi young itam bang pressa di go yo. Then I
come on mass parloses carven in a memo lester.
Speaker 1 (16:01):
You na Mexicana, boeys.
Speaker 2 (16:07):
Su Marca suega and lokus canta frutar simpenser.
Speaker 1 (16:15):
Okay, it was appropriate, Uncle durang. That's lo propria gando algo.
The locates a playa.
Speaker 2 (16:25):
Rete yeri moa Hami madri jerimo esta joven sita ita cosa.
Speaker 1 (16:36):
I don't know what image it was you.
Speaker 2 (16:41):
O fast lo kera it hul okay yo anto the
comy had the ham Yo buska querra.
Speaker 1 (16:55):
Kera per case Caussie. It is so volving.
Speaker 3 (17:15):
It.
Speaker 1 (17:17):
But I look at this para yell they were owned
souper super l d n a l retro. I don't know.
I have no bit for balving bro Yenny moa super hoving.
(17:41):
And I say that in the.
Speaker 2 (17:42):
Sense that like there's so much to learn, there's so
much that she needs to hone in on with her
emotions and how she expresses herself, and that's it. I
just feel like she's like a little girl and like
you know, her woman, herd and whatnot. I I'm just
recognizing that she's super young and that I think some
(18:03):
things come with maturity. With that said, the okay, your
s commentan is no paran el bollying, you know, and
thenna forma and then like parana hamas bullying and okay,
(18:24):
you know the Launcheicano Arco mantrapaes super.
Speaker 1 (18:33):
Fail, okay, Tcho.
Speaker 2 (18:40):
Jeannette, the Remeka and sure Vista, the k se Aga.
Speaker 1 (18:47):
And a ya Ama.
Speaker 2 (18:53):
Esconder pork Le Savosan first of all, respect like I
respect that its madramatica context, the Carablus apparentamente launch Mexicano,
(19:16):
lettrodes iss fans.
Speaker 1 (19:21):
Let m bullying pero envolucrando narcos me hinter.
Speaker 2 (19:35):
I don't know how much you know, but the k
Colon Narco so pars super fail.
Speaker 1 (19:44):
And I will never.
Speaker 2 (19:46):
Validata super fail, okay, a Lissa Grande, Danny Flow and Champagne,
then on da On stamp On, Trademark, super Volga.
Speaker 1 (20:07):
And Masa Record, the the the Las canciones, the rega como.
Speaker 2 (20:15):
Palleta yankee malas okay, your applica do lar laurel and
the episodia.
Speaker 1 (20:28):
So regaton the s l l flo.
Speaker 2 (20:40):
Then me them people lado is suplami the okay no,
(21:00):
then okay cam or some player the plain, then a
raga muffin.
Speaker 1 (21:09):
I don't know if it's cleared. Pero se.
Speaker 2 (21:14):
Regato, Mexa cato and comm come and rise to the
raise to the seconds, get handed hander the kyo ma
regaton and don't, says Joe Los.
Speaker 1 (21:34):
Some player.
Speaker 2 (21:35):
Pero bueno, Ryan bouton Man Mammy, segato, Mexa nod mocho
analy yo cucado and Spotify, and and and YouTube, make
(22:00):
contact VI mass lo fi, mass lo fi, massa pencer
coma musica, joy boy, Jody boyl varees mass melogna Okay,
the analysis, the lomple resto di go joke, villa ciendo
(22:26):
e crita and tempo Anton says analysa.
Speaker 1 (22:33):
They go yo. Let's let them rock for a little bit.
Let's see what it is.
Speaker 2 (22:36):
Como cabana cosa eta musica, no metri tanto pork pork
stand stinto quisa a sento quisas is la herga poras
my personan, pores la.
Speaker 1 (22:57):
Dentifico, so nat per malo and so At.
Speaker 2 (23:08):
Cultura America Latin and don sat music, you are pressed
with the sister porque alfinan on movie see like.
Speaker 1 (23:25):
Johamas vat on.
Speaker 2 (23:28):
Moviemno pero versa kegan cosas k pu las moeres.
Speaker 1 (23:38):
Pasio masa.
Speaker 2 (23:40):
They got your music reflections on the real las cosas
campre primero and.
Speaker 1 (23:50):
Sol and et cetera.
Speaker 2 (23:53):
And don't say that digo i agnos like pa American.
There's a little bit of gaps. I don't know how
much to say that in Spanish. And yes, all this
is off the cuff. I'm not reading a script here, Plumber.
Even in their early music at Musica mas public one,
(24:21):
then they don't laugh. Formola de lo regaton and then
a hook that hits melodias, that seduced you, bars that
add something to the message. To me, that's like the
(24:41):
most simple type of formula that you can have in reggaeton.
It was not deep, you know, my god, formula I'm
balance okay exist and regato basena the yo como for
(25:11):
exists as portlos elementos. They're all there and don't say.
And my opinion parace p bueno ma simply you know
(25:34):
being they go y okay I kisa valanc Reggato Mexa
cojo antes coma al prima.
Speaker 1 (25:46):
You know our first glance, I was like, okay.
Speaker 2 (25:51):
Aha, super tula, super super tula mente.
Speaker 1 (25:58):
Random.
Speaker 2 (26:07):
Maybe I do believe that all music does not need
to be deep, that it's a reflection of life. With
that said, most of the Mexas stars have something in common.
Speaker 1 (26:26):
My area, so.
Speaker 2 (26:30):
Honestly, this debauchery on a different level. Reggaeton comes from
a poor place historically, so these takes often associated with
the poor.
Speaker 1 (26:41):
Now being on the ridge is very interesting. Esk and
come sing vm.
Speaker 2 (26:58):
Pero is moylmo it mihantajo analysis Yo pork so ando
like toda vita marcando Vittoria is the finiando s shao
(27:20):
as Nina shadow Chardi, Janolas lashes and especial Regato Mexa, Porky,
jes time centralo. When you are centered, When we're centered,
that things move better sonically, so alas most analysis Regato Mexa.
Speaker 1 (27:45):
And friend friend for alpest no for you know, my lady.
Speaker 2 (28:09):
Scott Son be right back after these messages that you
can know some wherever it contary. So I think it's
(29:00):
time for Loca Mana. This week is with j Fuse
the Personal Okay John.
Speaker 1 (29:08):
In the podcast.
Speaker 2 (29:10):
J Fuse is a dope DJ Dominican from the Bronx
and he's been at this for twenty years. Okay at nineteen,
but we're gonna just say twenty because I mean no.
But seriously, I'm super proud of him and I learned
from him a lot, so why not put him right
here in Loca. Ve's got somos n los cogo.
Speaker 1 (29:40):
I got that. I'm excited, yes and flows Spanglish. I amigo.
J Fuse DJ, how you doing?
Speaker 3 (29:53):
Thank you for having me. It's a it's a pleasure,
always an honor.
Speaker 1 (29:58):
Finally got you on the path. I'm excited.
Speaker 3 (30:01):
You're right, let's do it.
Speaker 1 (30:07):
Let's go. Okay, So.
Speaker 2 (30:14):
Some SEGMENTO and the cheat codes. I want to know
the cheat codes of people's careers. I have spoken with producers,
I spoke with artists, are spoken with managers, are spoken
with curators. J Fuel just happens to be a dope
ass DJ and So the first question I have is
(30:35):
how long have you been DJing? I know this, I
know the answers to these questions.
Speaker 3 (30:38):
You know, for those that don't know, how long have.
Speaker 1 (30:42):
You been your DJing style, it's it's.
Speaker 4 (30:45):
Been a while now. I mean I started when I
was sixteen. Next year will be twenty years. So that's exciting,
you know, like it's probably the only thing that I've
done for so long consecutively in my like, So, yeah,
twenty years djaning.
Speaker 3 (31:04):
I think my style is just just whatever the whatever
I want it to be.
Speaker 4 (31:10):
I feel like i'm my style is more like a
poetic type of style of DJing. You know, it needs
to make sense from the first song to the last one.
There's a there's a story to it, a lot of wordplay,
a lot of emotions and feelings. It's not just playing
present play on the track home. So yeah, I think
it's poetry.
Speaker 3 (31:31):
That's my style.
Speaker 2 (31:33):
Twenty years is crazy. I can't even imagine this podcast
is the number one thing I've done consecutively shut out life,
so like a story.
Speaker 1 (31:44):
I feel like it's the wave. I don't know.
Speaker 2 (31:47):
Oh my god, twenty years is insane. I want to
know because everybody can't say that, like who else to you?
Speaker 1 (31:53):
Thank you take me to like some of your favorite
memories to walk me that memory twenty years, Like.
Speaker 2 (32:02):
I know there are some parties that never leave you,
Like what are those parties and what are those moments?
Speaker 1 (32:07):
I just want to hear on a personal.
Speaker 4 (32:09):
Note, I mean, the parties that never leave me are
the ones that stay true to me to my heart,
which is like a house party, like when I first started.
You know, it's not these big clubs or these festivals.
It's the origins of just being in somebody's house and
having the freedom to just be yourself.
Speaker 3 (32:29):
And cater to those people in that in that space
that you know very well are going to rock with you.
So twenty years is a long time, too long of
a time.
Speaker 4 (32:40):
So like my memory is just like I gotta really
like sit here and think back because I was only
sixteen years old, right, A lot has happened since.
Speaker 3 (32:50):
But there's a ton of memories. Man, there's too many.
Speaker 1 (32:55):
I think maybe recently, let's say past year highlight.
Speaker 3 (32:59):
Talk to me, highlight the past years I've been able
to do things, you know that the little kidding me.
Speaker 4 (33:08):
I was very happy about, like being in DC with
bedroom night and being able to open it for eby
Queen or I traveled to d R and I played
with se. You know, these these are people like as
a child, I'm just like dancing in my living room
to my parents playing their music. And now I'm on
stage with them and get into showcase what I've learned
(33:33):
through them.
Speaker 3 (33:34):
It's pretty cool.
Speaker 2 (33:36):
I absolutely love that you mentioned sixteen year old j
Fuse and when that's when you started. Also that you
know in the sense of what would you tell younger
J Fuse, Like if you had to go back then
with everything you know now, what would you tell him.
Speaker 4 (33:55):
I would tell little J that it's okay to fail
sometimes and it's okay to slow down. I would tell
my younger self to get sober sooner and locking.
Speaker 3 (34:12):
You know, real life things.
Speaker 4 (34:15):
A lot of that stuff comes with the nightlife, right,
just drinking all the time or doing whatever it is
you're doing the copra make it through the night.
Speaker 3 (34:25):
But that that sets you back.
Speaker 4 (34:27):
And I think if I would have like locked in sooner,
I would have accomplished things sooner as well. But so
that's with d mple, right, But I would have that
conversation with the younger me and just like slow down.
Speaker 3 (34:45):
And locking.
Speaker 2 (34:47):
I love that it's simple, but I mean I super
get and I imagine a lot of people are gonna
relate to being I love that.
Speaker 1 (34:55):
Oh my god. Okay, so you're not just a DJ,
you like you're a curator. You're someone I admire a lot,
and you.
Speaker 2 (35:05):
Like twenty years in your adaptable as fuck, like you
could like you just jump in, what's what's the tech?
Speaker 1 (35:12):
You know what I mean?
Speaker 2 (35:13):
Like you just show up and like you're a professional.
I guess, is my point. One of the mediums that
you work with that I am truly in love is vinyl.
Speaker 1 (35:23):
That because.
Speaker 2 (35:27):
A lot of people are becoming DJs. God knows, I
became one of turn twenty four, but it's.
Speaker 3 (35:35):
It's not a time to learn anything.
Speaker 1 (35:39):
That you're very kind friend.
Speaker 2 (35:41):
But also I do acknowledge that there's like a wave,
right and I didn't do so because of the wave
by this, So first of all, but we're not talking
about me, we're talking about you. Vinyl is one of
your mediums and it's something that you truly have to understand.
Just talk to me a little bit about it because
I'm truly ignorant, Like what is it about final when
you're making up different than like a CDJ or like
(36:04):
a controller.
Speaker 4 (36:06):
I just like to think of it personally more like
as a canvas. I don't I don't want to, Like,
I don't know if I was a painter or something,
I'd rather paint on a canvas than like do it
on my laptop or on an iPad. Right if it
was more organic, it feels like I'm connecting more to
collect the roots and the art of what DJing is
(36:27):
and and what if I know, it's just like I
think that's as close as you can.
Speaker 3 (36:31):
Get to music.
Speaker 4 (36:32):
You're literally putting a needle to find the song all
in real time. You know, There's there's not like fancy
buttons you're pushing to make you skip like one hundred steps.
You're you're doing everything right there in real time, and
you just feel more connected that way and more human
because you know, with CDJs and all of that, which
I love and nowadays I do prefer it because technology
(36:56):
has evolved and it does make things easier. I mean,
I'm not sure trying to like live a life where
things get harder for me. So I really do appreciate technology,
but I do think you should always go back to
how things first started to to kind of just like
level up that way and and.
Speaker 3 (37:17):
Yeah, and just love the culture for what it is
and the art for what it is.
Speaker 1 (37:22):
Sport up. I appreciate that and that same note, what's
your heart take on DJ? The DJ scene today?
Speaker 2 (37:32):
God knows, every time I open TikTok there's a different
payoade or someone ranting it's.
Speaker 1 (37:42):
Where are you at with it? Like, what's what's your
take on the scene?
Speaker 4 (37:48):
My heart take is like I do think we need
more plumbers, more doctors, more scientists. Yeah, we need more
cashiers at the at the Family Dollar, they only have
you having one person.
Speaker 3 (37:58):
In there, and it's just like, yeah, let's focus on
different things.
Speaker 4 (38:03):
I really do like admire and insolute anyone that wants
to learn how to DJ. I think the problem now
is that you're doing it for the wrong reasons, right.
It revolves around clout, around fast money, and the art
within itself has died out. I'm not trying to hate
(38:25):
on nobody, but it seems like when I'm scrolling doom
scrolling on TikTok, it's just like it's really like on
some chat GBT shit like somebody literally typed in, like
how do I do this? And then it tells you
instead of you like learning and pressing buttons and making
mistakes and taking the time to putting your ten thousand hours,
(38:46):
because that's what's going to separate you and give you
an identity. If you're following like this booklet on how
to dj, and you're just going to all sound the same.
And I think that's what's happening. Everyone just like sounds
the same because they're just copying each other or doing
like minimal things that Spotify already does. It's just like,
(39:10):
you're not trying to dj. I don't think this is
what you're.
Speaker 3 (39:12):
Trying to do.
Speaker 1 (39:14):
Yeah, oh man, And I think that's valid. Now I'll
chime in. God knows.
Speaker 2 (39:20):
Like I had mentioned earlier that i've you know, I
started DJing in twenty twenty four. It was out of survival.
It was not on some all my friends at dj
is let me do it too. I could care less
what people around me are doing because I'm not friends
with people for what they do about who they are.
But DJing was honestly humbling.
Speaker 1 (39:39):
It was fun. I'm a music collegist. I feel like
I love raton in ways that truly has made my career.
It's why we're here, it's why we're on.
Speaker 2 (39:48):
iHeart but get that the go playing live whole different monster,
making live whole different monster. DJing has made me realize that.
And instead of being behind the decks, which I truly respect,
I'd rather be in front of the crowd with a
mic in my hand.
Speaker 1 (40:07):
So like I forgot music people, because that's that's what
my heart is.
Speaker 2 (40:11):
That's that's where my heart is. Like I'm not saying
I won't DJ ever again, but I'm just saying, like
my heart is with the mic.
Speaker 4 (40:17):
In my hand. But I can on that because I
did see when when you wanted to start DJing, and
I do think that you moved correctly and you did
it the right way.
Speaker 3 (40:30):
I mean, you use the tools around you.
Speaker 4 (40:32):
You ask the people that you respect and know what
they're doing for help when you needed help.
Speaker 3 (40:38):
Right, And and that's a that's a big thing.
Speaker 4 (40:41):
I think a lot of people should use the tools
around them to get better. And you love and you
respect this this whole art, So I think you did
it right. I was speaking the hot takes truly on
people that just want to do it.
Speaker 1 (40:58):
I was taken it personally.
Speaker 3 (41:01):
But not but I not.
Speaker 1 (41:03):
And I appreciate you saying that just for people here.
I wasn't taken that personally.
Speaker 2 (41:08):
But I'm also the type of person that if it's applicable,
own it, you know, like you know, I feel like
there is and I appreciate that, friend. I was trying
to be ethical, you know, like I do know that
you know there's And we could talk on this too,
because this is something that's a phenomenon in culture. There's
a phenomenon in culture, I think specifically in nightlife where
(41:31):
people do admire other people in regards to like what
they do, and they don't think about how tacky they
can be sometimes in regards to like approaching people on some.
Speaker 1 (41:41):
Like hey, you know how I like that you did that?
How did you do that?
Speaker 2 (41:47):
But not with the intention of learning, but in the
intention of I'm gonna do that, and then not thinking
about the years like I need people to pause, just
be say, I need people to pause and think about
these are people's livelihoods. These are people's like these are crafts.
They didn't just pick things up one day. They've been
(42:08):
at it for years. They've made mistakes, they've built community,
they've built bonds, they've you know what I mean. So
I do think that it is a phenomenon of people
trying to cut the line in a sort of sense.
And I've been I've been really watching that discourse online too,
because it's like it's not just you know, anyone who
sees someone new coming into their realm, you know, like
(42:31):
they're automatically like, who's this and how do they get here?
After all the blood, sweat in tears that one person did?
And so I just feel like it's very human to
like appreciate all the work one person has done, you know,
on their own path, and then how uncomfortable it could be,
you know, seeing other people like heyo, I'm.
Speaker 1 (42:52):
Just that ain't hard. That that ain't hard. It's crazy,
you know what I mean that that because.
Speaker 4 (42:59):
Because of technology, it's like we are at it at
a day and age where it's like, what took me
a good like templus years to learn or whatever, you
can learn.
Speaker 3 (43:10):
In two months now, right.
Speaker 4 (43:12):
Yeah, So like, yeah, I've been in this for twenty years,
but somebody that comes in brand new, it was like
running laps around me because it is that easy now.
Speaker 2 (43:22):
Yeah, but they can learn it in two months, but
that doesn't mean they master it yet and they're.
Speaker 4 (43:27):
Master yeah, yeah, you do, not ten thousand hours. And
like I said, you need to build like who you are.
Everybody has their own sound even though you're playing other
people's music. Essentially you can play with music and that's
what DJ and is DJ and you know, the turntable
is an instrument. Like I can reshape my favorite songs.
I can, I can make them. I can just do
(43:49):
whatever I want, which is why the name is jfuse,
Like it's what I wanted to do. It's just like
fuse all these different things that I can with one
m P three or one vinyl or whatever they kicks in.
Speaker 3 (44:01):
It's not just person place, right, there.
Speaker 2 (44:05):
Is this thing you just said, you said, you know,
making the music your own, that there's another phenomenon within
the world of DJing. I am excited to hear your
thoughts on this where like people do sometimes and this
is kind of where I was coming from a little
bit in the sense that people, you know, see someone
doing a dope edit.
Speaker 1 (44:26):
What is your take on like, because it's it's it's.
Speaker 2 (44:31):
I'm very I'm I don't know, I'm an IP queen,
intellectual property queen, like ain't nobody.
Speaker 1 (44:36):
But use better? I want to one without writing permission
for me. I love a season this is.
Speaker 2 (44:40):
But in DJing it's different because you, like you just said,
DJs don't own music, but when DJs do very specific edits,
you know what I mean, Like it's like, yo.
Speaker 1 (44:50):
That came from you.
Speaker 2 (44:50):
That's technically new and i'd be seeing. And when I
say new, I mean like you technically own that creation,
like you created that, you know someone. My favorite edit
just in memory Dana Lou shout out to Dana J.
I love Dana she DJ, but I want to one
and I I texted, I was like, girl, I will
(45:11):
credit you put your tag in it.
Speaker 1 (45:13):
Like she mixed then with by Beani. Man, it was
it was fire. Everybody lost it.
Speaker 2 (45:25):
I have that hit it on and so it's like
I was like, I'm about to go DJ somewhere, but
I'm about to blend that like I just did that.
Speaker 1 (45:31):
I asked her for it, but that's because I respect
her and I love her and I know to hit
her up.
Speaker 2 (45:37):
But people don't be doing that. People people replicate and
then experiences and then am I crazy?
Speaker 1 (45:47):
I guess that.
Speaker 2 (45:48):
Squ am I crazy in the sense that that bothers me,
But like, is it just part of the game, like
I have.
Speaker 4 (45:56):
Got it should be normalized to be part of the game,
to have some like you're asking for, like just respect right.
Speaker 3 (46:07):
Essentially.
Speaker 4 (46:07):
And it's just like it doesn't take much to just
give some credit where it's due. Every everybody's mind works differently,
so in this case, for Dana, she digged in her
brain to create some dope ship like what gives you
the right to just take it and not give the credit?
Like go sit in the corner and think of sign
by yourself and then let me take it from you
(46:29):
and see how you feel.
Speaker 3 (46:31):
And it's like, at the end of the day, it's
just respect. It's very simple.
Speaker 4 (46:35):
But I think, uh, speaking of the cheat codes, like
everybody takes that a little too literal and they really
want like the cheat codes and do the absolute minimum
while getting all this like cloud or gratification and it's
like low key psychotic.
Speaker 3 (46:52):
But yeah, I would so like just like straight up
just just taking It's it's rude.
Speaker 1 (47:05):
Yeah, rude. Rude is definitely a ward a word like
I have so many others.
Speaker 3 (47:09):
But we're gonna kick it.
Speaker 2 (47:16):
Many scott on this be right back after these messages.
That's you can know some way.
Speaker 1 (48:24):
Speaking of taking things.
Speaker 2 (48:26):
You know, you're a DJ, you're of the culture that
with the profounance of for Puerto Rico like I do
as well.
Speaker 1 (48:33):
We we have we found ourselves in Puerto Rico more
than one friend or was it just that one time?
Speaker 2 (48:38):
I don't know, but like.
Speaker 1 (48:41):
Yeah, at this point, which is a testament to how
much we love pre we just oh are you here?
Speaker 2 (48:45):
I'm here over here, but shout out to Puerto Rico,
but go to some My question is, okay, there is
you're of the culture, you're of the diaspora. How do
you keep rayatoon black or connected to its roots? And
(49:05):
what's your take on the whitewashing? As a DJ like
you'd be playing in diasporic places, what's your.
Speaker 3 (49:13):
Take on how do we keep reggaeton black into its roots?
It's fairly simple.
Speaker 4 (49:19):
I think you just have to actively recognize and honor
the genres Afro Caribbean roots, the origins, and you have
to challenge the white washing that happens and support the
community that birth it.
Speaker 3 (49:35):
And like I said, acknowledging the roots.
Speaker 4 (49:36):
Right, So PanAm Amica shout out like Aldo Rhyns obviously
lod I don't even think people know she's Pandamanian. But
just highlighting black reggadon artists today, yesterday, tomorrow, just representation
and educating yourself, calling calling out anti blackness in the industry.
Speaker 3 (49:59):
You know, this industry is so there's a bunch of
favoritism and whitewashing.
Speaker 4 (50:05):
So call that shit out, like um hmm, yeah, you know,
I think people are scared to speak out sometimes just
because it goes out into social media and now one
hundred thousand people have an opinion, and a lot of
it is uneducated people. So you know, sometimes we want
(50:26):
to stay quiet and not deal with the mess of
just like trying to expand yourself to people that don't
know what the fuck they're talking about. But it isn't
hard to speak up, and yeah, keep the ship black
as full.
Speaker 1 (50:40):
I appreciate it. I appreciate it.
Speaker 2 (50:43):
And as we're wrapping up here, I would just love
to know, like, what would you like to see more
in culture? If like, if you had one thought and
you would like it to be applied in a mass sense,
what would what would that be?
Speaker 3 (51:00):
Something I want to see in culture.
Speaker 2 (51:03):
Yeah, like in night life, like in regards to like
people disacting, Like what would that be?
Speaker 1 (51:09):
Like what if you're like I just wish everyone would
What is that for you?
Speaker 4 (51:14):
Uh? I just want things to be dealt with intention right,
do things because you actually love it. I think things
that like should leave the culture more is like the
glorification of overworking, like that toxicity of always having to
do something.
Speaker 3 (51:34):
You know, I've been doing this for twenty years, but
like every day I'm not.
Speaker 4 (51:40):
Just focusing on DJing, Like we all have to step back,
take a breather sometimes, and like there's a lot of
bigger things that are important as well. So to realistic
unrealistic and creates a false idea like if you're not
constantly working on music or doing this or doing that,
it's like you're not ambitious or lazy or whatever the
case might be. But we need to take care of
(52:01):
our mental health and this culture because that very very
fucking spooky. So it's just like, just take a step
back and focus on on things that actually matter. Yeah,
I think the culture needs more discipline and more boundaries.
Speaker 3 (52:21):
With all that.
Speaker 1 (52:23):
I love that friend, Is there anything I didn't ask you?
That you're like, I want to speak on it. Come
to mind.
Speaker 4 (52:31):
I think you asked some really good questions and I'm
always here to answer it to my best ability.
Speaker 3 (52:38):
But I for hav any other questions when you drop
a music.
Speaker 2 (52:45):
Thanksgiving, Okay, I've studied out loud. Okay, Thanksgiving, I am
saying out loud. Shout out to Randy class. Yeah, shout
out to classes and session.
Speaker 1 (53:05):
He shout out.
Speaker 2 (53:09):
But one the ones classes in session is entirely like
inspired by Randy class. Just so Randy class can hear
how much he inspires classes and such. I'm saying it's
on purpose.
Speaker 1 (53:23):
Love you Randy. No, but yeah, Thanksgiving, it's time. I'm done.
I need joy in my life. I feel like he's
a good joy.
Speaker 2 (53:32):
And so thank you for asking. Friends, I'm gonna Thanksgiving.
I'm excited. Thank you. And Okay, you you DJ, your dominic,
you understand things, damn it. In your opinion, who are
(53:52):
the biggest culture shifters in your words, I'm talking about
we're gonna go by genre them.
Speaker 1 (53:58):
Bo, give me your top three.
Speaker 4 (54:02):
Damn all right, So then Bo, I'm gonna put like
Bablo Beatty on there, I'm gonna put sect that be
wrong for me. And you know, I have to say
a lot even though he's become this phenomenon and it
almost feels like that alone feels like a cheat code.
Like what he's done, it's just like sheesh. But he's
(54:25):
he's really one of the shape shifters and who brought
it to the table for it to be a little
more commercialized in a good way because he's stuck to
his roots. He's stuck to to the goli ghosts and
and made them both blow up really from being like
at a house party or an or on the streets.
Speaker 3 (54:47):
To Madison Square Garden. Like that's inspiring as fun.
Speaker 4 (54:51):
Yeah, got to give credit where it's due, for sure,
I'll get a ton also, Like I wish I could
prepare for this question because I can make like a
list of like.
Speaker 3 (55:03):
But those are some of the ones that come to my.
Speaker 2 (55:08):
Yeah, Alf, you know, with everything that he's done, I remember,
I remember, like I'm not a new alpha.
Speaker 1 (55:20):
This man has been around, you know.
Speaker 3 (55:23):
Him when he had hair before the.
Speaker 1 (55:27):
Yeah, No, here's here's a okay them bo.
Speaker 3 (55:32):
Not the for me.
Speaker 2 (55:38):
In culture, like there's the goats. Everyone's gonna say they
go daddy Yankee man. But I mean like in night
life right now, just.
Speaker 1 (55:47):
Like who are you?
Speaker 2 (55:48):
Who are you? Like I.
Speaker 1 (55:51):
Can't play a set without these three.
Speaker 4 (55:57):
It's just like in night life things have become so
like jaded, where the people just want to listen to
Babney like we know this, so I don't want to
say that name even though he's done some amazing ship.
We all love it, like we really do, but we
got to like open up that little pit and make
(56:19):
room for like you know, we still have like a
bunch of ogs that don't get played because you just
keep listening to to the same old things.
Speaker 3 (56:28):
So but yes, I hear you, which is why it's.
Speaker 4 (56:31):
Important, like the work that you do because speaking of
like whitewashing, right, like that's prettyusual, Likeatong is being reshaped
and distanced from its black origins, and like we know,
like everybody in their mama has a peeral party, right,
but not all of it is done with intentions, And
you do a really good job of like classes in
session and.
Speaker 3 (56:54):
Like we're gonna listen to all.
Speaker 4 (56:56):
Like we're going to pretty much like start from the
beginning all the way to that bunny, and I wish
we could do that more in night life. But it
is just like we just want the hits and we're
trying to record for TikTok, so please play this song.
Speaker 3 (57:09):
Or blah blah blah blah blah.
Speaker 4 (57:11):
But yeah, I'm not even going to name like big names.
I think like I don't want you to the people
that I do want to like that. I do play
a lot of their music and I want to continue
to and I want other people to also do. Is
uh people around me right now that I see making
(57:32):
music which happened to be my friend, this is an
awesome favoritism ship.
Speaker 3 (57:35):
It's just like these people are really talented. So somebody
like Michi.
Speaker 4 (57:39):
Mata, she's making some beautiful like simp pop experimental get
don and that shit goes hard in the club if
you're in a rave or you're at to Get Done
party or or somebody like Benley Loved from pr LILMEO.
Speaker 3 (57:57):
I want I want DJ to go back to which
as well in terms of breaking like new artists.
Speaker 4 (58:03):
So like Bad Money don't really need us anymore to
kind of put them on that elevation of a platform,
and that's what I want for for like Michi and Bendi,
I want them to get to that same level too.
But now we have to play their music. We need
to because they have music that's gonna make you dance,
they have music that's gonna make you live cry, Like
it's just great music. And if people like mindset a
(58:26):
shift a little to be a little more open minded
and give other people a chance, then you can see how,
like how I can answer that question even easier, like
I do feel like get down.
Speaker 3 (58:38):
It's still very black, but it's who are we giving
a chance to display that blackness.
Speaker 2 (58:44):
I'm drop in thanksgiving, I promise for it, but no,
I super love that answer. And this is why you
know I'm always in all of you, because yeah, that's
really what DJing was. You know, at a point, it's
not so much anymore of like people around you and
making sure that they're within the set so respect.
Speaker 4 (59:03):
Like I really there's a lot of good music out here,
and it's just like we don't know who that is,
so we want to keep it safe, right, And it's
like that, like music ain't supposed to be that. You're
supposed to be risky, you're supposed to be open minded,
and yeah, gives you a chance some good stuff out there.
Speaker 1 (59:21):
You said Mitchie in my heart flashed before my life,
flashed before my eyes because I actually some vocals. I'm
coming coming on my song too, another song of my
I'm not perfect, but.
Speaker 3 (59:35):
I'm coming right here.
Speaker 1 (59:38):
Yeah, okay, it feels thank you so much.
Speaker 3 (59:42):
For joining me, I thank you for having me.
Speaker 2 (59:45):
Seriously, we hand them.
Speaker 1 (59:53):
Child Child May's got a sound so honest. You know
what time and it is a Tampalas Flores.
Speaker 2 (01:00:02):
And I heard media production for Executive produced by Shaki
Easy Media, produced by Grace Gonsalez. Shout out to my
production assistants Naomi A. Savello and Kayla Ecleston, and shout
out to fucking Cultler, my editor. I'm your host, Lagata,
see you right here next week. And I hear radio
(01:00:23):
app or wherever you listen
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