Pilot Episode: Wine tasting with the voice of Latin America, Edgar Garcia.

Ever wonder which ethnicity speaks the most proper spanish? Join me, Danny Doe, as I chat with seasoned broadcasting vet, Edgar Garcia and explore bold flavors of Pinot Noir, rum barreled blends, and more. Together, we peel back the layers of the media industry's evolution, sharing stories of epic on-air bloopers, legendary radio shows, and the thrill of keeping listeners hooked in an ever-shifting digital landscape. 

We then raise a toast to the art of avoiding a hangover. From the sophisticated sip of a fine wine to the bold flavor of Scotch, it's all about savoring the moment. Our dialogue turns to childhood memories and the pursuit of better opportunities in America, painting a vivid picture of how these experiences shape our drinking preferences and appreciation for the finer things in life.

As we journey from Radio's analog days to its digital upgrades, we explore how today's broadcasters are reinventing themselves and embracing tech to stay relevant. Oh yeah, we're also uncovering hidden gems from Washington's Red Mountain wine region. Whether you're a wine enthusiast or a media aficionado, this episode offers a fun mix of insights and stories. Welcome to the best way to start and end your day.

Episode Transcript

Speaker 1 (00:00):
If I had to describe you in one word, I would say
it's it's debonair, like adebonair stand up kind of guy.
And when I think of that word Ialso think of sophisticated.
Now I'm giving you like yeah,there you go.
Now I'm gonna use something onme, but we haven't had a sip of

(00:20):
wine yet.
I love that sound.
I'll be fine, just drinking mywine.
Don't drink wine, you starttonight.
It's time for coffee andcabernet.

Speaker 2 (00:41):
The best way to start and end your day.
The best way to start and endyour day.

Speaker 1 (00:47):
So what do you get when you mix a former on-air
personality, the voice of LatinAmerica, and a producer that
counts you down?
I don't know, I don't know,either we're going, to find out.
Welcome to Coffee and Cabernetthe best way to start and end
your day.
This is a podcast, and it's ahumbling one at that, but before

(01:09):
I explain what I mean, I'm yourhost.
My name is Danny Doe, and to myright is a man that I had the
pleasure to intro time and timeagain.
I got to be honest with youguys.
I never get tired of doing soVO, producing, hosting, hosting,
coaching.
Welcome to the show.
Thank you guys.

(01:30):
So much, so much for being hereall right, all right, and I
gotta, I gotta point out, Igotta point out, I gave you I
don't want to say it was toolittle of a turnaround.

Speaker 2 (01:42):
No, I think I've used more than enough.
I've never liked.

Speaker 1 (01:46):
You know those big intros and then this guy has to
do this and that and that andthat.
I've been around.
I've been, you know, I have myshare of broadcasting during
these almost 40 years that I'vebeen, you know, doing this crap.

Speaker 2 (02:01):
I feel excited because I think it's like they
want us to.

Speaker 1 (02:04):
I'm enjoying it, and that's one of the beauties about
this it's I don't know if youfeel the same way as a
broadcaster as well, but I wouldsay that still to me, this job
is exciting.
Still to me, this job issomething fun.
It changes every single day, soI'm blessed to have something
like that.
It's crazy that you say that,because I think the topic of

(02:24):
conversations lately, dependingon the facet or, quite frankly,
like just the industry of mediaoverall, it's always freaking
changing.
So for me, it's actually kindof cool to be able to have like
conversations with someonethat's been here or been in a
lobby that I have, becausethat's the only way that I think

(02:44):
like being able to let you knowhey, I got this thing going,
are you down?
Yeah, sign me up.
Like that's what I mean.
Like I gave you like verylittle turnaround time you're
like sign me up.
I gave you very little detail.
It's almost like the equivalentof a trust ball.
You know what a trust ball isyeah, so it's like, yeah, go for
it, danny, go for it, danny, gofor it.

(03:06):
So I say it's a humblingepisode because this is our
first go at this.
This is our first go at this.
Anything could happen.
All right, on that note, let'slet's jump into our first wine.
So we're looking right now atthe table at TaylorMade.
This is a Pinot Noir.

(03:26):
What I can tell you is that thisPinot Noir does come from
California, so essentially, thegrapes it's all about the grapes
and with the Pinot Noir, whatyou're tasting and looking out
for, like I told you, it'ssomething with dark cherry, in
terms of the aroma, and we'relooking for taste wise, like

(03:46):
some kind of spice, and I think,I feel that, yeah, I see I see
a little bit of spice Now thatyou mention the spice.
A little bit of spice there, alittle bit of spice there.
What, when you drink it, though, it comes down smooth yeah, it
does, but the spice that youmentioned is there.
So that's the flavor, the finishor the body of it.

(04:08):
It's supposed to be silky-like,as a matter of fact, the way it
was described, and I'mdefinitely picking that up when
you first taste it, and then itkind of just stays there.
The length of it, the body ofit finishes with that next
little spice.
Essentially I'm taking the Easyon you with the peanut butter,
because everything else downthis path when it gets a little

(04:28):
stronger and bolder as we go.
But, like I was telling you, tomy surprise I was like, wow,
he's not much of a wine guy, notat all.
You know, I have a lot offriends that drink a lot of wine
.
Wine kind of serves.
By the way, snobbish Dude,that's what I'm going to ask you
.
Snobbish to say that.

Speaker 2 (04:49):
I'm sorry guys.

Speaker 1 (04:51):
But the thing is that I've never been attracted
because I'm more of a hardliquor kind of guy.
The thing about me is and thisis the reason why I'm not such a
great wine or not a wineconnoisseur at all.
You know the thing about thisis if one thing I've, learned

(05:11):
through the years while I'vebeen drinking.

Speaker 2 (05:13):
I don't mix.

Speaker 1 (05:20):
And that's one of the most do think that a lot of
people drink in order to gethammered, which I don't find a
purpose on it.
Would you say it's moregenerational or it's more the
culture of the environment thatwe have?
I'm going to be bolder in myanswer.
I'm going to say Americanculture.

(05:41):
Wow, okay, I'm going to sayAmerican culture.
Why?
Take culture?
Wow, okay, I'm going to sayAmerican culture.

Speaker 2 (05:47):
Why?
Because?

Speaker 1 (05:48):
Take that.
Yeah, when people go to a party, they drink this, then they
drink that, then they drink theother stuff they got so many
cocktails out there.
People do so many things with itand chances are that you're
going to get hammered in no timebecause of the strong mix that
you're going to get hammered, inno time because of the strong
mix that you are applying toyour body, and that's that thing

(06:08):
is in no way possible for youto withstand.
So, uh, the one thing that I'vedone my whole life was I take
my share.
I had my share of cocktails andthings of that nature, but
basically I stuck to one.
My body is accustomed to thatdrink so I can drink it.
You won't see a change in me atall Because I'm already, you

(06:29):
know, used to it.
I know what it's going to do tome and I also know what the
killer drink is going to be.
You know that one that you.
There's a kryptonite.
There's a kryptonite that'sgoing to you know, f you up big
time and when, okay, if you uhbig time and uh when that moment

(06:49):
comes, okay, it's time to stop.
But when you start mixing rumwith vodka and then you jump to
uh, to uh gin and then jesuschrist.

Speaker 2 (06:54):
You know, no people are able to withstand that kind
of thing, and that's what Inormally see when, when you're
out people bar hopping, forexample, what are they doing?

Speaker 1 (07:01):
they're basically mixing and trying different
things as they go.
It's a sport, it's it's a sport.
It's a sport, and I think thatwhat you're what you're arriving
at, is that you've got to begood at the sport, otherwise if
you're going to get trashed,you're going to be trashed at
that sport and, oh gosh, you'retaking me back.
You know?
What's funny is that we, wecame to this country this idea,

(07:24):
correct, correct me if I'm wrongto have a better opportunity,
exactly, and all we got was thislack of sophistication when it
comes to this subject, becauseeverything you said was my
childhood.
That was my childhood.
It was like let's put up to thehouse party, we're going to
drink this, we're going to drinkthat, we're going to take shots

(07:44):
of tequila.
You don't remember.
She don't remember what you did, and it only gets worse over
time if you don't learn how todo it correctly, because then
the hangover starts to kick inthat decision starts, you know
when the last time I had ahangover, I'm sure I can't
recall.

Speaker 2 (08:02):
I just don't know what that is.
We're the same.
We're the same Exactly.

Speaker 1 (08:05):
If you stick to something and that's it, I'm not
saying I'm going to live in myworld to just one thing, but, if
I'm going to drink today rumrum it is, it's not rum and the
scotch and then tequila,whatever, no rum it is.
And as long as your body adaptsto that kind of drink, I don't
think you're going to haveissues, because I think the

(08:26):
worst thing that can happen is ablackout.
Yes, that thing is kind ofnasty, not remembering what
happened the night before.
Yes, oh yeah, I don't go there.
Wine, in this case, to me wouldbe a much softer drink, so I
don't pay that much attention toit because it's a 5% alcoholic

(08:50):
kind of well, depending on it,you're talking like wine coolers
for example, how much alcoholis it on this one, for example?
That's a good question.
I believe we're looking at 13.5alcohol volume.
Can we get that confirmed?
14?
, 14?
, 14.
Okay, I'm not going to put it,not bad.
So it's definitely somethingthat if you third glass, you're

(09:13):
kind of like okay, that washappening here.
I thought this was just a grapejuice.

Speaker 2 (09:17):
Exactly yeah but yeah .

Speaker 1 (09:21):
I'm dealing all the time with liquor that has at
least 43% of a fan.
So we're talking three timesstronger.

Speaker 2 (09:29):
So this is a walk in the park.
This is a walk in the park forme but still.

Speaker 1 (09:34):
And yet, if we go to where you started with this,
this is not about gettinghammered with wine, this is
about taste of the wine.

Speaker 2 (09:41):
This is about the enjoyment of the drink
Absolutely which is exactly whatI did with scotch.

Speaker 1 (09:46):
Yeah, it's enjoyment of the drink and that's.
That's a freaking entire worldin itself and I'm glad.
I'm glad that you're likebringing it up because it's it's
it's part of the conversation,it's part of this journey.
My friend, I want you to let'spivot for a second, because I
have something down this roadthat resonates well with the

(10:08):
scotch and the whiskey drinkers.

Speaker 2 (10:10):
So we'll get there.

Speaker 1 (10:11):
We'll get there, but let's pivot for a second,
because there's a lot of commonground that I could cover, so I
think I'm going to premise thequestion with this way.
I don't have as many years inthe game as you do in radio.
When I started, though, theunderstanding was that it's

(10:35):
dying.
It's a dying medium, so theseare always interesting
conversations to have withpeople that have done it, have
lived it, currently do it, etc.
Um, I, I agree with that tosome extent, but more so I feel
like the culture of it.
I feel like I missed, like whenI arrived, I had already missed

(10:58):
out on what radio once wasversus what it is.
So, for you, I feel like youhave like this track record
where you're able to kind ofelaborate on.
So what would you?
How would you describe thecurrent state of radio now
versus to what it was?
Well, trying to say that Ishould go back in time, you know

(11:22):
, because I come from the analogworld.
That's when I began, you know,doing radio and when things were
like on tape, on physical tapeWow.
And to cut the tape physically,get the part of the tape out
and join the other two remainingends things of that nature.
It took a while you know to dosome editing.
We do nowadays in second, youknow it's so easy with the

(11:45):
softwares that we have nowadays,but to me it has been a very
challenging thing because, as Itold you, we began on the analog
world using vinyl records,using A-track tapes.
Some people don't even knowwhat this is.
We might have to have likelittle subtitles or keys to
explain a little bit like what'sA-track.

(12:05):
Know what this is?
We might have to have a littlesubtitles or keys.

Speaker 2 (12:08):
Yeah, explain a little bit.
What's the A-track?
What's vinyl?
Let's take a look at it.
Oh my God, you like the V-R.
Okay, okay, okay.

Speaker 1 (12:13):
Look, a-tracks were what we use as a, for example,
any transitional element that wemight use in radio, for example
a sweeper, and element that wemight use in radio, for example
a sweeper.
And for those of you who don'tknow what a sweeper is,
basically when you listen on theradio, you're listening to the
number one music station,whatever.
Whatever, that's a sweeper,right.
So each 8-track was one ofthose sweepers.

(12:36):
So if we had like a hundred, weneed to have a hundred of those
sticks in front of us to beable to play with them and use
them as we went along on thelive broadcast that we were
doing.
So I'm going to slow it down,just because even for me it's
almost as if you just took me toa museum.
So I'm trying to understand.
So are you saying that thesweepers were in separate vinyls

(12:58):
?
Separate vinyls?
Yeah, exactly, each song was ina track.
So imagine how many of those weshould have on a radio station,
because all the music libraryof the station has to be on one
8-track per song.

Speaker 2 (13:15):
Was it all like on the walls, on the walls On the
cover.

Speaker 1 (13:18):
I'm picturing walls and the radio is like, so
attention to detail it alwayshas been.
Yeah, it always will be by theway, yeah, I agree with that.
So now, when you're thinkingabout working with physical
things like that, it's not thesame as like you're losing a, a
folder on your computer.

(13:38):
However, I could see where bothcould be frustrating.
Picture this, becky.
Picture this, for exampleyou're running a show, a morning
show a comedy show kind ofthing, yeah.
And you have sound effects for alaughter, sound effects for a
ooh, sound effects for a ah,which are not hotkeys, by the
way, they are hotkeys nowadays.
Those were 1A track for ooh, 1atrack for ah, 1a track for Wow.

(14:02):
So the board operators that wereworking on those shows were
octopuses, basically becausethey weren't, you know, you
couldn't see them.
You know, first of all, readingthe mind of the host on what
he's going to say, if that thingis funny, okay, and now I have
funny okay punchline, grab thespecific A-track and put it on

(14:26):
the cartridge to play it andthen press play by the way.
So you have to have a lot of.
So the producer, the boardoperator themselves, had to like
, kind of know like, hey, like Iknow my talent.

Speaker 2 (14:39):
They had script, but again's a back.

Speaker 1 (14:41):
Okay, yeah, they added yeah, as in my course.

Speaker 2 (14:48):
It's the creative part of the board operator that
does all the rest of the things.
If we go to the vinyl records,for example.

Speaker 1 (14:54):
We had to set the vinyl and then back it up about
this size right.
So when I was going to say, andnow this is the song, the board
I was releasing, gonna say, andnow, this is the song, the
board I was releasing theturntable and by the moment that
I was saying the song.
He was right.
He was right there so it was allyou know, kind of ear and eyes.

(15:16):
All the time it has changedsignificantly.
So I had to evolve from theanalog world into the digital
world, which came around the 90s, mid-90s, and then on we have
internet.
So a new sudden change.
Radio has been evolving and yousaid radio might be dead.

(15:36):
That's the same thing they saidmaybe 80, 90 years ago when
television came around.
And still radio's here.
Yeah, I think there's anevolution happening with the
media and radio's.
No stranger to that.
Radio will evolve.
It's in that process.
It's taking time.
I think it's taking a lot oftime, probably because there's a

(15:58):
lot of people that arereluctant to apply those new
changes into what radio shouldbe nowadays.
But again, let's put it thisway Podcasting and broadcasting,
it's exactly the same thing.
It's exactly the same thing.
The only thing that's changingis that before it was done on

(16:19):
the airwaves now it's done onthe digital world.
But if you analyze, a podcastand you analyze a radio show
it's exactly the same thing.
They did not invent hot waterwith that.
It was there, and everythingthat we've done on radio has
been already invented, you're?

Speaker 2 (16:37):
just coming up with new ideas.
All you're doing is twistingideas or changing ideas, or
making them refresh the show.

Speaker 1 (16:44):
The show right the show.

Speaker 2 (16:45):
The show right.
The show Exactly.

Speaker 1 (16:47):
So it's basically a format that has been taken to a
new dimension.
When we go to the dinner worldand radio will not be estranged
into that, of course, if weanalyze what's going on with
social media and how socialmedia has literally galled up
traditional television and radio.
Yes, there has been an impact,and a severe impact in the

(17:09):
industry, but still, where doyou go to when it's the Super
Bowl?
What do you want to see whenthe Super Bowl goes on?
You want to see the commercials, you want to see the game.
And who's broadcasting thatthing?
Who gives that air of things?
Tv Radio maybe not that much,because there's no image, but
now we have visual radio, so weare becoming probably what we

(17:33):
call a TV channel.
In a certain way, it's difficultto say that's an interesting
way of looking at it.
But again, I think thateverything is changing in a way
that it's evolving Maybe tooslow for what I would like you
know.
Yeah, way that it's evolving.
Maybe too slow for for what Iwould like you know, yeah, but
it's happening it's definitelyhappening.
Yeah.
So for me, I I agree with youone thing's for sure it's not

(17:55):
gonna go away.
It's just not, it's impossible,it's not gonna go away.
So they're left with having tofigure out how they're gonna.
And I think the the you knowmbc and the peacock comparison
is basically uh, if you get toit into marketing terms, get
worried when you, when theystart manufacturing cars without
stereos, get worried.
Now we're talking, now we'retalking, get worried from from a

(18:16):
marketing perspective.
There's this.
There's this uh strategy calledr d, research and development.
Long story short with that isthat the research is supposed to
help you develop new productsto better serve the customer
when you look at what Peacock is.
that's basically just like anR&D, like where are the eyes and
ears heading?
Okay, let's develop that.

(18:36):
What's our answer to Netflix?
Peacock, that's exactly what itis.
The top, basically, Danny, isthat what's raining at this?
Particular time is people gotfed up of waiting for a show
when I can have the showwhenever I want, which is on
demand, that's the onlydifference happening here the.

(18:58):
Moment that all these mediaoutlets go on demand.
It's going to be the same thing.

Speaker 2 (19:04):
And they will still be there doing exactly that.
And you see them trying.
You see not going to be thesame thing, and radio will still
be there.

Speaker 1 (19:05):
Do it exactly that and you see them trying.
You see them trying.
They have the apps.
They've adopted their ownpodcast like Lane and things of
that nature.
Social media is very prevalent,which is a good segue for me
and how I personally feel, andit talks a little bit
differently from the mediumitself.
I feel like it's more theartist Growing up radio

(19:29):
broadcasters on air talents.
They were the cool kids.
We would listen to them on thebus.
We listen to you on the bus.
They were who you want us togrow up to be.
They were today's social mediainfluencers.
You would hear them, but beyondthe floor to media influencers.
You would hear them.
You would record them so manythings.

(19:49):
You would see them out on thestreets.
It was just a wonderful timefor that media.
What has happened is, astechnology has evolved, so many
other options out there, theybecome kind of like okay, that's
not so.
You guys are not as cool as youonce were.
You.
You're not really figuring outhow you fit in and all this.
So what happens?
In an attempt to stay currentor stay up at the times, now the

(20:15):
talent has been tasked to betalent, sometimes be producers,
social media content creators.
Wear a hat here, wear a hatthere.
Maybe you want to make somegood money.
Might have to also do somethinglike in the back office.
Double down, it's become somany things.

(20:36):
That embodies what I believe in.
Correct me wrong once upon atime and I noticed similar with
this week with a TV newsbroadcasting you were italian,
you were reporter, you were justa reporter exactly now you're
not just the non-air time,you're five different things and
you're so right what you'resaying, because yeah, before.
Look, when I began my career,all I did was sit in front of

(20:58):
the mic and talk.
I had a board out, I hadeverything I didn't have to do
and I did not have to learn howto work a board.
Yeah, Did not learn to do thatuntil a few years ago.
I'll tell you that.
So we weren't required becausewe were specialized in something
.

Speaker 2 (21:16):
Now, what you said, we've got to be producers.

Speaker 1 (21:18):
We've got to be, you know, a one man band doing a lot
of things.
Most of the people that used tobe the gods in this business,
those voices that everybody youknow looked out there, those old
age influencers, and I callthem something.
Um, we're not able to cope withthe uh, with the advent of
these new technologies and thethings that they want to do.

(21:40):
If one thing the human being hasis basically reluctance to
change, yeah, and with that, ifyou're not able to do it, you're
going to stay doing exactly thesame thing, and that's when you
age.
And I can tell you, for example, the example of a good
colleague, friend of mine passedaway five, six years ago and he

(22:02):
was a guy that was around his70s and I was sitting in a place
having some drinks with someguys from the radio and as I was
talking with these guys and youknow I'm like this because the
music was, you know, that wasgood, like really cool, like a
lounge kind of thing, that was agreat music I asked the b PD of

(22:24):
the station that was with meand he says you know what a DJ
is?
No, look over there.
When I look over there, it'sthat DJ, that guy, that
broadcaster, 70 something yearsold, wow, spinning records, wow.
So I'm saying how the hell didhe do that?
You know, because to mespinning records is something I

(22:46):
cannot do.
I have to be honest whathappened with him?
70 years old, and he was stillcatering to younger audiences,
between 15 to 35 years old.
How do you do that Just byadapting to the new times, which
is what most people are notdoing, and that's why sometimes

(23:07):
people might think that radio'sgetting old.
What's getting old is probablysome talent that will basically
be the one that's reluctant tothat change.
So you're dealing with that,and I think what I was going to
go on to finish, that was asyou're adapting or as the
medium's trying to figure outhow to adapt.

(23:27):
What's going on is that thetalent, these people that will
once be requested to just bethemselves, just to like have
that mic in front of it and givethe best quality radio show on
air presence as possible.
Have now so much to do that thatis no longer about the quality
of your show.
It is now how much can youoffer?

(23:50):
And it's tough and theshameless plug.
At my animation school we teachhow to do it all so you can get
in there so you can get inthere and give it everything you
got.
So I, I love it and I hate it.
It because I love it?
Because if you're able tosucceed in that you're able to
you can pretty much do anything.
Because if you could run awhole show by yourself, which I

(24:11):
know you can do, look, look,I've listened to radio jobs that
are such or so in love withtheir voices that the voice
becomes the only thing you knowand they're talking whatever
crap comes out of their mouths.
And uh, I heard this guy once.
He was the voice for a telecomcompany and uh, so when you call

(24:37):
the company, the guy that youknow that, press one and press
two or whatever it was, presswhat.
It was him.
So he had a contest on air andsomeone called and someone won
the prize, and the prize was Iwas listening in my car and I
literally climbed out the windowand I heard what he had to say
about that.
The prize was, and the pricewas that he was going to record

(25:01):
his voice on her voicemail.
Oh, he was saying can youimagine the voice of this
company recording your voicemail?
I said what is this guy talkingabout?
Jeez, it's way too much.
He's too conceited out of this,and it's those guys that are
talking with this big, huge, hotvoice.

(25:24):
And they're just listening tothemselves.
That's what they're doing.
That's not the way to go andthat's not the way to think that
the quality of what you'redoing and the quality of the
content you're delivering to theaudience is the best.
No, it's not the voice.
It's about what you have, whatyou have up here and what you
can bring to the table in termsof the different things that you
can make entertaining to peopleor educate people with as you

(25:47):
go along making your commentsRight.
So basically, I don't see why alot of broadcasters nowadays are
still trying to stick to oldformulas that are completely
washed out and not embracing thenew things that are coming up

(26:08):
IEA, for example, using IEA onthe broadcast world.
It's proven to be interesting.
A lot of people hate it, A lotof people love it, but anyway, I
feel that we could do so muchthings in terms of the content,
because you can bring IA orwhatever you want, but if you
don't have the experience, ifyou don't have the knowledge,
new technologies, to adapt tonew technologies and to adapt to

(26:44):
new forms of doing things,which is again the same exact
formula that was created 80years ago, just being revamped
and redone or refurbished insome way that makes it look like
new Refurbished.
I agree.
I actually think thatartificial intelligence is the
answer to what I feel is thechange with their radio, from a

(27:09):
I don't want to call it anegative perspective, but it's
just, it's the what's thereality now.
It's once was how talented areyou once the mic is hot, versus
now, like how much can yousuccessfully achieve within the
umbrella?
That's what gives you thatvalue.
How many different hats can youwear?
And it's taken away from theartistry, I feel.

(27:32):
And that's where guys that arein love with themselves, that
have that ego, that's kind ofwhere their feet in certain
aspects.

Speaker 2 (27:40):
They could be doing well in other aspects.

Speaker 1 (27:42):
Nothing wrong with that, but it comes strictly to
what we're talking about.
But the one thing that I didunderstand about the business is
I came into the business not asa lot of people do to become
famous because fame is somethingethereal.
It comes, it goes, and it goesquicker than it came.

(28:03):
There's so many things that canhappen.
I came into this businessbasically because I think it's
an enjoyable thing to do.
I like what I do.
I have a great time doing it.

Speaker 2 (28:13):
I make money out of it as well.

Speaker 1 (28:15):
So why not make money throughout the whole career,
instead of going up and thendown and then probably staying
down there and feeling miserablebecause I have another who I
used to be back in the day, sowhat the thing about this is.
Create content, deliver content.
Don't become, you know,conceited.
Don't think of fame.

Speaker 2 (28:36):
Fame is something that is going to go, but I think
you make a very good living outof this industry that is gonna
go, but I think we get very goodliving out of this industry
Without the need of being famous.

Speaker 1 (28:46):
for example, take me.
My voice was always heard.
During 22 straight years, in 23different countries, 30 million
people were listening to thatvoice every single day.
Yet yet nobody knows who I am.
The face, the face.

Speaker 2 (29:05):
They know the voice.

Speaker 1 (29:07):
But the voice doesn't have a name, not even a name,
it's just a voice.
That's out there.
I think I think I ended.
I ended like this.
I think we're ready for ournext one.

Speaker 2 (29:21):
Yeah, because I drank this one.

Speaker 1 (29:22):
Flying.
Flying like this puts you in aplace you can get from core like
a corporate perspective.
If you go too high, might be onthat radar like maybe chopper
block if you will, you don'tknow about it, everybody knows
you're the recognition.
Believe you, just like that.
I'm straight.
You're gonna arrive at adestination, hopefully with no
targets, right right exactly,there you go exactly there you

(29:44):
go.
Sorry about it, there you gothere you go, all right, all
right.
So let's let's talk about our,our next wine, because I think
our, our next one is, uh, onethat is trying to move up with
the times, and so what we'relooking at right here is 19
Primes, the Uprising.

(30:05):
This is a red wine.
This is defined as a red wine,which normally means that it has
different kinds of wines inchurch wine Blends.
Okay, so we're talking blendshere, and what's unique about
this one this a vintage 2021 isthat there's it's been aged 30

(30:25):
days in a row.
So when we could expect fromthis one, it's a little bit more
intensity.
So I'm going to come at you hard, right, I'm going to come at
you a little hard right now incomparison to what we had going
on.
It has a smoky finish to it.
You're looking for flavors ofcaramel mocha and it's from
Australia.
So, to be honest with you, itsmells the same exact way as the

(30:51):
first one that I had.

Speaker 2 (30:52):
Okay, let's see what we have.
Okay, yeah, oh, this issomething this is nice though,
yep, this is actually not nice,I thought this is.

Speaker 1 (31:04):
This is actually that next?
Yep, I like this one.
Okay, Describe the flavors.
I can add my, my, my palatedoesn't go that deep.
So this is a, this, this comesstraight from the minds of some
of the more brilliant, uh,Somalian connoisseurs, from the
minds of some of the morebrilliant sommeliers
connoisseurs.
They say that the experience ofwine, it's at the end of the

(31:28):
day, people do get a littleegotistical with it.
They get snobbish with it butit's open to interpretation so
much that it's almost like itshould take you somewhere.
Drinking a certain wine, kindof like listening to certain
music, should take you back to acertain point in time in your
life.
So when you're thinking aboutdrinking wine, it's, it's

(31:49):
supposed to be something where,however you feel about it,
ultimately it's okay.
There is not necessarily anyright or way.
Yeah, so you start to againlike, uh, academically, like
incline with it.
If you are a sommelier and youwant to be able to define, like,
where the origin is from andthe year the vintage and like

(32:09):
the climate, it gets so crazy.
But, for anybody that just wantsto enjoy some wine, and enjoy
some wine like you should feelall right, like, okay, this is
strong, okay, and that's thefinish.
It's strong, it's bold, it allright.
Okay, this is strong, okay,that's the finish.
It's strong, it's bold, it'sintense, et cetera.
But yeah, there's a sweet,there's sweet flavors in here

(32:30):
and I'm getting that too.
So maybe I didn't come at youas hard as I thought, because
it's aged in rum barrels andthere's like a whole.
There's less spice.
There's less spice Than theprevious one.
There's less spice.
And then I think it it sidesmore with the whole mocha
caramel flavor, which is whereit's a little bit sweeter.
Uh, the mocha thing in thecaramel?

(32:50):
Uh, I'm not sure.

Speaker 2 (32:52):
But in any case.

Speaker 1 (32:59):
in any case, what what I liked that 19 Karma is
doing is that they, too, areseeing changes within their
industry.
So how do they keep up with it?
Like, how are people consumingthat?
And they have an app.
I had to download the app.
They have a hell of a goodadvertising campaign.

(33:19):
Hell yeah, hell yeah.
That I get to, and then thatgets even more interesting.
This is the fact that, like oneof those faces on there which
Snoop Dogg, that man's career,the way he's been able to adapt,
and just evolve from what wasconsidered like somebody that

(33:39):
was too rough around the edges.
Snoop Dogg is not 20 years old.
No, he grew up.
He grew up, he grew up.
Let me show you what I mean,and I think we're going to be
able to later on in the episodeor edit this into you.
Guys can see what we got goingon here.
But so they have this app thatbrings, brings it all together
and it elaborate.
I think they used to have likeI don't know if it's a QR code

(34:02):
or something a bottle that youkind of scanned and then it took
you to a website where you knewabout the story of the killer
or the criminal.

Speaker 2 (34:11):
that was on the bottle.

Speaker 1 (34:12):
And you said you didn't have any wine knowledge.

Speaker 2 (34:14):
But yes.

Speaker 1 (34:15):
So with this particular bottle, it's all
about the rum rebetting, whichis why that whole concept of it
being aged uh, aged in a in arug barrel it's a rum rebellion.
It originally is from Australiaand it was the one time where
citizens and soldiers gottogether to overthrow the
government.
And this is how they bring ittogether.

(34:36):
And I guess you need to knowthe story even further.
but when you use the app and youpoint your camera phone up
against the bottle, you're usedthe most precious of secrets to
the inside of his jacket andlucidity.
I said Irish man.
I was bound to join in acombination which was banded

(34:58):
together for the good of Ireland, Not for assassination and
plunder, as has been falselyasserted.
It's an Irish mess.
I thought that was pretty cool.
I thought that was pretty coolBecause we're all, Because those
are our phones.
Depending on your generation, Ifeel Depending on who you are.

(35:21):
It's stairs, you've got to thewatch.
You got the watch.
It's an extension of your phone.
So I was like, okay, I see whatthey're trying to do.
I like, I like smart, smart,check this out, I um.
My next question for you, sincewe're we're on the subject of a
radio, which is a big aspect inyour career, memorable story,

(35:50):
something that kind of stuck outthat you can remember.
Yeah, you know stories we alwayshave stories of things that
have happened to us, but I thinkthe one thing that stands out
for me was one of the biggestmistakes that I made in my
career when I was running a showthat was broadcast to seven

(36:11):
different cities.
The show which, by the way,earned and has the Guinness Book
of World Records as thelongest-running show in radio
history.
It's been on the air for 65years now.
Wow, uninterrupted.
Wow, that's when you have therecord right.

(36:33):
I was one of the hosts, of themany hosts that that show has
had in years, but I was runningthe show and, uh, we had some
technical issues with the micsand the mics were kind of off
and basically, um, when it cameto that moment, that was I, was

(36:53):
it used to be picky at that timeand I said I should be honest.
um, but the thing was that micswere off, sound was was off and
I was pissed.
So I called in the engineer tosee what the hell's going on,
and he starts we move into whatwe call internal audio, which is
something that we can listen inthe studio, but nobody else

(37:15):
outside can listen to what'sgoing on in the studio.
So I'm using the mics, but themics are off the air.
So we begin doing some, sometests and here and there the guy
was, you know, moving someknobs and here all right.
So this thing and uh, okay, bythe time we're done, okay,
everything's set, everything'sback to normal, then I start

(37:36):
trashing the station because ofthat.
Oh no, and inadvertently, myboard operator kind of graced
the on-air button withoutknowing, and we didn't know we
were on air.
So I went in a rant against thestation with all the foul
language that you can imagine.
Everything was there and wefound out that this thing was

(38:01):
going on when lights on thistelephone thing started lighting
up.
It wasn't the people or theaudience calling, it was the
other stations calling in to seewhat the hell's going on there.
This guy's gone berserk over themusic.
Did you ever get to hear it?
No, you never heard it.

(38:21):
No, I never heard it, I didn'twant to.
Did you ever get to hear it?
No, you never heard it.
No, I never heard it, I didn'twant to.
When I realized that I was inan area and that thing just
happened and it was like youknow, right for two straight
minutes just foul-mouthing mystation, whatever, and saying
all the things that I, all thehorrible things that I say on
here, I think my blood pressuredropped Because it was one of
the worst sensations that youcan have.

(38:42):
But again, it's something thatcan happen to anyone, because
blunders are here, are there,and you may be as experienced as
you might be but againsomething's going to happen,
something's going to go wrong,and in that case I thought that
everything was going perfect.
And no, I was live in sevendifferent cities.

(39:02):
Wow, bad mouthing the stationthat's giving me my job, jesus
Christ, holy shit.
That's the equivalent of liketelling your boss go fuck
yourself.
Exactly, exactly, exactly.
You know?
The weird thing about it isnobody said anything.
Station brass didn't sayanything.
Nobody said to me anything.

(39:24):
It went by, not even FCC.
No, nothing.
Nothing happened.
I don't know, it's a reallyweird thing.
But again, save my ass, by theway.
No, no, no.

Speaker 2 (39:38):
Love you dad, Love you dad, Love you son.
Yeah, Love you son, Gotta beLove you son.
Not even that, Not even thatyou love me so much.

Speaker 1 (39:43):
Yeah, you love me so much.
Gotta be, you love me so much.
I like that.
Wow, I don't think I could topthat.

Speaker 2 (39:47):
I don't think I could top that.

Speaker 1 (39:48):
How, how you're bored out.
How seasoned was he?
How, how did that?
Very Really, Very Really.
But the.
Thing is just to explain alittle bit what happened there?

Speaker 2 (40:02):
It was like a freak accident.

Speaker 1 (40:03):
You have an on-air sign on the wall that tells you
you're on air but when you're oninternal audio it also goes on,
so you don't have a way to knowif you're only the board knows,
because you can see thatindication on the board.
You know how that goes.
But he was just we were talkingand trashing and you know, and

(40:24):
having that conversation and hejust leaned forward and he
touched the button and nothingchanged on the wall because
exactly the same thing was goingon, you know on air, but I know
.

Speaker 2 (40:35):
I'm not on air.

Speaker 1 (40:37):
That was a problem, you know.
But the guy, all the experiencein the world, it happens, man,
it happens to the best familiesyou got to tell me.
I feel like like nothinghappened this great, I don't
know how I got away with that.
I feel like if I was the boardop, like, that could have been

(40:58):
like reasons for this mess rightthere For both, for both of you
guys, both of us, for both.
I don't know, maybe the topbrass wasn't listening.

Speaker 2 (41:09):
Nobody reported it Uh , nobody said anything
afterwards I don't know whathappened.

Speaker 1 (41:13):
That was grounds enough for dismissal and with
you know, shame on you.
Get the hell out of here.
So the only reason you knew wasbecause, like the listeners,
Not the listeners, the stations,Even worse, the stations Like
competitors no not competitors.

Speaker 2 (41:38):
It's a network of stations that were broadcasting
simultaneously that show to theseven stations in seven
different cities.
So you were syndicated.
Right, I was syndicated.

Speaker 1 (41:44):
Gotcha.

Speaker 2 (41:45):
Gotcha.

Speaker 1 (41:45):
Syndicated, meaning you guys were playing from one
show in one market and you alsowere playing in several markets.

Speaker 2 (41:52):
In several different markets, so you were
broadcasting, in this case in.
Miami.

Speaker 1 (41:55):
You were also being heard in St Louis and in Mexico,
in Mexico.
That's the way it goes, andthose stations are like what?

Speaker 2 (42:02):
is going on here.
What the hell is going on.

Speaker 1 (42:06):
Wow, how do you feel?
No, no, no, that takes time, Idon't want to do it again.
It never happens to me again.
You know why?
Can you have so many storiesabout things that we haven't
done Back when I was working inVenezuela, so many stories about
things that we haven't doneBack when I was working in

(42:26):
Venezuela, where I'm from?
I was.
We were in the middle of a coupd'etat and the one thing that we
had, right beside a radiostation, was a national TV
network and we were kind ofwalking along so we could see
and the major military movementthat was going on was to take

(42:50):
over that network to broadcastand say that the government had
been toppled.
So the shooting there was fierceand I had to get to the station
in order to broadcast, but Ihad a middle of the fire and the
things that one can see inthose situations are so horrible

(43:12):
and so I would say gross in acertain way.
But always, you know, thinkingabout the professional side of
things and what I have to do andwhat my job is and what I'm
supposed to be doing, I need toget to the station as soon as
possible and I have to work myway into the station, which I
finally was able to do, andwatching the carnage that was

(43:36):
going right beside us and havingto report as bystanders was no
easy task as well.
You know it's kind of adifficult situation when you're
in the middle of politicalturmoil and you have to be and
that's one of the things youknow that I think that radio has
to be radio.
It will always be radio, allthe time.

Speaker 2 (43:58):
Something like that happens.
Natural catastrophe happens.
Where are you?

Speaker 1 (44:02):
going to go to get information if it's not the
radio For me?
For me being in the industryduring COVID, that's when I kind
of saw that, that's when I kindof saw it.
Where are you going to go?
Air lift down, power's out?

Speaker 2 (44:18):
Where are you going to go?

Speaker 1 (44:19):
That's why I'm normally telling to my students
every single time the fact ofthe matter you sitting in front
of a microphone and thatmicrophone being open at the
airwaves, and not even theairwaves that's called digital.
You have a response.
Whatever you say hasconsequences and you can affect
so many people by the thingsyou're saying.
That's one of the things thatnot only people don't pay

(44:49):
attention to, because they'resaying stuff, they're saying
talking crap, whatever, they'retrashing someone without even
measuring the consequences ofthat kind of behavior.
So that's what we got to learn,because a lot of the things
that you can say can really gothe extra mile in hurting
someone or creating somethingthat you're not even aware of,
and it can so backfire.

(45:12):
So that's why we sometimes youknow, if you ask me about social
media and the effect of a lotof people you know now becoming
broadcasters without no previoustraining, it can be.
I'm not going to say it can't,it can't be done, but again, so
many mistakes are going to bemade in the process.
I cringe, I still cringe, allright, so I'm liking this one

(45:37):
too, oh yeah we're, we'rearriving near the end.
You gotta wait.
Yeah, how many?
I have to say how the two more.

Speaker 2 (45:39):
Yeah, yeah, we're like we're arriving near the end
, you gotta wait, or something.

Speaker 1 (45:41):
Yeah, how many I have to tell how the two more.
Yeah, yeah, we're like, we'relike at the halfway mark.
All right, then we're ready forour next.
Uh, I, I cringed a little bitbecause these people that lack
the training they get brought insometimes because of that
problem.
You mentioned social media.
Yeah, and you see them there asan entirely different setup,

(46:05):
entirely different trainingthat's demanded and either this.
That's first and foremost.
We just hear some of theridiculous things.
It's why nowadays, shows don'thave that longevity.
You talk about a show that's onboard for 65 years and now
shows that if you don't havethat kind of training, you don't

(46:25):
have to kind of educate.
You don't have the properunderstanding of what research
entails in order to have therundown to serve your audience
for usually five days a week.
You're going to fail.
You're going to fail and that'swhere it gets.
Usually five days a week.
You're gonna feel, you're gonnafeel and it, it.
That's where it gets.

(46:46):
It gets, radio gets.
I feel like bad rap sometimes,but it's almost as if people
don't really understand or getlike what's happening.
I don't even think the people atthe top understand what's
happening like to this day tothis day, to this day, like the
research, oh, we gotta playjustin beaver to the ground and

(47:10):
then people turn off, peoplethat turn off, right, uh.
But the thing about it is thatwe need to understand that,
regardless of what you want todo, regardless of how naturally
you want to feel in terms of thedelivery that you want to
convey to your audiences, Iwould think that what you
basically need to do is, havesome preparation to be able to

(47:36):
know exactly what thecommunication codes that you're
going to use are the ones thatyou're going to use, because
it's not just the ones thatyou're going to use, because
it's not just, you know, sayingstuff.
Because you're going to saystuff, there has to be a reason
for it, and maybe that's one ofthe things that pisses me off a
lot about what I can seesometimes on social media when

(47:59):
you see the untrained persontrying to be funny, the
untrained person trying to befunny, the answering person
trying to be um, politicallycorrect the uptrend person
trying to be whatever, and yousee that they miss.
But even so, the other thingthat concerns me a lot is that
we are trying to lean moretowards stupidity.

(48:22):
The stupider the thing, themore likes, the more views, the
more things, the moreinteractions are going to happen
.
So that leaves us with what arepeople craving for nowadays?
What do they look for?
Just the stupidity.
That's it.
I don't know.
There's definitely a A bigshift In consumption.

(48:44):
On subject of consumption, Ithink we're ready for our, for
our next one.
Oh yeah, if I had to describethis one In one word, this would
be the equivalent.
This would be the debonairAlright, of the collection that
we got going on here.
This is called the SaintChateau Michel, my personal
favorite.
My personal favorite has 91point rating on wine, which is a

(49:09):
solid eight Vintage 2020, 91points.
Like I said, it's a patent insome realm.
But like you, my friend, I alsoenjoy good whiskey.
We'll talk about that in a bit.
When I think about the palate,this is the equivalent of that.

(49:30):
So I think this one, we'regoing to try it.
We're going to try it and we'regoing to decide.
Does it resonate well with whatyour traditional go-to drink is
?
Um, what I can tell you is thatthe the origin.
This is where it gets like oh,it originates from white country

(49:54):
in washington, which I didn'teven know first.
Notice you too.
Okay, all folks, we're learninghere.
We're talking about Napa Valley.
We're talking about Californiabut that's as far as I'm
concerned.
Yeah yeah, and I'm like we'relearning all this shit.
So apparently, since the 70s,wine country in Washington has

(50:14):
been kind of like, trying toemerge, and it wasn't until 2001
that it was recognized by,let's call them, the wine
government.
I'll come back in anotherepisode and really break that
down.
Where it was like proved asokay.
This is a significant landmarkin terms of wine.
It's called the Red Mountain,it's in Columbia Valley,

(50:36):
washington, and it's a vicinitythat's not even like large, not
nothing compared to Napa Valley,when you think of like, like
wine country you think of?
it fast.
This is the uh, I think I saw4,000 acres in one of these
parts or one of the wineriesthat this comes from.

(50:57):
Um, so, in any case, it's aCabernet All right, cigar box
and licorice is the aroma of thewineries that this comes from.
Um, so, in any case, there's acabernet all right, cigar box
and licorice is the aroma cigarbox and licorice.
So so, like, immerse yourself,like who comes up with these
kind of things?
I don't like.
How do you get, how do youarrive at that aroma?

(51:19):
Who knows, who knows?
They must know what they'redoing.
I'm not hoping, I'm excited.
Flavor-wise, blackberryFlavor-wise.
We're looking at black cherrydark chocolate.
You got me up at blackchocolate, yeah, yeah.

Speaker 2 (51:35):
Okay, okay.

Speaker 1 (51:35):
So this is what I'm talking about when I'm like all
right, the patty that's for aproper whiskey blend or a proper
scotch.
This is where I feel likeCabernet does that for that kind
of drink.
So what I want to do before weindulge ourselves in this is
let's educate a little bit onthe swirl.

(51:57):
There's two ways to go aboutthis, but essentially, what you
want to do is swirl.
You know what you're doing.
Educate me, because I don'thave a clue.
Okay, I didn't want to assume,I didn't want to assume.
But with the swirl, what youwant to do is you want to grab
the stem by the base, not uphere.
It could get a little sloppy.

Speaker 2 (52:16):
Yeah.

Speaker 1 (52:16):
You want to grab that ?
Stem Me personally aboutstemming me personally.
I'm on a journey like the restof us.
I'm sitting my elbows somewheresturdy and I'm just beginning
to like, okay, try, all right,all right, and then, well,
there's two ways you go about.
It is this way you kind of geta rhythm for it at some point,

(52:37):
and the point of this is I'mgoing to explain that in a
second the, the other way youcould do that.
I think that's a good one.
I like that.
I like that.

Speaker 2 (52:43):
Is that you don't feel that confident?

Speaker 1 (52:46):
You could set it on the table Right right.

Speaker 2 (52:50):
And then Makes sense.

Speaker 1 (52:53):
The thing about wine is that there's aromatics.
As the wine bottle opens andair starts to pour into the wine
, it kind of brings out theflavors, it brings out the
aromas.
So it's kind of what you wantto do.
It's similar to soda.
They say the soda you drink outof the can is one way, but when

(53:14):
you drink it you pour it into aglass.
It's like a whole otherexperience.
They don't sell it, but that'swhat they say.
But this allows you to kindlike really take in those aromas
and it kind of opens up thewine, if you will.
Second thing is that it allowsyou to check out what they call
the legs of the wine.
And if you kind of notice herehopefully we'll be able to get

(53:36):
this zone that it's seen verywell is that the how they kind
of the link them starts to talkabout how much alcohol is within
the wine.
Okay, so you do that for thosethree kind of do it to open up
the wine.
The aroma kind of makes it abetter experience.
Overall tastes better, and thenyou're able to kind of see all

(53:58):
right, there's not a whole lotof alcohol in here.
There's like short legs butthere's long legs.
You're looking at a pretty goodwine.
So, all right, let's give it ataste.
That's crazy.
That's crazy, it's crazy, but Ifeel like I caught the

(54:21):
liquorish more flavor.
It's kind of more crisper thanthe previous one.
I don't know if you can, ohyeah this is my shit.

Speaker 2 (54:34):
This is my shit right here give it the introduction.

Speaker 1 (54:38):
It should be good.
You know I'm guessing, butprevious one, this one this one,
I think, is a winner.
Yeah, yeah, yeah, I'm likingthe aromas on this one, but
interesting the experiment,because for a guy like me that
has absolutely not evenknowledge.
I'm not even talking aboutknowledge, no interest

(55:00):
absolutely why.
Sangria, absolutely.
Why Sangria?

Speaker 2 (55:03):
Yeah, sangria.

Speaker 1 (55:05):
That's the only way I drink wine, you know.
But the thing about it is thatwhen you give me these options,
with this explaining, you knowall the things involved in it.
I think it's a good thingbecause, first of all, every
single time that somebody givesme a wine for, me to taste what
do you think of that.

(55:26):
It tastes the same as the nextone or the previous one, I don't
know, because I never have apoint of reference that you're
giving me now.
And it's obvious that there's asignificant difference between
the three that you gave me sofar.
I like that.
So that's, that's aninteresting thing to know.
I like that, I like, I like, Ilike that it's.
It's crazy because, again, Ithink it is just it's.

(55:48):
It's based on the individuals,based on the palette, and I love
hearing that from like the, the, the minds behind all of this,
like the top people in thisindustry, that they are the
influencers.
Yeah, they say hey, look, youcould be a snob all day.
I'm gonna teach you how to dothat, I'm gonna explain to you

(56:09):
how this could be.
But at the end of the day, it'show you feel Me.
I actually feel like it'snecessary and this is why, why I
kind of like this culture,because it could get so deep but
, unless explained is otherwise,could be like a little subtle
differences.

(56:30):
The way that the last onefinished in comparison to this
one actually has like a likesomewhat of a similarity with
the way it starts, like, like,exactly on the tip of the tongue
.
It's like, okay, this is, thisis something else.
This is how they ask me.
I'm trying, I'm trying, I'mtrying, okay.
So, uh, two part, two partquestion for you, career, shoot,

(56:54):
you just referenced a crazy assstory and Venezuela as a
broadcaster.
Um, and I, I, I know that yourvoice has gone on as common

(57:14):
distance, but I don't know,having worked actually in like,
various markets as well, like,besides Miami, venezuela, yeah,
uh, okay, well, if, if, if you,you take into consideration that
, uh, that the networks that Iworked for were broadcasting all
those markets, I would say yes,from, from the us, all the way
down to the pedagogy.
I've been there.

(57:34):
So, um, yeah, I've covered ahell of a lot of markets,
advertising wise also, because,uh, I've been working
extensively with big brands thatyou know, we can produce a
commercial somewhere, maybe inColombia, but that commercial is
going to air for all LatinAmerica.
So, again, you're going to allthose different markets over
there In the US.

(57:56):
Yes, we have to work basicallyin different markets LA is one
thing, but New York is anotherone, chicago is another one,
atlanta is another one.
So markets will change and weare working for all the markets
available, as long as you'reable to be exposed to those
markets, to be able to work forthem.

(58:17):
That's the thing that's wheresometimes people get it wrong,
at least people that work in myarea that stay kind of local and
don't evolve into okay, let mesee what's out there.
Let me see what's beyondFlorida.

Speaker 2 (58:31):
Let me see what's beyond Miami.

Speaker 1 (58:32):
Yeah, and I've met a lot of guys with a lot of
experience that are simplyworking the Florida market or
maybe the winchester market, andI'm even taking a look at
what's going on out there.
There's a lot to do.
Fantastic, not a lot of theseguys.
You might refer to that thatthat it's had a natural one no I

(58:53):
think it's, it's, it's, yeah,it's talent.
But I'm talking about, you know, seasoned professionals and if
I'm saying seasoned they have it.
Yeah, what they probably aremissing or could be missing is
maybe the drive to go, you know,the extra mile to see what's,
what's going on in Tampa, what'sgoing on in.

(59:16):
Jacksonville.
Let me go to what Lyon?

Speaker 2 (59:19):
let me go up and up and see, and see and see what
happens, but I'm not a trickthis day.
Enjoy that, enjoy that, enjoythat.

Speaker 1 (59:26):
Evil one.
Anyway, you're just sayingwe're doubling down different
industry and trying to tap intosomething else those of you that
are interested in coming intothe mediums I want to know your
favorite thing about working inthe markets of south america in
comparison to the states.
But then I also want to knowbecause you've called miami home

(59:49):
for so long, yeah, favoritething about about here.
So it's kind of like a two-partquestion.
Yeah, it's, it's.
There's so many differences.

Speaker 2 (59:59):
They're not subtle.

Speaker 1 (01:00:00):
By the way, it's big differences, but markets in
Latin America are, I would say,kind of the same thing as what
we have here.
What?
We have in the melting pot here.
When we work for Latin America,it's the same melting pot, but
divided into countries andeverybody in their own place to

(01:00:23):
say something here we have them,you know, crammed into a
different place, but we have somany cultures around.
One of the things that, to me,was one of the difficult hurdles
to overcome was how tocommunicate with all the people
that you know that havedifferent ways of speaking
Hispanics, I mean, in this case,english speaking, which is

(01:00:48):
easier, but again it's likeputting an Australian talking to
an American, let's say anAmerican from Boston.
Let those guys clash and see ifthey're going to understand, or
a Jamaican talking to a guyfrom Texas.
It's going to be hard, you know,because words in how Jamaicans

(01:01:11):
the slang Jamaicans use is notours.
So basically it's going to be,there's going to be a barrier
that we have to break in acertain way because sometimes we
will not understand ourselvesIn Spanish it's kind of the same
thing, because the wayGuatemalans speak is not the
same as Nicaraguans, it's notthe same as Venezuelans, it's
not the same, as you know,argentinians.

(01:01:34):
So it's really hard, in terms ofslang, to make everybody
capture the same essence of whatyou're trying to say.
And that's when, at least onthe Hispanic side, we have what
we call neutral accents, wherewe speak in a certain way that
everybody understands.
I think we're taking ordeconstructing the language to

(01:01:58):
its bare essence, with thesimplest words that we can use,
that everybody understands, andthat's a way that we can, you
know, kind of go into thosemarkets in a way that everybody
gets the message.
You'll get the message.
The difficult thing about thisis that if you don't know how to

(01:02:18):
convey that in the proper way,if you don't know, if you don't
have the skills to do, forexample, mutual Spanish, for
example, it's going to besomething very difficult for
people to understand you.
Now, in these markets, it'seven worse.
I can tell you one little storyabout Telemundo and how they

(01:02:42):
started using neutral Spanish intheir novellas.
Back in the 70s, miami becamethe hub for production in terms
of novellas in the US, but thosenovellas were aimed to the West
Coast, so they were filminghere.

Speaker 2 (01:03:00):
They were filming here, but those products went
all the way to the West Coast.

Speaker 1 (01:03:04):
Okay, so a different type of Hispanic, exactly,
completely different kind ofHispanic or type of Hispanic,
because what they hired wasPuerto Ricans, argentinians,
cubans, venezuelans, dominicans,you name it.
They had them all and everybodyspoke the way they speak.

(01:03:24):
So that thing was a melting potof languages.
Even though it was Spanish, itwas a melting pot of languages,
or at least of slangs.
And when they shipped thatthing to the west coast, where
it's basically populated bymexicans, nobody understood a
word.
So those products crashed andburned I'm only assuming this.

(01:03:47):
I'm assuming that it possiblycould be wrong if it, if it
stemmed from here and went overthere and perhaps, like over
there, probably probably cameover here because I saw a lot of
Mexican influence.
You know, being a little ladmyself watching my, my abuela.

(01:04:07):
I watched her novellas andstuff and you could hear the
accents were different.
No, the problem is that peoplethink that it's a neutral accent
.
It sounds like Mexican.
It sounds close, but it's not.
You know it's funny.
You say that we did.
I was on the morning show andwe had this conversation.
It was in South Florida.
You mentioned Alec.
You know it's a melting pothere, yeah, and our show went on

(01:04:29):
air and said who has the properspanish?
I got the answer and the thefreaking research and the phone
calls they came in and you knowyou're serving this community
that's compiled swedens, uhcolombians, uh cubans like
everybody kind of feels evenmyself.

(01:04:49):
I'm from ecuador.
The way my family speaks is sodifferent than the way the cuban
community speaks, or so I Ifeel like oh, okay, like we're
very proper, we're very wellspoken, we're like.
You know, monday we have.
It turns out that they saymexicans or mexico had the

(01:05:10):
proper spanish.
I beg to differ.
Here we go.
Okay, hot, take.
Let me go to the numbers, ormaybe to the studies that have
been done about this.
If one thing and I'm nottrashing anybody here, but I say

(01:05:31):
this one If something is hardfor any Hispanic American that
lives here, is to understand aChilean.
They speak too fast, they speakbetween their lips.
They understand themselves,yeah, of course, but to anybody

(01:05:51):
who is not Chilean, you just gettwo words here, three words
there, and that's about it.
Now look at the irony of this.
The University of Chile hires astudy to find out who speaks

(01:06:12):
the best Spanish in not onlyLatin America but also Spain.
Wow, of course, because theyfeel like they should be a part
of the Congress.
Of course, of course.

Speaker 2 (01:06:23):
Get out of there.
That's amazing.
Get out of there.
Challenge comes from there.

Speaker 1 (01:06:26):
We have to you guys need to stay over there and look
at what happened.
You know, it's interestingbecause Chile was one of the
last ones, of course, followedby not even followed, because
the worst Argentina, uruguay,paraguay, they all speak kind of
the same way.

(01:06:47):
I can see it, chile comes next.
Then we have the ones that kindof speak a little better, which
were, I would say, ecuador, Iwould say, you know, going up in
this thing, the ones that speakthe best Spanish, not even the
Mexicans, because the Mexicansare down there in the middle

(01:07:10):
with us Venezuelans.

Speaker 2 (01:07:11):
Yeah, mexico, cuba, wait so that we're clear, I'm
not talking about Orale Ese andthat's a Miami accent.

Speaker 1 (01:07:21):
I'm trying to make that Mexican.
I'm talking about like thenovella, like teleporter, like
that in Mexico.

Speaker 2 (01:07:30):
Okay.

Speaker 1 (01:07:31):
Now, who speaks the best Spanish in the world,
according to a study done at theUniversity of Chile, which is
like fourth to last, and itturns out it's Peru.
Peru has the best language inHispanic America, wow.

(01:07:54):
And followed by Costa Rica,followed by Colombia, no, from
there on from.

Speaker 2 (01:08:04):
There on.

Speaker 1 (01:08:05):
What we talk is a bunch of crap, because we are
basically trashing the Spanishlanguage as we speak.
Cubans, venezuelans, jesusChrist, that thing is, don't
make me stop.
Yeah.
So you Cubans out there thatthink we can go out, like, stop.
Just the fact that, like Iheard Juarez House and Gachú, I

(01:08:28):
was like no, you guys can stopthat.
Stop that right now.
Stop that right now, all rightall, right all right, all right,
we're, we're, uh, we're at theend game now.
And, if I had to say, this onewas hand-selected not only by
our producer but also based onthe caliber of the person who is

(01:08:50):
our guest.
This one is not like the 19crimes.
This one has been aged inbourbon barrel for 60 days, a
little bit stronger than yourtypical blend, perhaps you got
me interested.
The Behringer Bros this istheir 21 vintage.

(01:09:11):
They originate from California.
The aromas are supposed to beoaky, the flavors are supposed
to be dark chocolate once again,because it's a candy.
It is uh, you're looking atblackberry.
And my personal favorite is, uh, tulsi, caron, uh, coconut,
excuse me, Worn vanilla a fullbody.
There's a hint of that.

(01:09:33):
There's a hint of that here wego.

Speaker 2 (01:09:40):
Oh, this is really different.

Speaker 1 (01:09:44):
It's true to your as we arrived here.
Yeah, Now it's more like Nowit's.
You know what blackberry tasteslike?
Okay?
That's what you're picking up.
It's really really, reallyinteresting, Really different
from all the wines I've tastedbefore.

Speaker 2 (01:10:02):
Uh, this was Nelson's pick and Lemuel's pick.

Speaker 1 (01:10:07):
This pick was based on us having uh the opportunity
to just just uh be in thepresence of greatness.
You're not going to buy it.
You're talking about over 3,000merchants.

Speaker 2 (01:10:22):
21 countries 23 countries and going, etc.

Speaker 1 (01:10:27):
There's been one too many conversations where we hear
oh yeah, I like whiskey, I'm awhiskey guy, I like scotch, I'm
a scotch guy.
I'm like, okay, you definitelygot to get freaking a bourbon
barrel of wine here and this iswhat you're tasting.
This is what you're tasting.

Speaker 2 (01:10:47):
I like it.

Speaker 1 (01:10:48):
You know, if you ask me for a favorite of all four,
it's tough now.
It's tough because this iscompletely different four it's
tough now.
It's tough because this iscompletely different.
But if I have to be, you know,if I have to make a decision, I
would definitely go with numberthree.
It's the one that caught myattention.
It's smart.
They're two of the same Number,three and this one.

(01:11:12):
They're both Karenings, butjust the way that they've been,
the process that they've gonethrough is a little bit
different, so this one issupposed to resonate a little
bit more with that.
Yeah, so yeah, that's a body.
This was supposed to resonate.
If you like that hard liquor,however, like you and I, I enjoy

(01:11:35):
that's my.
Also also resonated with melike that hard liquor.
However, like you and I, Ienjoy whiskey.
That's my also.
That's also my go-to.
There is something about thesekind of wines I think Berger
grows as well because they kindof come to mind when you think
about the barrel age wine, butit's almost like they're trying

(01:11:57):
too hard to be whiskey or trytoo hard to be burp because
they're just aging the barrel.
Look as a whiskey drinker?
Yeah, um, it's the same thingas wine.
Why?
Because for example I'm ablended scotch drinker.
I'm not a single malt drinker,so we're talking Johnny Walker,

(01:12:19):
johnny Walker.

Speaker 2 (01:12:20):
We're talking Bukashi , let's talk.
We're talking Chivas.

Speaker 1 (01:12:23):
We're talking, opar.
We're talking, you know, thosekind of scotch which, by the way
, are not that common, becausethose are brands created in
Scotland to accommodate LatinAmerican preferences,
intertwining the cultures.
It's funny you ended with thatBecause I have a 2016 memorable

(01:12:48):
trip or memorable experience inColombia, and the liquor of
choice, everyone, and the liquorof choice everywhere Olpad,
olpad, Olpad.
And that was the first time Ihad it.
I was like well, this is likelike a, like a Latin America,
like only whiskey.
And you come here, you look, gointo the store, oh snap there

(01:13:10):
it is, you'll find it's a themetheme in Cardinal you'll find
those brands in Miami.
Go to Atlanta you'll never seethem.
You'll never see them.
Go even up north you're notgoing to see them, because those
are brands designedspecifically for Latin American
audiences that will cater tothat.

(01:13:31):
What's next for you, edgar?
Next for me, is reinvention ofthe things that I've done.
I've been doing it for a while.
I need to do new stuff.
I'm trying to go down intothings that are media-related,
more on the concert promotionkind of thing.

(01:13:52):
Concert design and those kindof avenues are the ones that I'm
going to take right now.
I'm going to dial into that andsee what happens, what goes on.
But again, we have to keep inconstant motion because look
when you've been more than threedecades doing exactly this and
you feel like, okay, I've doneit, I'm probably kind of good,

(01:14:17):
but I need to move on and doother stuff.
I think it's time for me to.
For example, I'm giving upradio, I'm giving up
broadcasting, which I did likeprobably four years ago and by
giving up broadcasting, becausethat thing is always, you know,
inside and the moment someonecalls me and says I want you in.

(01:14:40):
I'm going to be in Becausethat's the way you know
broadcasters are, but the thingis that if I have to do
something different, let me tryanother avenue and see what
happens here.
Yeah, this is covered, thisI've done, this I feel proud of.
Let me move on to new uhadventures and see what, what
goes on, what happens.

(01:15:00):
All right, I'm excited.
I'm excited for you, I think.
I think the the theme of thisepisode has been like how do you
take something that once wasand adapt to what now is?
So I'm going to end on it likethat Again.
Edgar Garcia, everybody, thankyou for coming on the show.
My pleasure.
Thank you so much cheers.

(01:15:21):
Thank you for watching coffeeand cabernet with Danny Doe.
Make sure you subscribe andfollow us at coffee and cabernet
podcast.