Ep. 47 Danny Ocean: “Yo soy el anti reguetón que ama el reguetón”"

Andrea Silva charla en este Backstage con el artista urbano Danny Ocean

Episode Transcript

(00:03):
Backstage. From this moment on,a new backstage where the only restriction is
that everyone can enter. It opensthe door of what is not given in
the entertainment industry, the time topass the lights, the cameras and the

(00:25):
microphones to the backstage. This isepisode number forty- six backstage and I
have a date. I mean,look at this, please, I don
' t love that theme. Memorreally broke I love the tree look.
This is like bringing in an exactbons, chopstick pons or oan. It

(00:48):
' s a pleasure to talk toyou. Thank you I swear to you,
from people to music. Today Ican say he raises his hand and
I' ve always said it andsaid it some days. I have to
say that because I saw you,that is, when I refused. It
started to ring. I didn't have a face for you, and
I think it probably, I mean, it happened a lot And when you

(01:10):
see it, you say the audiodoesn' t fit me with the video.
I moved the audio and the videoI see a man that I imagined
was super different and I see youand aesthetically has always freaked me out what
you' ve done. Conceptually,people thought I was brown or if I
said on I thought you were brownor I don' t know about San

(01:30):
Andrés they told me that if Ithought you were like an island in the
Caribbean and Brasero, yes, no, well and a skinny, white nose
of Caracas, calm and relaxed.Listen, what happens is how are the
stereotypes of beauty that you hear areggaeton and then imagine the chain and I

(01:53):
said this is the reggaetoner. Idon' t like it bad for musical
genres, but the reggaetonero. Noreggaetonero. I am the anti reggaeton to
love the reggaeton master. Come on, it' s anti no, but
it' s not really on purposeI swear it' s not zero thought.
It' s just not connected tothe theme of strings and the theme

(02:15):
of you know how to have thingsas valuable on top and let the world
see. I don' t connectwith that concept. I respect him so
much, but I' m notlike that. I' m simpler,
quieter. But that aspect, tome that says a lot more than bringing
so much brightness. I mean,for me it' s more rockstar.

(02:37):
So, the mantle rockster, yes, nothing, but to taste colors is
not true, no, because itis my perception. Obviously, Dani the
subject of the discussion of the AREPAso as to break it already. Okay,
what do you say you don't look. I can' t
deal with that battle anymore. Let' s just say we started eating the

(02:58):
Arepo world and that' s it. You put you, you put in
the Disney movie that AREPA was Colombian. I give them to you, thank
you, I give them to you, it really hurt, but I give
them to you completely. And Ithink that' s good. Already with
that the conversation is a little bitmore advanced on your side. So I
can' t say anything, butthe cool thing is that we share something,

(03:23):
not if it' s like writing. The AREPA paspet process has already
been done. That' s it. That' s it. And they
' re different, really. So, and are both very good? Are
both very good? Are both verygood? Hey, I' d like
to start with the theme of yourhits, like Merry Bus or Dambow Swing,

(03:43):
that is, you' re awareof what impacted all these songs because
I didn' t like you andyou made us dance and refresh completely with
your sounds. I know you're very visionary with this album, but
if we talk about that moment,if you magnify what impact looks honestly,

(04:05):
that is, it' s notweird, because sometimes I kind of kind
of fall into account for what's happening and sometimes not honestly with my
music, but yeah I mean,I don' t know if it'
s something that comes with me,that I' ve been with, honestly
I don' t know. Ithink that' s the magic of all

(04:27):
this. Yeah, but I wouldn' t love to tell you look I
passed and I did and not whatI did spend a lot of time creating,
I spent a lot of time thatI didn' t spend not much
time creating, I don' tbelieve as much as before, but I
' ve spent a lot of timecreating and I' m always stretching the
League. I' m always inthat, in stretching the League, in

(04:47):
the League, stretching the League.You mean how to demand more from you
Yes, there' s how todemand me And there' s one thing
in music. I don' tknow how to explain it to you and
I don' t think I havea word or not, but I call
it elasticity, which is what Itell you, is to stretch the League

(05:10):
to the maximum constantly to be fresh. I don' t know if I
can explain. Yeah, it's like it' s also important if
the track doesn' t connect withyou, but the challenge is you do
the best you can do on thetrack they put you on. I didn
' t go staleaba a lot andthen I get like going to fling him
out, he' s gonna pullhim out. I' m scrubbing and
I' m singing, I'm getting stuff out, I' m
in the studio. Then I puton a lead that maybe I don'

(05:32):
t like the track, but youknow the challenge is. I want to
ride this track to see that justlike that then challenger, all the time
keeps challenging. I believe myself,I think it' s that and let
' s say that creative process howyou feed it, there are people who
work a lot to see content andbe like in constant content. Let'
s say visual. I feel likethere' s an equal saturation. There

(05:54):
are other people who work in silencelike you feed that creative process that I
have, I have, I don' t have, you don' t,
I don' t pressure you or, I mean, you don'
t, you don' t havea routine of that kind of thing.
No. There are no times Itry it. There are times when I
force her, but there are timeswhen she comes. Sometimes it' s
just natural. I' m watchinga movie. I connected to something from
the movie, heard a song andthe song inspired me to go from one

(06:16):
to the studio. There are timeswhen I write the lyrics first without listening
to anything. There are times whenI make the lead first. I don
' t really have an order,I mean, I don' t have
like there are times I' mthrowing melodies and I' m like you
say watching just instagram and the unconsciousis working. I don' t know.
I don' t have a warrant. That' s my problem,

(06:38):
that' s my problem, thatI don' t have as a study
ritual or a creative order. ThenI get overwhelmed. I' m drowning
myself in a glass of water becausesometimes I want to get something out and
I don' t know how todo it and I don' t know
sometimes it happens, obviously, butI feel that art is completely free and
fashion exactly, and I feel thatfreedom. To me, what you'
re saying sounds like freedom to me. It' s free, exact,

(07:00):
it' s free, it's free, but sometimes, like,
it' s what happens to you, you need it, like you'
re stimulating it. Yeah? Yeah? Yeah? Yeah? Yeah? Yeah?
Yeah? Yeah? Hey, yeah, I' ve never seen him
like this. Actually, I've never seen him like this before.
I mean, I didn' tor a muscle, because you know I

(07:23):
' ve never seen it like thatbefore. As you put it, you
have to stimulate creativity. It's like automatic to me. I'
m not thinking about stimulating. Iexplain myself and there are times when I
' m in a creative pothole wherethings just aren' t coming out.
That' s okay, that's okay, but try to identify those
things that stimulate you. It's pretty important. You know what we

(07:44):
say. I' ve discovered thatreading book titles or watching podcast or if
it doesn' t definitely connect meand it starts and that podcast takes me
to another or what listens, Idon' t know what listened to,
or Ocean. So what you hear, what Dani Aucean listens to, I
' m going to hear if youurge me or not. You know exactly
how. Yes, yes, yes, the thing that carries the other and

(08:05):
all of a sudden, when yoususpect a key. Yeah, I'
m pretty close to me. Ilove the story. I don' t
know why I love to see thepast always, but I love the story
a lot and when I' min potholes like this I get to see
people I admire and people who havedone a great smoke job. I don
' t know why I connect alot with people' s monitarian work,

(08:28):
but I don' t know how. That' s a look, it
can be, and it' sthat plus just creativity is that' s
not like an idea that you're going to connect that point with a
song, because those unimaginable points,because there connects something always. Yeah,
yeah, yeah, yeah, Ithink it' s beautiful. The creative
one seems to me to be,above all, about the artists, each
one in his universe, as itis born out of nothingness of the very

(08:50):
same. Nothing makes a universe andthose concepts. It' s just that
I feel like you' ve beena concept since you were born there,
giving you that concept. Yeah,you don' t know. Yeah,
it' s crazy. Really.Yes it is crazy if you know that
the songs more, the songs thathave connected the most in my project have

(09:15):
been songs that have written them sofast, that it has been so connected
to the stuff that you didn't think, that I' m not
even thinking. It' s tomaticart, it comes automatic. Yeah,
I understand you, but getting tothat point isn' t easy. Not
getting to that point is not easy. I think it' s reporting a
feeling, remembering sensations. Yeah,you don' t have to think that

(09:37):
' s what I said. I' m actually talking about it, with
a friend composer in Miami named Cover. He writes the songs a lot to
Justin, to Ajustin Beber, andwe' re talking about the importance of
the composer' s work, thatit' s nothing more, that is,

(09:58):
when you compose, it' snot the same process to compose to
translate it, or to go tothe microphone. No, and I remember,
one day I was with obvie,we were recording a little shit that
was a song that we had obviousJon' s Caron and I told him
to listen that day. You knowI don' t want to record on
the floor. Today why don't we put the microphone on the table

(10:18):
and get on the table and recordin the English fok that other vai that
screwed up exactly and nothing else.That little perspective thing changes a mood in
the microphone and I think it wasa job. It is a wise work
of the creative, like molding themoment, that is, creating and molding
the moment so that when you cometo have to take out what you have

(10:41):
to get out, you are inperfect condition. That' s why I
don' t know if I'm going to explain if it' s
me when I' m here today, for example, that I' m
a round of interviews, you knowwhat I' m doing today, I
' m asking for breakfast that Iwant to ask myself to bathe, I
take my quiet time to go withall the good energy to then I think

(11:07):
it' s the work of everycreative molding for what comes and preparing to
get the best out. No,I think they' re a part of
what creatives don' t understand,which is that hey. You have to
have fun, sometimes you have toconnect with the inner child. No yes,
I guess, and mold things tohappen and as a team. That
' s how I understood myself alittle. I don' t love it
because because you notice that that innerchild has consumed us a lot by fear

(11:30):
always the one they' ll tellto the ones I' m in neighborhood.
I' m failing and you connecttwo things that I love and that
I can perceive from you. First, you have fun as a child on
your social networks. I have funwith you and not with you in your
instagram. I' m dying oflaughter with your hats and the moms that
come up and the random stuff.I think that' s what this is

(11:52):
all about and you also have asthat part a little deeper on the subject.
Let' s say the songs fromthis reflective album, because they'
re reprofund, that is, they' re astrology songs. I know you
' re friends with Elena Rose,and Elena' s deep. She was
in this powerost and I loved itwas how we need to talk 24 hours

(12:13):
if you could. Yeah, yeah, yeah, you feel like you have
that polarity that' s nothing abouthuman being accepting it as such. Yes,
you have to embrace what you areand bye and already without so much,
but you lie down at some pointlike showing you and being vulnerable to
There are small details, There arelittle details that sometimes there are little details

(12:39):
that you are adjusting, no,but not really it has not cost me.
It really didn' t cost me. You know what the thing is,
I don' t. So whathappens in my case is that if
I' m going to zero outsomething that for others, for others or
for a perception of something that I' m not cool, it seems cool

(13:01):
to me. And since people connectwith the human part, in the end
in art, I believe that peoplenow and more now, with the amount
of saturation information that there is,I think that people connect with the real,
with what they do, with whatis real, with what is organic.
No, and it' s achallenge. It' s not easy
being, I mean, not havinga character, because I really don'

(13:24):
t have a character. Sometimes onthe stage. If I have a character,
if it happens that the platform,the platform, I think it'
s the only thing. The stageis that it makes you bloom this character
in its maximum expression power. Itempowers you exactly and which one goes out
there, for example, is notan extrovert. Maybe I think it'
s more, it' s thecombination between introvert extrovert, because I don

(13:46):
' t talk much on stage.I just like to sing and already then
people can see how that people canbe, they can say maybe it'
s quite arrogant. Or I don' t know. The thing is,
I' m not good at talking, I' m not so good at
the stage and my fort and it' s okay now and you know what
' s right. I recognize him. I' m going to work,

(14:07):
I' m going to work andif I get used to it and I
feel like I' m getting acool flow. But if not everything I
' m not going to kill myselfor kill myself in doing something that really
doesn' t connect with me.I understand, I understand. I barely
heard the word, obviously it comesfrom reflection and so on, but I
connected with two things that can happentoday and it is for me you can

(14:31):
not correct me, but reflexie.For me it can be related, which
is like this voice one calls fromtechnology, but also from reflection, from
depth. That' s why Igot a lot of attention. Okay.
First, when I heard love itwas like my God what a beauty it
is, Danny Ocean. This ismy anni, this is look and when

(14:52):
you don' t listen, don' t fall in love with it.
Love is my favorite. Obviously,I have to wait for Ahorita to come
out on May 2, but you, Ahorita, who' s five.
I guess you' re staur I' m tauro mega tauro. I'
m pisces, pisces beings and there' s no taury song bikes. How
is lovelessness if obvious, obvious,per pisces, I am Pisces, no,

(15:16):
why does that have to do withdepth and as the duality that we
are talking about the title of design. Yeah, I mean, you had
futuristics, but deep. Yeah,yeah, I wanted a faster record,
I wanted a more electronic record.And the challenge was how to combine that

(15:37):
with a more intrapersonal theme. Mostof the themes are themes that I'
m singing to myself in the mirror. Actually, in fact, love is
me catching me love in the mirror. And now and every song has something
taur Pici is the kind of shockbetween a water sign and a land sign
you like not astrology, not somuch, it' s actually a representation,

(16:03):
but it' s something cultural thathas grown very much today. And
I like it, I like itbecause if there are patterns, really,
if there are patterns and I respectit very much and today, I think
that flirting all the flirting starts likethis, Hey what sign are you to
see to summarize rapito, to seeif we go, no, come on,
no, and we' re goingon your ascendant and your exact mole

(16:26):
and we' re going that way. We' re going that way.
And I think that. I thinkit' s a topic of conversation that
' s going on and it's a cool, genuine, positive topic
of conversation. It grows in thedemonstration, if yes, very much.
I' m very realistic, I' m very realistic. I like to
manifest, but I also like toput myself a lot in the worst scenarios

(16:48):
in what can happen something like Idon' t know what it' s
called like if you' re goingto put up a concert, if that
' s the worst thing that canhappen, if the audio that I can
do goes away. But it isa subject of preparation, a subject of
not being a subject of negativity,but a subject of being prepared for the
situation. No and let me besurprised by the good, but I do

(17:11):
manifest if I am a person whoknows what he likes and knows what he
doesn' t like and be verywell what I want and what I don
' t want, and that hasbrought me good things in my life.
But it' s karma, becausethat' s what I' m telling
you, it brings things like preparingfor the worst. Then I' ll

(17:32):
explain if it' s a combination. Yeah, like being very aware of
the manifesta, because why we're a generation of that you don'
t believe. Yeah, I loveto manifest. I love it. I
have a song called universal law onthis album that' s actually going,
that' s based on gravity.I feel it as gravity. I believe
that manifestation is based on a universallaw that was called gravity. And gravity

(17:56):
is nothing more than the interplanetary issue, but the gravity that if I want
that, how do I make twoobjects or two people feel that there is
that law that they can attract.It' s just gravity, I think,
the manifestation understand you. But betweenthe manifestation there is a reality,

(18:18):
that you have to get around andif you don' t turn around as
much as you manifest, things aren' t going to happen. Yeah,
I mean, you have to bevery aware of all that? Do you
have to be very aware of allthat, of all that information? Dani,
how you prepare an album. Let' s say. It' s
good that everything you throw is completelydifferent. I don' t know if

(18:40):
it happened to you the first thingis you feel pressure after success, that
the other bass happens with the nextrelease. Yeah, yeah, come on
in, if it happens, I' m not gonna lie to you if
it happens. But it' slike I tell you. I understand that
success is simply a consequence. It' s not the cause. No,

(19:03):
and when you understand that to mewhat drives me the engine is why I
' m doing that. And Ithink this album made me think a lot
about that, about what my purposeis beyond all of this, not about
the music what my message is,that I want to be beyond the music,

(19:23):
but we' re at peace dealingwith that no, like if they
connect the songs or if they haven' t connected yet. I think we
' re at a pretty weird time. Now also in the music how you
see it. I think the amountof information there is is a little saturated.
Not everything, but I think it' s divine in a sense that

(19:45):
I think people don' t careif it' s reggaeton anymore, it
' s not reggaeton or not.I think that' s it. Those
boundaries are like removing and it alsohappens very fast. It' s the
way it' s consumed and Iguess the way music is made is also
different, because it happens very quickly. Yeah, I think that' s

(20:11):
a good song. It' sa good song, yes. But besides
saying exactly, let' s saylove songs. I feel like you talk
to love all the time, evenif you have songs of lovelessness. But
I feel like the world needs moresongs, talk about how there' s
a connection to those songs because ofthe stories. I don' t know

(20:32):
the fight, because we' reall in the exact fight, we'
re all in the fight. We' re all in a fight. Yeah,
you have your intention when it comesto writing it, but when it
comes to throwing it, let's say you love it. For you
and me that story belongs to mesoon exactly. I always see to it
that the letters are as wide aspossible so that the person can take it
however he wants, ok how youprepare yourself then for nerves, there is

(20:56):
adrenaline, there is too much stress. The teamwork I think is key.
Not anymore. I' ve hadthe stress. I' ve had the
stress already. When I delivered thealbum, I said hey, Chao,
I can concentrate on this. I' m gonna go easy and leave the
ball to him. It' sup to you guys, I' ll
do my thing, you do yourthing, Chao. This is my job
before. Not before I had thepressure to woe. If I don'

(21:18):
t deliver, no one can doanything. No, but as I tell
you, I' ve already turnedmyself in. I' m fine,
I' m happy. To mewe come doing a Leasennings tour in truth
and every time we go out aleasinning I come out as happiest of the
album I did, because this Idid in the middle of a tour and
I am not used to making musicin half of a tour. It was

(21:40):
a challenge for me because of concentration. Yeah,' cause that' s
what I' m saying. Thestage. The stage is a whole world
and being in the studio is anotherworld. It' s the same game,
just different games. I don't know what to tell you,

(22:00):
but it' s like football.One is football full field eleven or eleven
and the other is full five,five, same game, different perspectives and
when I delivered it, I wasn' t entirely happy, if I can
be an entirely all- happy outcast. But yeah, now I love it,

(22:23):
now, I love it. There' s so much already. Yeah,
I understand you You push yourself toohard looking for that perfection and that
detail, but it' s nevergonna be ready. You were always missing
the one. I don' tknow if the key and it' s
like suddenly if it was yes whatimpression. One thing I admire a lot
about myself is that it took me, I mean, I took the time

(22:45):
to finish things up. I takethe time to finish things. I think
the most difficult thing, the artthat is finishing things, can be obvious
and not so obvious. You don' t start many things in life ever
and you may never finish them.Yeah, that' s crazy. Finishing
it is the most fucked up partof this. Run it a good idea
too and run it. Executing itis precious, but finishing the education,

(23:10):
the execution, if everything is complicated, I mean, leading it to really
get out so it' s alreadydone, yeah, it' s the
most complicated. How long it tookyou a year and a half for this
album, but I have songs thatare five four years old with me in
Escha ah Ok. Yeah, andlet' s say the most. Let

(23:32):
' s say what you say brefuses comes out as soon as you get
out, as long as you sayyou got out too fast. Look,
I refuse. I wrote it inabout twenty- five or thirty minutes on
the market. I wrote it in, like, 30. Also swinging will
have taken me about an hour willbe filmed and gone bye yes and exploded
throughout the world. I feel likeyou represent a lot of venesla I don

(23:56):
' t feel like they feel veryidentified in an ancient circumstance and a lot
of things. I don' tthink as if you suddenly released the music
you gave him one is an actof faith and love to throw music.
Being Venezuelan, Venezuelans all over theworld, because of the situation and I

(24:18):
don' t know it seems verynice. It seems to me like a
great fucking challenge counts not coming froma place where there is nothing and that
there are no industries and being ableto connect outside seems to me a great
challenge. I think beyond the musicalpart, I think what I love most

(24:40):
about what I' m doing isjust trying to see how far you can
carry the flag no and how youcan build that flag too. Beyond the
musical, of making the songs thatI do love, I find it precious
a vent for me, but thefact of being able to have this obstacle

(25:03):
that we Venezuelans are in and seehow we can add up? And see
how we can agree on something.It' s something that calls me a
lot, takes me a lot,encourages me a lot. I think you
' ve opened doors, I mean, they' ve taken care of opening
doors. And just notice that musicmakes us speak a different language. It

(25:26):
doesn' t put us in amod, it puts us in a dress,
it makes us think differently. Itputs us to a lot of things
and surely you do represent something veryimportant for Venezuela, certainly, and the
industry that you say is very valuable. If we are many, we are
many who are enlarged, we aremany, we are many who are working

(25:47):
at our angle. There are manywho have come before us too who have
opened a door to us. Butyes, I mean, the only thing
is that, beyond pasting a topicor not doing what I tell you,
when there' s a purpose behindit. That' s what, that
' s something magical, that's nothing more because of the fact of

(26:07):
making music and already when there's one that goes together. No,
but I can tell you what youdo exactly for a purpose. It'
s a beautiful thing. Finally,because I see you a lot with Elena,
bros I love together are a bomb, yes no. And I love
my sister. I talked to herand yesterday, in fact, we talked

(26:29):
for a little while yesterday. It' s impressive. That woman is,
that' s the best. TheQueen, the Queen, the Queen has
impressive things in her head and inher carcass heart in two thousand here we
love yes no. Here he didquite well Caracas of two thousand hundred not
and besides, notice that we alsocaracas in the two thousand. Also seeing

(26:52):
it from here in general, that' s not gia. Yeah, yeah,
I' m less beautiful. DaniOcean. This is your official backstage
episode, episode number forty- six. It' s a pleasure to talk,
with you, make songs and I' ll hear your full album.
You' re an impressive artist.You generate a lot of curiosity. Meet

(27:14):
the 5th of May. I'm here to congratulate you. Thank you,
thank you, thank you for this, thank you for the time,
for the space, for the conversationso rich and nothing. I hope we
get back to some match. Please, I mean, even Toca wasn'
t going to say like the mostalbums more stories for you to come.
I' m going to exactly,because that' s what it' s

(27:37):
all about, you building up morestories so you can come and tell.
Thank you, but count. Thankyou. Thanks to you. Gras.
The day I loved, I lovedthe testy this very good backstage gossip from
this moment on, a new backstagewhere the only restriction is that everyone can
enter. It opens the door towhat is not in the entertainment industry.

(28:08):
The time to pass the lights,the cameras and the microphones to the baxtage