2024Nov-Dec Top10Dembow&LatinEDM + SergioVillanueva

What's up mi gente, get ready for another high-energy episode of El Sabor! This week, we bring you a nonstop mix featuring the Top 10 hottest Dembow and Latin EDM tracks from November and December 2024, packed with the biggest club anthems and dancefloor favorites that closed out the year in style. After the mix, host and DJ extraordinaire DJ Komotion joins me for an exclusive interview with acclaimed Latin music producer and BPM Supreme remixer Sergio Villanueva. We dive into his production journey, remixing process, the evolution of Latin dance music, and what’s next for one of the genre’s most exciting talents. Turn it up and enjoy the flavor—this is El Sabor, LET'S GO!!

Follow Sergio Villanueva https://www.instagram.com/sergi0villanueva/

TOP 10 DEMBOW
Que Perra Mi Amiga | La Montra
Toca Toca | El Padrinito Toys, Victor Mendivil & Ganggy
Si, Es Asi | El Alfa & Kim Loaiza
Barra Payan | Brray
Bien Happy | Boy Wonder CF, Nino Freestyle, El Mayor Clasico, Three Seven Music & The Chosen Few
Holiday (Los Dutis Dembow ReDrum) | Madonna
TIMIDA | Potencia Lirical, Ingratax, Dan Sanchez & Jowell
Estres | DJ Adoni & Tivi Gunz
Trakata | Lalo Ebratt & Fifty
Silla | Yailin La Mas Viral & Puyalo Pantera

TOP 10 LatinEDM

EL CLúB (J Rythm Remix) | Bad Bunny
x las nubes (Kareem Remix) | paopao
Sigo Vivo (Sergio Villanueva Remix) | Yomo
FRESITA vs Zombie Nation (LeXeDIT Bootleg) | Fuerza Regida & Bellakath
Calabria (JPTheDJ Bootleg) | Enur
Rosa (Que Linda Eres) (DJ Morphius Guaracha Remix) | Toto La Momposina
RUMBA (Los Padres Remix) | Alex Favela, Guaynaa & Muzik Junkies
SE TE NOTA (Rob Rivera Remix) | Myke Towers & Peso Pluma
Corridos Y Alcohol | Steve Aoki & Oscar Maydon
Si Te Vas (FOLIN Remix) | Chris Daniel & White Star

Transcript

SPEAKER_01 0:00

What's up, mi gente? Welcome to El Sabor, the only Latin music podcast to give you the hottest flavors of musica latina that all mundo. I'm your host, DJ Mike Artell, and in this episode, I'm gonna give you the top 10 demo and Latin EVM from November, December 2024. Stay tuned for after the mix for a very special interview with Latin music producer Sergio Villanueva. Thank you so much for listening and let's go.

SPEAKER_30 0:55

Ella entró, di que rompió, se siente perra, todo el mundo la vaqueó, está acabando, ella se lo cree, ya se burló, mango la moe, la moe, tú no la ves, dije ya, de jazzy, a veate, que de ella solo VIP, ella es perra, tú sabes que así, se te dio la luz, la real, la real lack, la real la, dice Jassy, dike yassy, que perra, que perra, que perra mi amiga, que perra, que perra, que perra mi amiga, que perra, que perra, que perra mi amiga, que perra, que perra, que perra mi amiga, ya está loca, todo el mundo moca, que demore, bajo pa' boca, ella está callando boca con un flow de loca, cree que sofoca, cree que sofoca, con un fon un flow de loca, no fongo flow de loco, no fong flow de loca, con un flow de loco, no fongo flow de loca, no fong flow de loco, no fongo flow de loca, con un flow de loca, conprale su wiki Ayuda Comprale su wiki Ayuda, buena.

SPEAKER_25 2:33

Pasan que lo para un yate, muñeca congelate, un rol de chocolate, original es calor para que más arrebate, bate, bate. Tú vas a pasar, carga en Uber, yo te hubo privado directo para Vancouver, la vez que está puta por lo curio, macho te sube. Sigo viajando y no me bajo de la nube, nube, nube. Dice si no te quieres, no, yo paso en caliente, mándame tu ubicación. Quiero que se rate futizando, no dolor. Ay, todas las vegas encerró en un resort, resort, resort. Dice si no te quieres, no, volví todos los colores que tu sistema y entró. La molinada botellas cuáles que ya estrono. Me sube a su señal y mi refugo le prendió, aprendió, prendió. Toco, toco, toco, toca, toca, toca, toca, toca, toca, toca, toca, toca, toca, toca, toca, toca.

unknown 3:11

Toca, ponem bien loca.

SPEAKER_04 3:12

Toca, toca, toca, toca, toca, toca, toca, toca, toca, toca, toca, toca, toca, me tona. Toca, toca, toca, toca, toca, toca, toca, toca, toca, toca, toca, toca, toca, toca. Bonita y me la como Kurumi me pega unos besos mientras me pasa de la mole. Ella se me siente sin el pelo de la poli. Yo le como todo lo que tú le ves en Oli. Las que me acompañan, miramos con chambaña y viniste solo mañana.

SPEAKER_05 3:36

Vitiendo mochino, una presión en mí, como se vino cargando corpónico, fow el pacchino, pé, discord. Bueno, que sea el más fino. Me pongo culo cuatro y le quito el pantalón.

unknown 3:45

Esa papecita está pidiendo copetón. La capela me lo pide y que lo meto sin cordón. De esas puta yo me pego la línea de pericón. Cambiemos la modelo por don Periñón. Electro house y un cordillón. Repleto de modelo si está al parisón.

SPEAKER_05 3:57

Con una cuerita toca un incedron. Cambiemos la modelo por don Periñón. Electro House y un cordón. Repleto de modelo si está al parison. Con una cuerita toca un incedron.

unknown 4:08

Toca, toca, toca, toca, toca, toca, toca, toca, toca, toca, toca, toca tu toca. Toca, toca, toca, toca, toca, toca, toca, toca, toca, toca, toca, toca tu toca.

SPEAKER_28 4:23

Ella se grabó de Harvard con la nota excelente y tiene un culo que a los profe lo duerme. Pasó toda la materia por su chapa, como así. Quiere verlo. Ella sí quiere verlo. Ella sí quiere verlo. Mami, demuéstrale que tú sabes hacerlo. Ella luego viene la lo pone a decir que sí. Si, si, si, si. Ella lo gobierna, lo pone a decir que no. No, no, no, no. Pantalona elícra, vestido y enterizo. Tiene una vaina y va al colmano potizo. Se levanta el sol como una brasileña. Ahí sí te topa con el dominican leña. Llegar una loca, una totadora y arriba se me movió como una lavadora. Llegar una loca, una totadora y arriba se me movió como una lavadora. Que es la mejor estudiante, el escuel es la más seria. Pero yo soy el que le saca la materia. Vive la butaca y en todo el escritorio. El mío amoreno y grande como notorio. A ella le pregunta, ¿tú conoces ese tipo? Es el que te dio los cuartos para la lipo. Sí. Paso toda la materia, pues si quieres como así. Ella sí quiere verlo. Ella sí quiere verlo. Ella sí quiere verlo. Mami, demuéstrale que tú sabes hacerlo.

SPEAKER_32 6:26

Yo te pongo que me gastes la funda como play. A mí hay que caramba, tú sabes dónde estoy. La verdadera profesora, tú te aclares quien yo soy. Aquí tú lo que tienes que hablar más detectivo. Quiero un tiguero en el amigo te activo. Quiero una ruleta, sí, sí. Tortela Lubitón, sí, sí. Yo no soy la del montón. A mí hay que gastarme la funda de King Kong. Yo no soy la del montón. Sí, sí. A mí hay que gastarme la funda de King Kong. Yes, si quiere verlo.

SPEAKER_28 6:52

Yes, quiere verlo. Mami, demuéstrale que tú sabes hacerlo.

SPEAKER_07 7:12

Esta altura le bajo después que me muera. La mole me tiene huella no en la muela. Si caleta el palo hasta la suela. Con el coraz roto, pero los cuartos me consuelan. Encher chalearme en la fiesta y mata la alteca. Venme en cuesta. No meto presión, yo la dejo puesta. Tiene multaje y emperaje, pero no conectan.

unknown 7:36

No meto presión, te la dejo cuenta.

SPEAKER_07 7:46

Blanco y negro como el gin Jang. Los grises aparte porque se guilla. Andamos U haciendo el papá Jan, en puesto en la esquina. Barra pa' ya, más duña de la calle, es mi doctor con The Jan. Cambiando de baby como Niguillang. Hola como Jordan en el payang, que manda todas horas. Barra pa' yang, brrrr, brr, brrr, barra. Le doy un poco todo el ladito al privity, rompiendo al que pequete, como la tuquiti, patando la paca, está todo en TVT, no está en el cuarto, ese es un higüe puta del parto. Ninguna mía comparto, como hasta que me alto, aislamos los reparto. Ese culo está como paisa, los dos asaltos. Y que ponga la cuca pa' matar la chitarra y se fue, se los dos y hablamos después. Que ponga la cuca pa' matar la chitarra y se fue, se los dos y hablamos después. Blanco y negro como el gin jang, los grises aparte porque se guillaan. Andamos uh haciendo el papá jan, en portier en la esquina, barra pa' ya, más duñando en la calle, es muy dos contextangos, cambiando de baby como Niggyan. Hola como Jordan en el payang, que manda todas las horas, barra pa' yang. No repito culos y yo los botes. No te compares que no somos iguales, por más bulla, que hiciste, no te notes. Calleca, el ramo para la cerca, aquí todo el mundo pesca, me siento como universidad no vega.

SPEAKER_21 9:15

Vamos a ver, vamos, vamos, vamos, vamos a ver, sigo en la playa, bien happy, vamos pa' mi casa, ya hay algo de gratis. Hoy yo quiero estar bien happy, vamos pa' mi casa, ya hay alcohol de gratis, vámonos, pam, pam, vámonos, vámonos, vámonos, vámonos, vámonos, vámonos, vámonos.

SPEAKER_24 9:49

Mammy, casan que hay alcohol gratis, vámonos, pap, pam, vamos, pam, vámonos, vámonos, vámonos, vámonos, vámonos.

SPEAKER_21 9:57

Mami, casan que hay alcohol gratis, como yo quiero estar bien happy, vámonos, vamos, pa' mi casa, que hay alcohol de gratis, vámonos, vámonos.

SPEAKER_22 10:10

Hoy, hoy, a cualquiera le doy. Mando en una alta que ni yo sé donde estoy. Tanto cuero que ya pare con Playboy. La que mejor lo mueva a todos los cuartos, se los doy. Dame banda hoy que happy quiero estar. Trabajo pa' gastarlo y lo gato pa' finga. Alcohol ahí de mano te me siento extraña. Que después de las 12 en mi casa es una cabaña. Ay, póntem loca, ven, pónteme loca, que te juro que tú vas a amanecer con él en la boca. Ay, póntemelo, caben, póntemelo, ca que te juro que tú va a amanecer con él en la boca. Vámonos, vámonos, vámonos, vámonos, vámonos, vámonos.

SPEAKER_24 10:39

Vámonos, papá, vámonos, pam, vámonos, vámonos, vámonos, vámonos, vámonos.

SPEAKER_40 10:48

Ando con King Cardanchan y sus hermanas. Se guarmo un con todo porque yo ando con mis palas. Arriba voy para otro, de otro, voy para otro. La vícora cerrada, puesta mucho de nosotros. Wow, wow. Aquí no tenemos meta. Me dimos pila de botella y no se sabe cuánto cuesta. Wow, wow. Cuando soy mi jipete, en Miami, mi me mamá, aquí mi música respeta. Ay, pon que me lo game, ponte me lo cague, te juro que tú vas a marecer con él en la boca. Ay, pon que me lo game, ponte me lo cague, te juro que tú vas a marecer con él en la boca, vamos, vamos, vamos, vamos, vamos, vamos.

SPEAKER_24 11:19

Vamos, pa, pa, papo papá, vamono, pamurú, vamono, pamurú, pamono, pa, pa, pa, pa' mi casa que hay alcohol de gratis. Vamoro, pamono.

unknown 12:13

Everyone becomes dunkle. Holiday. Celebrate. Holiday. Celebrate.

SPEAKER_11 12:35

Some time to celebrate. Just one day out of life. It would be, it would be so nice. We bought a step of work. We're gonna help us celebrate. All across the world. We have a nation. It's time for the good time. Forget about the bad time. Oh yeah, one day to come together. We need a holiday. If we took a happy day, celebrate. Come on, let's celebrate some day out of life. It would be so nice. If we took a happy day, oh yeah, oh yeah, sometimes celebrate. Come on, let's celebrate some day, I'd have light. Just one day I'll lie, it would be so nice.

unknown 14:04

Mami, no te pongas tímida y dame todo eso de una vez.

SPEAKER_09 14:08

Que yo tengo la conecta con esa falta que bonita se te ve Tú estás buena porque yo pago el ticket para mí No te pongas ti timida No te pongas ti timida No te pongas ti timida Mirándote bien esta noche se te da Mami no te pongas ti timida No te pongas ti timida No te pongas ti timida Mirándote bien esta noche se te da Mami no te pongas ti timida Mirándote bien esta noche se te da Mami no te pongas ti timida Tú sabes que no soy tímida No dejas ni con verbo ni con líricas Quieres que me estrepe y te baile la silla Pero si no humo no me pongo pillas O sea que si no ingrata La cara tuista Pues te paro bellaca Si no la usas Pa' que la saca Te dejo mi marca Y mato con mi mamaca R3 para de F Me quieren los tigueres y los jefes Potencia tirar la refle Perfect Para que lo que tiran se estrecen Ando con los metales como bellaca Me morra sembrando blink Quinta Ando con los metales Clink cling clon clam Me morra siempre ando Clean clean Clink clink clon clam blink Quinta Clink cling clon clam blink Quinta Clink Clink clon clam blink Quinta Clink cling clon clam blink Quinta Cling glam Yo como va a ser Yo puedo ver se la mueve Y no se encanta notar Cuando se dobla se frente Me derrola y se fue la Tiencula grande yo la puta revés papá como sabes Tú no sabes tú de malo una bicheta Partida Clean cling grin clack de barra Clean clean grin clack clean cring clack Tú no sabes tú de malo una bicheta partida presidente Estraigo la bandolera Millonarios somos y andamos por donde quiera Mexicano soy tengo presente mi bandera Mi camin tiene bailando a todas las extranjeras Ando capuchado y vestido de camuflaje Arma larga y en la troca siempre un mal blindaje Buenos deportivos tengo en el garaje El vuelo privado cada que salgo de viaje Tú eres una fresa Y un tumado Baby, tú no te preocupes en con todo controlado Tú eres una presa Y un tumado Baby, tú no te preocupes en con todo controlado No te pongas tititi Mita No te pongas titular caes Venga se panca No te pongas tititi Mita No te pongas tititi Mita No te pongas titular Me joder ca eso Venga oye Nada que me cause estrés Nada que mi paz me robe Nada que me cause estrés Nada que mi paz No estoy Nada que me cause estrés Nada que mi paz me robe Nada que me cause estrés Nada que mi paz me robe Hoy ahora gran vaina tu mirió Ya los tiempos cambiaron Dios me lo bendiga Haga su vida de ahí Quédate de valor Yo soy un afinador de que yo eres un hablador El que dice atrás de mí por el retrovisor siempre quiere que te lleven a caballito Te conocen a todos los canes colmado ni discoteca Yo no fui a la escuela y siempre tiene una beca No sé lo que te dije que te tiene siendo muerte Que tú no tienes cuarto que nadie te revenga No estoy bien, nada que me cause estrés Nada que mi paz me robe Nada que me cause estrés Nada que mi paz me rode No, no, no estoy bien, nada que me cause estrés Nada que mi paz me robe Nada que me cause estrés Nada que mi paz me robe Wey, yo estoy un nivel Que no tiene discutir con nadie Si usted dice que en la ferretería ponen uña Usted tiene razón Dios me lo bendiga, haga su vida Cállate de ahí Te digo la verdad, mira, ey, yo estoy quien opino Nada más vivo observando A todo el que ponga huevo banda se le está dando La vaina está bien y eso no le está gustando Se le ven la cara, no están disimulando Pero tienen que aguantar Tranquilo gere Que mañana publico más Para que tengan contenido y me puedan criticar Hagan creatura en pantalla y cogan para el grupo encimia Ey, aunque te digo la verdad, no hay nada que me cause estrés Nada que mi paz me robe, nada que me cause estrés, nada que mi paz me robe Estoy en nada que me cause estrés, nada que mi paz me robe Nada que me cause estress, nada que mi paz me robe Mamá, excuse-moi Pam pam, olala Mamoua, cha cha cha S'il vous plaît Allez toi, c'est toi, passe le foi Poba, Poba Matraca Tia Patra tracoatewa Ta ha Traca tracata Scoop Skip Skid Papa Windows You Ting To Back Dame Sit Rap Trap Alica Traca Traca Traca Traca Traca Traca Traca Traca, Traca Traca Esaco La Caca Saca La Capatira Baja la Paca, baja Paca Empacala Que voy Para allá No trajo para el Cod Papi De la Entrar Tienes Maga Atrás Pero apenas vamos a entrar Que Dios Apenetrar Mira esta Vacuna Ese Culloca Para que lo subo al Bill Ese Gullo Tuya Estás Pega Por Medellín Arriba te lloviendo Yo's Te Jokes The Sing Sin Esa Tilín Shibu Plea Chibu Plea Shibu Plean Shibu Plea Siempre Voy Plante nunca Burke Me Tire Tú No Memate Watra Ca Da Day Al Traca Traca Traca Traca Traca Quiso Proba Mi otra vez Se quedó con Ceguitilla Cuando lo que le hice Sentadita en esa Silla Que Fue Lo que le hice Yo no sé, yo no sé Me la bebí todita Tenía ser, tenía ser Quiso probar mi otra vez Se quedó con seguidilla Cuando vio lo que le hice Sentadita en esa silla Que fue lo que le hice Yo no sé, yo no sé Me la bebi todita Tenía sé Oye, muévelo Que se empezó, te sacaste el lote con esta mamá Sota Mientras tenga vida tú no eres fiel a la otra Porque todas están como su puerta El maldito de Peluña chun chanchunito lío Hizo próbame otra vez Se quedó con seguidilla Cuando vio lo que le hice sentadito en el sacilla Dale Así que dale Que no se sienta mal después que se pare No lo muevo mucho Vicente sale Tiene una foto conmigo sale No me importa nada de lo que tú digas Si me toca mucho soy tu puta fina Yo la veo a ustedes y me veo yo mismo Porque soy yo, pero copia China Hizo prueba mi otra vez Se quedó con seguidilla Cuando veo lo que le hice Sentadita en esa silla Que fue lo que le hice Yo no sé, yo no sé Me la bebito tenía sed, tenía Cizo Proba mi otra vez Se quedó con seguidilla Cuando vio lo que le hice, sentadito en esa silla Que fue lo que le hice, yo no sé, yo no sé Me la bebi todita tenía sé, tenía Sun Mira Toda la mañana no hay cruz Tomando pasando la claira encima de mí Yo busco la pillo quiero decir que sí Bien loco cantando la canción Después de aquí No pa po paciendo mía Que hace tiempo por ahí no se ve Será que ella me superó Y le va bien Mientras que yo pienso Que estará haciendo mía Que hace tiempo por ahí no se ve Será que ella me superó Y le va bien Mientras que yo racho Quicho Todo la mañana no hay que pasando la cruz Tara haciendo, estará mancando, cara durmiendo, estará fumando, cara bebiendo Seguiros sola usted saliendo Con otro que no soy yo No soy yo Mía no soy yo No soy yo Aputa que te olvida Y peligimiento Otra vez me ganaron los sentimientos Los muchachos piensan que yo estoy contento Pero no, estoy muerto por dentro Ay, costa lleno yo la posíla Porque no está nena mía con lo que yo me reí con lo que yo me con lo que yo hasta los tíos Y ahora no sana Y ahora no sana Ay, te estaré haciendo mía No hace tiempo por mi no se ve que yo me sube Y le va bien Mientras que yo Por yo so Te estaré haciendo mía Será que yo me sube Y le va bien Mientras que yo soy concentrado Yo siempre sigo en la vía La vida me quedé La pita decisiones Consecuencia La única diferencia es como tira cuando quieren con palos y municiones Yo lo que vincan es propia usted tiene ilusiones Yo la calle la cogida vendes Yo decido de donde van a jugándose las misiones Yo decido yo de mi can de matas de Silusiones Yo vino que se cayeron por culpas de las presiones Yo ya hablo con piratos Coloco sus intenciones Son dos caminos en enteros las misiones Los casos que me tiraron los padres Yo no sé quiénes fueron ustedes la pintado Bendiciones se les quieren los bendiga hoy Como niño en la main y yo la pala las equivo y sigo vivo Vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo Vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo Tanto bendiga ese boot y violento, que me trae todo lo que se vuelve lento Que la noche provea y me colabore More Que se escucha mi plegaria cuando ore del corazón En la cara se le nota de que está buscando un poco Que le trataba que le te cagan Y yo vine para comerme el entonces Tengo hambre que viene en balance sobre mi pila Sin que no mames romance Y no me la contaron ese primo Como niño en la misma pala la tu incito Vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo, vivo Te la que consigo Vivo, vivo, vivo, vivo, vivo, vivo, vivo, pivo, vivo, pivo, pivo, vivo la gorra Y le hago papi, soy yo Habando claro, me acuerdo que el día La noche no a la novia alguna y se me sentía Me traje una tarima Y cantaba, yo sentía como la frialdad de mi cuerpo se apoderaba No sospechaba que la mente me acechaba Que estaba cerca el atentado se tramaba De repente de conazo negrito tu mano prendía Era el diablo que bruguía Un extra pico de la pala Los brita el estalito Al respetar en los cielos No me deja disputar Mi corazón depreto sentía que se me salía No se veía Los muro por lo más santo sentía que me moría El ambiente pulmoniza que sonía Y me si no a tu que dejaba Lo que lo diga No te vas a matar Soy yo morí de pensar Arriba de mi lado todavía Freseta, tu bato se te agüita Que canto pa' la niña Que te pongo a perrear Ari, ar me gusta la bebida Roseta Con cara de diablita Me la voy a llevar Ar, ar a la casa paculiar Que le gusta mi cadena, que si se la puedo dar Nada es fácil en la vida Así que pongase a perrear, ar, ar, póngase a perrearme Sé que eres mucho ni me cola tu slow Me gusta tu cara te lavo Si me vas a poner algo y pongo el lado Me dice Te exprime le quiero chupar el pine Sabes que hago Además Por eso es cher mi intolerante la lataza Pero quiero decirle Chevilla que tú vas a decir Y la que fue Y la que no Pues que sea cuante cara de presita Pero me gusta bien gangster Me gusta que soy tancita Me he visto de versat Tac tac, Put your hands up, put your hands up Put Put your hands up, put your hands up Put Put your hands up, put your hands up Put Put your hands up, put your hands up Put your hands up, put your hands up, don't you?

SPEAKER_18 39:30

Mammy Vamos para la Gumi Para la Helper for a Rosa Ramonito Y a Corona Zero Corazón acelerado Púzalo bien como huepa que viaje privado Llega el frío del infierno izquierdo Yo era un lobo solitario, ahora un lobo enamorado de ti Me dime Si yo soy tuyo, contigo me juego la carta Ha vuelto allá El brillito en los hombros A que lindo que resalta No te vayas tan lejos, que rápido Hace falta Y la reina tuyo Chiquí Se te nota que tú quieres Pero no me hago responsable Si sucede porque te vas a enchular Mami no se puede Con solo enviarle un mensaje Que conmigo se quede Satanata Que tú quieres Pero no me hago responsable si sucede porque te vas a enchular Mami no se puede Con solo el día de un despagado Que conmigo se quede Chíselo, mira los ojos Tech alto No le cuentes por ese pido Si sigue llevando ni modo, cosas muy ríos Voy a pedir estoy Ni tra dos Me dice te amo Pero mi amigo para tanto Y muere con un hombre como la que tiene al tanto Yo tampoco soy un santo Nadie le cuenta mi amor hay muchos sacos Me acuerdo del momento exacto Que me demostró que busco pasar con el rato Bebe si quiere Con un mes a ella le llega directo A mí me gusta su intelecto Corre por la de ella no sigue libre La visa no andó en geco Y tengo fe de que con el truco Siempre lo trato con respeto Pero quiero agresivo y un cuello le aprieto Haciéndole la ducha se escucha Belasco y saltar Pero no me hago responsable Si sucede porque te va a tancular M se puede Con solo un día conmigo se queda No te vuelvo a chutar la moleque Me suena Si me permanen la moleque me queda A mí me toca Si sucede A mí no se puede sacar conmigo se acaba

SPEAKER_01 49:24

Boom, there we go, and that's our mix for November, December, twenty twenty four, and that's our top ten Demo and Latin EDM. Hope you enjoyed that. And I am your DJ, DJ Mike Cartel, and you are listening to El Sabor Latin Music Podcast. Thank you all so much for listening. And before I get started, just want to say if you can please give me a review, that'd be great. That helps with my show, getting it out there to more listeners, to people who never heard it. And also if you can subscribe, that'd be awesome too. You know, bring up this bring up those numbers and uh, you know, show people that uh yeah, you actually all listen to it. But anyways, thank you so much for listening again. And in this episode, it's a very special episode because I got an interview for you guys. Um, like I said, I'll be dropping new interviews, and this is the last, also the last episode of season two. So finally, 2024 is over. It's done. That was a tough free year for me personally. So yeah, I'm just it just feels good just to just finish that podcast year too. So we're like, pfft, yeah, it's over. So it was also a good year, so I don't mean to be like, oh god, worst worst year ever. But in podcast season, it was great. You know, uh got to interview some really cool people, and um of course the podcast continues to grow. So thank you all so much for listening, each and every one of you, um, in the United States and um across the world. Um I see a lot of listeners in Guatemala and um where else? France and England, England or United Kingdom, I guess. But uh yeah, I see all the little towns and stuff and the and the uh countries. Uh where else was it? Um, of course Mexico. What am I saying? It's like number two, Canada, but number three. Um but yeah, it's great. Thank you so much for listening. In the United States, uh is it New York, New York, New York, uh, Los Angeles, um, Houston, or else? Um North Carolina, but I forgot the name of the that's the town. But I'm gonna do a shout out. I want to shout out all the towns they see out there, all the cities, and uh let you know that I see you and I don't see you. I don't see your names or anything, but uh you know, I definitely look through the stats and I'm just curious, you know, where where's the show goes out to and um who's even bothering to listen to this part? You know, and you're probably wondering like why why why am I even talking? Well, uh you know, it's just so we can qualify as a podcast, really. Um, you know, I started this podcast as a DJ because I wanted it to um really kinda yeah, I kinda get my mixes out there because I like really like doing mixtapes and stuff. And um on this podcast I don't really um do my my other style of mixtapes, which is kinda more like uh to me it's like storytelling because I connect all the records together. Some D a lot of not a lot, some some of us DJs do that, get real deep into the transitions and song selections and yeah. And on this podcast it's more about um not more about but what it is, um I do a top ten, right? Sometimes I do a top twenty, top eight, top five. Just depending how many records I actually like for that particular month and that particular genre, and that I'm actually going to add to my sets. I do download more songs than that, but these are like the cream of the crop, the ones I know I'm going to be playing. And uh that's what's I really like about this podcast because um it helps me organize my music and forces me to play new music because it gets me excited because once I have it in a mix like this, um it's real easy for me to play live. I won't play this uh this exact episode exactly how it is making real life, but I'll definitely take bits and pieces, you know, because if I'm playing um one of these records and I already know I have a mix for it, I'll look it up. You know, I'll do search and playlist, I'll see it, like, hey, there it is. And then I'll have two, three records I can play right after it. You know, and stu uh music that um not every DJ is playing because a lot of us just play the hits. I hey myself included, guilty, you know. And so this helps me break out of that mold because yeah, you know, it gets real easy just to play all the uh the top records. But anyways, let me shut up because I got an interview I want y'all to listen to. It's uh Latin music producer Sergio Villanueva. Um you may know him from all the remixes I use from him. He's awesome, he's one of my favorite producers on BPM Supreme, and uh recently he's left BPM Supreme to go uh completely independent and selling his uh remixes directly to you, the consumer. And uh he's actually going into um um American pop music too. He's doing that stuff too. Um I'm guessing he might have done that already, but I don't know. In this interview, we talk about mostly his Latin music producing, uh, how he got on BPM Supreme, kind of um what's it like to be on there, you know, if you ever want to do something like that, you know, as a DJ producer, um, to get your remixes out there. You know, he talks a bit about that, and I also have my co-host joining me, DJ Commotion, as my DJ P I C is my partner in crime, and we do a lot of business together out here in Los Angeles, um out in the Southern California. So he's one of my closest friends, too. And uh big shout out to him and Jenny. They're expecting their first their first child together, so um, yeah, big, big, big, big things for him. But anyways, on this episode, he's helping me with uh Sergio because um uh Spanish is his first language and um it's not mine. So instead of me uh torturing you guys and Sergio with my broken Spanish, I have uh Lou uh Luis here with DJ Commotion, aka DJ Commotion, uh helping me out on that level. And um I want y'all to realize what a really amazing producer he is, because it's not just I don't just don't bring randos on this show. Like these are people I really um I really uh respect and I I enjoy their music, so check out the remix he did on this episode of Yomo's record and um go and um let me make sure I got the the name of that song right. Yomo um Seagovivo. Okay, that's the name of the record I have on this episode, and it comes out at I believe 28 minutes 20 seconds. Um which by the way, I'm gonna start putting um timestamps on the record so it's easy for you guys to figure out what song's what, but yeah, it's at 28 minutes twenty seconds, and it's Yomo Seagull Vivo. That's that's um Sedio's remix of that record. And I want you all to go check out the original, the one um that Yomo did, Seagov Seago Vivo, S-I-G-O-V-I-V-O, on you know Spotify, Apple Music, or YouTube, wherever, wherever you can hear music, just so you hear the difference. And then you come back and you listen to his remix and you will be blown away, you know, and a total reinterpretation of that record. That's what's uh one of the things I really like about this producer is that he um you know, nothing wrong with the with DJs out there that just throw uh do redrums, you know, or um or or blends and stuff. I do that, you know, but he saw it definitely on another level, you know, and it's producers like him that I really all want you all to recognize. And um hopefully, you know, a lot of us start um realizing what amazing producers they are and I want to see him at EDC, you know, when I go to EDC Mexico 2027, you know, see one of the big stages because uh these are the the producers that um make some dope music and I don't believe they get enough credit or recognition. So here we go. Let me shut the hell up and uh here's uh DJ Commotion with me and Sergio Villanueva. What's up, mi gente? I'm DJ Mike Cartel. We got DJ Commotion with us and uh very special guest, Mr. Sergio Villanueva. And uh I want to give you a proper introduction, my brother. Uh you are a BPM Supreme producer, I've been following for years. And uh just to give my listeners some um insight on why I'm interviewing you, is because they look they hear your remixes on my podcast all the time. Almost every month I drop one of your remixes, and um, yeah, of course. And this is El Suborder Light Music Podcast, in case I forgot to drop that. But um, yeah. So thank you so much, Sodio. So I want to give the the audience a little bit of introduction in case they don't know who you are, you know. So I want to just say that uh you are from Ensinada, Mexico, right?

SPEAKER_34 57:46

Yeah, I live here, yes.

SPEAKER_01 57:47

Yeah, and uh you are a producer, remixer, and you are on the B you were on the BPM Supreme Editors Club. And that's one of the things I want to talk to you about, about how your career is transitioning from BPM Supreme and um also um just want to throw some some stuff out there that you also uh uh work with Paris Hilton, is that correct?

SPEAKER_34 58:05

Yeah, I act well actually she downloaded a song and she dropped it on a set and attacked me.

SPEAKER_01 58:11

That's how I knew I think she's a good DJ. I think she gets a lot of shit, you know, for not being a DJ, but she's good.

SPEAKER_34 58:19

Yeah, I mean people when it's popular or famous, they always get shit. So it's part of it's part of walking walking third their success.

SPEAKER_01 58:29

So yeah, I I I I feel like it's unfair sometimes because you know I I mean honestly when I heard she was DJing, I was just like, nah, hell no. Anyways, anyways, but no, I I I re I digress because she is actually a good DJ. Um but yeah, you all you do drop remixes for uh Latin music, that's where I got to know you from. But you also drop remixes for Mary J. Oblige, Mariah Carey, um I love your bad bunny remixes, man. Um so yeah, I just want to have everybody give you a big warm welcome to Sergio Villanueva. Thank you so much for joining us, brother, and we want to get to know you a lot more. Yeah, well I'll I'll do the rest in Spanish if you don't mind. Of course, and we are gonna go back to English and Spanish, so from listeners, of course, yeah, go ahead, no worries.

SPEAKER_34 59:54

Much gusto.

SPEAKER_01 59:58

Alright, alright, alright, let's go. And so I'm gonna start off and then we're just me and me and Kamosha, we're just gonna be bouncing back and forth, bro. Okay.

SPEAKER_03 1:00:08

Okay.

SPEAKER_01 1:00:08

So yeah, you know, as you as mama listeners now know, you speak in Spanish as your first language and you're fluent in that. Um but like I did mention, you do make uh pop remixes for uh for uh American pop music.

SPEAKER_23 1:00:20

Yeah.

SPEAKER_01 1:00:20

So um I wanna know, you know, how how do you use your Mexican heritage in regards to making music? How does that influence that sound of yours?

SPEAKER_34 1:00:27

Uh okay, so I'll do it in Spanish. Yeah, of course. Um my family toda mis abuelos on musicos. Uh my grandfather was a mariachi. My father was uh uh uh uh musician. She stu uh he studied on Mexico City, uh the university school UNAM, which is a very important uh school for musicians. And he used to learn uh play a lot of instruments when I was a kid. He did the piano, he did the bass, he did uh trumpets, he did almost everything. So by the time that I was about six years old, I already knew uh eighty percent of English, a little bit of music, and I started learning how to play the guitar. Uh and the rest of my brothers, uh, they know music by heart and they read it. But uh uh when I was about ten or eleven years, I started seeing a couple DJs in my blog and I was like, I don't wanna play I don't wanna play instruments, I wanna learn how to play turntables. So I started with that when I was ten. But I mean music was a very important part of uh me when I was growing up.

SPEAKER_01 1:01:40

Yeah, I didn't know you were a DJ, so you started with turntables back in the days, huh?

SPEAKER_34 1:01:44

Yo creo que había como unos tres orejs in mi colonia uh yo nací vivo en Ensenada pero nací en Tijuana y viví en Tijuana hasta los 20 años, y de ahí me vine a Ensenada y aquí he vivido desde entonces, este tengo cuarenta y ocho años. Este entonces me gustó lo del DJ y miraba había un vecino, un amigo vecino que era adolescente, yo tendría unos nueve o diez años, y todos los domingos sacaba su su rack, le decimos, le decimos el muerto, que eran los two turntables y el mixer, y sus speakers, sus grandotes, y se ponía a mezclar música de aquel tiempo. In ese tiempo la música que yo escuchaba era todo lo que estaba in Estados Unidos, porque se escuchaba la música de San Diego para Tijuana sin problema. Entonces ese DJ tocaba salt and pepper, tocaba Freakan, tocaba uh the name, um Africa Bambata. Africa Bambata, yeah. So uh so so uh era lo que él tocava mostrando y anda los beats. Because in in in my family it was like mariachi, my mom used to hear 80s uh soft rock and a lot of uh but not a DJ stuff, right? Like like uh drum and bass type or freestyle type. So I was like, I like that sound. It was a cassette player, yeah. I bought two of those and uh uh there was a radio station in my in Tijuana which it was called Stereo Amistad. It was from the 80s, and they used to play every hour uh something called uh Master Mix, and it was an extended version of uh the majority of it's an English song. So I used to record every hour per days with a cassette the songs, so I could after that practice mixing both of those songs because I didn't have money for a turntable. So that's how I started about when I was like ten, eleven years to mix.

SPEAKER_01 1:04:11

That's awesome. When you were ten years old. Yeah, more or less, yeah.

SPEAKER_35 1:04:19

That's cool.

SPEAKER_34 1:04:22

Uh lo unico que tengo guardado, déjame ver.

SPEAKER_01 1:04:42

There's some real DJ shit right here. We want to know the equipment, man.

SPEAKER_35 1:04:46

How you start, how you start I guess for me same thing. You get into like DJing, DJing. I got I used to mix on on Windows Media Player and iTunes. I used to try to blend right there. Yeah. Or like we had a bunch of cassettes too. It's that's the way to do it, you know, and then I get you into I guess programs and little mixers. And then you get into uh DJing. It's cool, man. I love it. It's fun.

SPEAKER_01 1:05:10

Yeah, you gotta do what you do what you can, man. The struggle is real. I'm gonna clean it first. Does that still work?

SPEAKER_34 1:05:16

It does. It does. Is it how the fader knobs, how do you call this?

SPEAKER_01 1:05:20

Um, the buttons.

SPEAKER_34 1:05:23

He doesn't have the buttons, but I mean this is the first mixer that I have.

SPEAKER_01 1:05:28

Oh man.

SPEAKER_35 1:05:28

Oh man, look at that.

SPEAKER_01 1:05:29

That's an antique.

SPEAKER_34 1:05:31

It's old, yeah. So uh I did I did have a lot of fun with this. I was about sixteen years old when I bought this. I've seen many of parties, I'm sure. Yeah, I started DJing uh at I didn't DJ at clubs at first. I did a lot of private parties when I was growing up. But then the first time that I went in a club um Let me get this right. When I was like sixteen, when I bought This I used to go to roller skate in Tijuana, which is uh it was two two parts. Uh very famous. The only two parts it will. I don't know if I'm gonna have that right, but they I think they they will they call them uh patines de plata, it was the name in Tijuana. Yeah, so the first ones was in downtown, and I think they opened it at they opened it up at this uh the early or late 70s, and the other one that it was close to my house, it was open about uh I think around the 90s. So I used to went there and and and roll the skate and I start talking to the DJs that worked there, and I told them, right, hey, I'm a DJ, I have my mixer and all that, but they were DJing with turntables at that point, and uh I think it was a time they were doing the translation from vinyls to CDs, so they they had both. So this was this was this one DJ, his name right now, and if he hears it, uh it goes by the name Memo. And empecé con él, Memo, and empecé a preguntarle, oye, cómo escoges las canciones for mezclar, cómo sabes why one of the other, those, and those i patin, but we had to see the music and the house in the music for diverse or aburrente to patin. Entonces I was practically, and he invited various in the Avenue Revolution in Tijuana that's Vibe, who was in the invitation to talk. I entered the tardeadas. I saw tardeadas and entered and escuched. And I dava much more opportunity when I took a little, because I got the yacht patinated and not to get the apparatus, a bit regained. And it was the mode was the Outer Brothers, it was the mode of Magic Carpet Right, it was mode Funk Phenomena, it was this, and they done chance to meet. And that was when I empected a talk, but in Tijuana in an antro. The first that I was here in Ensenada, and I was 16 years in a little bit that's Papas and Beer, which is very popular. This was my family. I heard sencillous and barcitos, but those were my club grande and during casi 16 years traveling with else.

SPEAKER_01 1:09:14

Okay. Papas and beer. Everybody knows who what papas and beer is, man. I'm pretty sure we probably were partying with you, man. I mean maybe.

SPEAKER_34 1:09:23

Uh yeah, I didn't have a beer that no, I started working with papas and beer in 2003.

SPEAKER_01 1:09:29

2003. Yeah, yeah. People from California, they're always going up there, man. I mean, I'm sure, you know.

SPEAKER_34 1:09:36

Yeah, I did, I did have fun. I learned a lot because DJs there, the ones that I have as a as uh how do you say in English as a uh team? They were they were all school. So I was I was new and they were all school, so they they knew a lot of stuff. I didn't know anything about rock for saying one genre, and I learned a lot with them how to play rock and to read the people with that music. So it was fun.

SPEAKER_01 1:10:00

Yeah, that's what I was gonna mention. You reading the people, that's probably what you got uh more insight into like producing, right? As far as like what do they want to dance to? Like, what is it that that makes a move?

SPEAKER_34 1:10:10

Yeah, so back then, I mean you know six years traveling in a Papa Sam Beer. And I did that that 60% of the DJs, not not the who are, but those who are already all the music in the same place. And at the moment of talking, those were the same version. And I did curiosity what editing a can we, and function. And usually intent música original two años antes. Utilicé Fruit Loops in a year, and hice canciones for unos raperos, holding hip-hop from unas 20 can, but no, it was edits for DJ, okay, for talk and for doing different. The mayor of the music era was hip-hop because it was in the papas, and this I had much versions, but not have intro and outro, no? In this time no softwares for drums, okay, it was instrumental and the version original, or capellas and mashup, but no, drums sold like ahorita that would use intelligence artificial and drums, and it's an extended limp. For example, when I was doing my version extended, I was a cantar others that I sent that, I had a notable that this can be perfectly with this, because I mean two instrumentals que van a empatar music, and I said I had much. Remixes empected, and the prime remixes, wow! Bueno, uno de los primeros fue de una canción de Panteón Rococó, se llama Vendedora de Caricias. Fue una de las primeras, yo creo que fue el 2009 o 2010. ¿Qué tipo de música era? Era club. Era un re drum, queréndolo hacer como club, pero nada más sonó la canción original con una pila encima. O sea, te digo, it's muy basically. No me gustaba, o sea, me gusta producir, but no sabía que no era tan fácil, pues. O sea, nada más dije, ah, voy a empezar. And we're fascinating, but me gusta, entonces tuve que aprender.

SPEAKER_35 1:13:41

Y ese empez con el programador, Tractor or Survivor?

SPEAKER_34 1:13:49

Primero, para mezclar ordenado para mezclar. Primero empecé tocando con cassettes. Después me brinqued directamente atrás CDs, and when I traveled in the Papas and tornamesas, the DJs me enseñaron a usar los tornamesas, but it was like my tercerity, and posteriorly me cambié. Salió Cerato primero and empecé a usar Cerato, luego salió Tractor, usé también Tractor y luego Record Box, también usé Record Box, MP3 con USBs también. Virtual DJ también lo he usado. Entonces he usado todo prácticamente. ¿Cuál es el favorito? A mí me gusta, a mí me gusta mucho tocar con USBs.

SPEAKER_35 1:14:42

Oh, ok. So las Pioneers, las las cualquier, cualquier C DJ que tengas.

SPEAKER_34 1:14:48

A mí me gusta, bueno, las Pioneer 2000 están súper, ¿no? Pero también, por ejemplo, de Enon 1000 está muy bueno. Me gusta. Está un poquito más old school, pero está bueno. Y pues yo tengo un controlador Pioneer, el de X2.

SPEAKER_35 1:15:05

Ajá.

SPEAKER_34 1:15:06

Y el nuevo, el A, el AZ. No lo conozco. Una vez fui a las oficinas de VPM to hacer un set porque iban a sacar. No sé si ya lo sacaron o no, van a sacar un pack of retro, unos remixes that I did of the 80s. I fui a topic, and the controller nunca lo había visto. Está precioso this controller. No recuerdo what marker it is, but it's one of the who does it, quiz, I don't know.

SPEAKER_35 1:15:38

There's one that salient, the most new that sends, if it's recent, is the Rain. The Rain is a panty in the middle, there's two.

SPEAKER_34 1:15:52

For I have the photo, I have the camera of the telephone from camera for the platform that we have.

SPEAKER_35 1:16:06

So they okay.

SPEAKER_34 1:16:26

It was 2020, right? 2020. Yeah. So uh if if I don't get this wrong, and I'm gonna do it in Spanish, so I don't wanna I don't wanna do it I don't wanna get it wrong. In March of 2000, you started at vacations and the pandemic. De hecho you don't regresion to the semana that I took on the vacations, certainly. I don't know if you have hearing it.

SPEAKER_01 1:17:35

Oh, yeah, I have his remixes too. Yeah.

SPEAKER_34 1:17:37

Yeah. When they were in 2001 or 2008, and he said he came to those mixes and a video and the page of VPM. So he connected what I had. When the pandemic entered, he saw and said that if I work in a page that he created with other person with remixes parecido to what I said VPM, but more pop in span, in version of house, and that's not because it was the pandemic, and this was the point to VPM because we have an air and a few years. And for continuing music, if it's legal, for that with us. But this is this is something that I want to say because it makes me feel good. Uh in Elite, we were four DJs producing, right? Yeah, so it was me, Sergio Villanueva, and there was this guy called ERG, and there was this guy called Seville, and it was this guy called VNV, which is me, the four guys. I just I just changed the name. So I was the four DJs producing for the pool. Am I making sense?

SPEAKER_01 1:19:25

So yeah, yeah, four aliases.

SPEAKER_34 1:19:27

Yeah, so when when George calls me, he's like, Hey, I want to get in touch with Seville and with DRG and VMB, and I don't can't I can't find them. So you think you can help me? And I was like, Oh man, you're gonna have a hard time finding me. Because you know what? It's I'm the same, it's the same man, it's the same guy, it's me. And he was like, Oh, so but so let me get this right. How many remixes were you making for the page? And I was like, about 30. So I was it was one per day, and he was like, Oh man. So me iban of a trato, and when I supo that I had 30 remixes a month, he was no, but the trato no, AROC because what they're gonna offer, no creo que me dijo, ¿cuánto ganabas? Oh, hacías 30 remixes, ¿cuánto te pagaban? So I sent him a PayPal uh voucher so he could uh saw, and he was like, No, this is not what we're gonna offer. So give us a minute and we'll we'll get back to you, right? So um creo que fue el siguiente día, or si no sé me acuerdo si fue en el mismo rato, me habló ya me ofrecieron un trato como Sergio Villanueva, and that's how I empected a travel conversation in 2021, at finales of 2021, but no entertainment in much data. And uh, and terminamos the contrary, but no quedó como final, sino fue como un necesitamos structurar, danos opportunity, and no quedamos en cuando.

SPEAKER_35 1:21:13

Yeah, absolutely. So uh the the programs that usas para hacer remixes or editar música o uh crear música uh el attractor que es el machine o el Ableton FL Studio ahorita cuál es tu favorito?

SPEAKER_34 1:21:33

Ahorita y por los uh probablemente pasados 15 años estoy usando Ableton. Ableton es el que pues el que más me ha funcionado, de hecho ahorita tengo el la versión más reciente que ya hace los STEMs. Me gusta, le falta, pero pero me gusta. Pero sí, Ableton es el pasé por mi usé FL Studio, usé Rizon, usé Cubase, those me gustar, but Ableton me gusting more because I have more using it, but the motive for the queen was because I didn't know that it i was more if I passed Ableton, and this is mentioned, such as what you have to approach. I don't know how I was and I said no use Ableton, you need to use Ableton to this idea, and when I did that that it had nothing to do, I'm sure I decided to appreciate it, and that's what I'm saying.

SPEAKER_35 1:22:43

And what about the música AI that we're doing or using AI for música? What opinas de eso?

SPEAKER_34 1:22:55

Fíjate que creo que it's algo muy interesante. Creo que todo lo nuevo que viene a revolucionarnos solamente nos sirve si aprendemos a tomar el provecho positivo de ello. Yo creo que es algo muy bueno. Hay algunas, ¿cómo te explico? A veces hay algunas ideas que puedes generar con una inteligencia artificial que te tomaría muchas horas hacerlo, pero sí considero que como producto terminado no está todavía listo. Te lo da como una idea y tú tienes que descargarlo y lo tienes que pulir, te tienes que trabajar, pero lo tomaría como un compositor muy, muy experimentado que te puede ayudar a sacar una canción en menos tiempo con ideas muy buenas, lo que te llevaría más tiempo si no lo tuvieras, ¿no? Y si hago una pausa y lo comparo, es precisamente lo que pasó cuando llegó el MMP3. Nosotros antes traíamos las carpetas, yo nada más traía carpetas de CDs, pero amigos más viejos traían sus racas de viniles para tocar. Entonces, de repente llegó la era de la MP3 y mucha gente se enojó, pero oye, de traer una USB en una bolsita de traer carpetas de CDs y que luego se rayó y que no lo ley, y que no, it was fine when the uh controls. No, pero ¿cómo que ahora que a controlador that no, que vino? Muchas gente no quería andar that the bottom of the sync and sync and no pitch. So I commented because we got the intelligence artificial auditors to component or creating ideas, sort of the satanization to say that it will quit the and no nos have the way, but finalization, if you tomorrow 5 minutes an idea, and one hour, dedicale 55 minutes to see how it means. Ah, okay, now I have music in 10 minutes. No, but dedicate more time to what you can do, but they avanced.

SPEAKER_35 1:25:48

Oh, great.

SPEAKER_34 1:25:48

Yeah.

SPEAKER_35 1:25:49

No, I was just gonna say uh you like you can't tell AI or make a hit, you know.

SPEAKER_34 1:25:55

Yeah, I mean I mean you you could, but it sounds, I mean it's not gonna, you know, you gotta work on it, you know, still gotta use it and tell it what to do.

SPEAKER_35 1:26:03

Yeah, yeah.

SPEAKER_01 1:26:04

Yeah, that's that's right. And you know, I wanted to talk about um about you always been talking about your BPM Supreme career, and um again, uh on behalf of all DJs out there, man. Thank you, man, because your your records just pop on a dance floor. I mean, I was just checking my um my uh my tractor playlist, and I got over a hundred records of your remixes on my set, man. I play them every all the time. I'm I'm having the gig tomorrow. I'm gonna play them tomorrow.

SPEAKER_34 1:26:30

You know, uh sometimes it it feels good to hear it because um I don't know if it happens to you, I don't know if you produce or you edit.

SPEAKER_01 1:26:38

Not yet, but commotions you start. Yeah, he's doing his thing.

SPEAKER_34 1:26:41

So so so I'm gonna tell you this because you're gonna feel it, but but don't pay attention to that. Sometimes you do you do remix and you don't think that it's good or that good, right? Yeah, if if you if you have a hundred, I don't know. I've the other day I counted how many remixes I did on the past six years. Well, five years because we're still in March. So let's say December, and I did almost 1200. Oh man, right? So you have you have a hundred, I don't know which ones you have, but I mean from those twelve hundred, I actually love probably 80 really or 90, right? That I really love them, and I will play them again and again. The rest of it, and I'm like, um, when you work with for a pool and you and you you have a goal to do every month, sometimes um it gets overwhelming to choose which song to remake, but you have to remake something because you have to send it, right? So the only the only bad thing of working in a pool is that you you have a deadline to send the music that you need to send. So sometimes you don't have enough time to think over which song actually needs a remix, right? Uh so that's why I don't like all of them. But I mean, I never I never imagined that Paris Hilton will play a song that I only like when the lyrics are on. Oh, really? Right? So I don't like the drop. I feel that the drop lacks energy. And but now she plays it, I'm like, okay, so maybe it was in my head. So uh it will happen a lot. And then you don't know which song it's the song that the other DJs feel that it's the bomb, right? Yeah so so that that's that's always something good to hear. Uh when in this in this case, now this song is a dope song. And I was like, really? Okay. Now I'm gonna play it. Sometimes I don't play him and then say, hey, this song rocks, and then I'll play in it, and it actually does. So sometimes the majority of the time it's in your head because you listen to the song a lot when you're doing it, so that's what happens.

SPEAKER_01 1:28:54

You know, because I that's I'm I'm glad because I want to encourage you just to reach everything because let us DJs pick which records we'll play, you know. Because uh beauty's definitely an eye of the beholder, man, you know, and uh I just always love high-energy music, and um, yeah, when I drop your records, it's just like yeah, the dance word just keeps popping, man. And uh so I wanted to talk to you about you know, you win with BPM Supreme, I guess, for about five years or so, you say, right?

SPEAKER_34 1:29:21

Almost, yeah. It was four years and three months. And you're five years and three months. No, no, no. It was two 22, 23, 24, 25, four years.

SPEAKER_01 1:29:30

Four years and three months. And I have bad news for all my listeners out there. You're leaving BPM Supreme.

SPEAKER_34 1:29:35

So if they call me again, I will come back. I mean, uh, it was not up to me. It was not up to me.

SPEAKER_01 1:29:40

Um I mean, uh grave mistake on behalf of BPM Supreme. I just say that much, man. Jeez, loss, bro.

SPEAKER_34 1:29:48

I mean, I mean, I I I understand. Let me tell you this. I'm gonna tell you, I'm gonna go back and I'm gonna say this in Spanish so you can get why I'm not I'm not mad or sad. Um, when they called me, they called me in August when my friend died, right? And I said, Yes, I want to work with you. But then uh two weeks after I said, you know what? No, I'm not gonna wanna work with you because uh the other guy that was owner of the of the page called me and said, I'm not gonna close the page, so you can't go to VPM. So uh so I lit, I I I rejected them one time and I called them again in December, right? To start working with them and uh the first answer was no, because you said no, but then they called me and said yes, right? So um when I started working with them, the contract it was only for three months. Oh right. So so I mean they liked a lot what I did because I I stayed with them for four years, so I can't be mad, right? Because it was only it was gonna be only for three months, yeah. Yeah, so I mean I'm I'm more than happy and I'm I I'm I'm uh I actually text A Roc and and say thank you, man. I mean that was it was more than I thought that I that I expected, and I'm and I'm happy. And if whenever you want, just call me and I and I'll come back. I mean it's yeah, you know what? I think we let an open an open door there.

SPEAKER_01 1:31:13

So good, yeah, that's great. Because you know, I I like the the choice song, the the song selections you make to remix because um one of my criticisms for BPM Supreme, I love BPM Supreme, so I'm not trying to bite the hand that feeds me, you know. Um, but I see DJs remixing the same song over and over, like here's a per cappella out, here's uh a cappella in, and here's a redrum at 90 beats per minute, here's another redrum at 105 beats per minute, and it's overwhelming, you know. And when you do your stuff, it sounds like an actual remix.

SPEAKER_34 1:31:45

But you know what? Uh I mean, I mean, um, I actually don't want to sound uh what was the word that you said?

SPEAKER_01 1:31:50

Destructive criticism, that's all yeah.

SPEAKER_34 1:31:52

I don't want to sound like like I hated some of the comments, right? So I'm gonna do this in Spanish, I wanna get it right. Umce pop, ese iba a ser mi general, right? Um uh y no puedes hacer remixes que sean de Sony, ni cualquier otro sello de ellos. So you go into the kitchen and you have like 15 or 20 percent of the ingredients to use, right? So you can you can't use everything. So it was it was a hard, it was hard for me because I knew that only dance pop is what it was going to be boring. But I mean that was my contract, right? So what I did, I did the ones that I was supposed to do on dance pop, and then I started experimenting with other genres. I did nude disco, I did Latin, I did tech house. Uh the first times I got emails about hey, don't move to those. Don't, don't, don't, don't go there because there's already DJs doing it, right? You you you're supposed to do this. So I stopped doing it, and then I got a call from AROC. And uh, hey man, what what did you stop? Did you knew that your song about one time I did a new disco song uh and it went to number one, right? And it stayed there for like almost a month, and then I got an email that said, Hey, don't don't do no disco because no disco is not it's not it's not a thing here. So I didn't do it, and then it was they were like, Hey, why are you stopping? And I was like, man, this so what do you want me to do, right? So a lot of a lot of times that happens to me because I experiment. I don't get it right all the time, but when I do get it right, something magical happens. So I mean it's a risk that I always take, and I don't think that I'm gonna stop doing it never, right? Because the the whole point of me doing this, I always want to sound different. I mean, I want to sound uh as qual as high quality as I can and know, but different of the rest. So it's a hard, hard thing to do, very hard, right? You get it right sometimes, and sometimes you don't. So thank you.

SPEAKER_01 1:34:08

Yeah, of course, man. And and but I want to just make sure that we do talk about this, um, which is how are people how are we gonna find the music now?

SPEAKER_34 1:34:17

You know, yeah. Um right now I'm trying to do it on my own. Right? Um I actually I'm gonna say this because I'm very happy. Uh so when I uh when I talked to the to the people in charge of the page and they put let me know that uh uh unfortunately we we were not gonna work together. So uh I was kind of scared because uh for four years, well four years and then the last year that I was in another page, well it was more than almost six years, all my clients were gone, right? Because I had a lot of clients directly, so they were gone. So I did uh what I did, I just went back to my basics. I did uh Spanish, Spanish pop pack, which it was uh songs from the 90s and 2000s, songs that were like uh sharting back then in Spanish, because I remember that the majority of my clients uh six years ago and back, they were more in Spanish than in reggaeton or English. Because uh those uh songs are hard to find in a good version and a remix, am I making sense?

SPEAKER_01 1:35:27

Yeah, totally.

SPEAKER_34 1:35:28

So um I see in Spanish, uh, me hablan and me dicen and digital, no? Muy bien. O sea, muy bien. Me preocupé, but no. Muy bien. So if you want, if you if you want hip hop, I can do that. If you want reggaeton, I can do that. If you want electronic, I can do that, if whatever you want. So it depends on the people that reach to me. I'm gonna I'm gonna take notes and then try to do something that I could that they could buy directly from me. The only thing that I just wanna just um clear is that I'm not a page, right? So I can't do it, uh I can't do a $10 or $20 membership for a hundred or more songs, like in a page, uh, right. So uh I'm gonna do packs from from six to ten songs, and then we could just uh negotiate the price, right? Because um that that that's the only only bad thing for the people that wants to find the music because right now I don't have like a page or my page, so you can go there and so it will have to be directly, and it's it's gonna be a little bit more expensive than it that in a page, but I think it's worth it.

SPEAKER_01 1:37:08

Yeah, I mean, especially if you can start remixing some Sony records, you know. Yeah, no, no whole part now.

SPEAKER_34 1:37:12

Yeah, and all and I also could do the video remix. I mean, if you play videos, I could I just actually all the packs that I used to sell and the ones that I'm selling right now include the video, it has the MP3 and the video. So if you're VJ and you want to play the video, it already comes in the pack.

SPEAKER_21 1:37:29

So right.

SPEAKER_01 1:37:30

Well, you already hear you gotta reach out to you directly, brother.

SPEAKER_34 1:37:33

Yeah, yeah, yeah, yeah, yeah. You have to do that.

SPEAKER_01 1:37:36

Direct to door service. Yeah, and um, how would they reach out to you? What's the best way to contact you?

SPEAKER_34 1:37:41

Uh they could do it by Instagram. It's Sergio Villanueva or Facebook, Sergio Villanueva. It's the same picture. And uh in the profile, and then just text me and and let me know what you need, and then I'll tell you if I have. So I want to make this, I want to make this in public. Uh everything that I used to do for VPM, it's for VPM, it stays in VPM, right? If somebody comes back and says, Hey, you know, uh, I like your music and I used to hear you in VPM, by any chance, you can't, will you sell me uh a couple packs from there? And I'm always gonna say go to VPM and subscribe. Because the music is there, and they already paid me for that. So I'm gonna I'm gonna do my stuff from now on, and I'll the only good thing is that I could choose whatever I feel that it works. So uh just wanna make that because I've received a couple mails about asking for all that music if I could just sell them to them, and I'm like, man, go go and subscribe to the page.

SPEAKER_01 1:38:45

Right for $30 a month, that's it.

SPEAKER_34 1:38:49

Yeah, you you can pay $30 and download everything.

SPEAKER_35 1:38:52

Yeah, Mr. Sergio. If if somebody was starting, like, let's say either DJing or production, somebody scratch, you know, like you don't know nothing, you're like a kid, like you're I don't know, maybe 20 years old, or 16, you know, you because you start at 16, you know, or 10, even 10. What's the best advice that you can give them? Like to get to go, because you've had your whole journey, man, your whole experience. What would you tell them to like keep either keep going or or maybe like because I know I've I've been trying to do productions and I've been DJing for a long time now. Um but like no tiene motivación or que hace una canción y le sale mal, would keep them motivated to keep going.

SPEAKER_34 1:39:40

Um, si es un menor y toda vive con sus papás y a él le gusta mucho la música, lo primero que le puedo decir is que aunque los adultos te digan que no, no es que les vas a desobedecer. Hasta que tú puedas vivir solo, quizá lo hagas distinto, pero si ellos te dicen que no, nunca abandones el sueño que tengas. Si eres un niño, ¿no? Y si tu familia te apoya o tus amigos te apoyan, pues mejor, ¿no? Sí, es un todos los caminos son, no quiero decir difíciles, pero todos tienen un camino que tienes que recorrer, tienes que aprender, y si de veras te gusta, y si de veras te apasiona, nunca vas a dejar de hacerlo, siempre vas a estar aprendiendo cosas nuevas, y algún día vas a estar haciendo lo que te gusta, pero lo van a tener otras personas y te van a decir que está bien, que les gusta, pero nunca dejes de aprender, sería mi consejo, y que no se desesperen, que siempre traten de estudiar. Si quieres hacer productor, hay escuelas. Si vas a una escuela vas a aprender más rápido que si lo haces por tu cuenta. Si no tienes dinero para una escuela, te lo puedes poner de meta, ¿no? Primero empiezo con lo que puedo y en cuanto tenga la oportunidad voy a estudio. Si estudias lo que sea, lo vas a aprender más rápido que si lo haces solo. No lo dejes de hacer. Si in this moment no sabes la respuesta, la vas a aprender. For the people that are learning how to do this, I mean if you love it, you get it. It happens.

SPEAKER_01 1:41:57

There you go.

SPEAKER_34 1:41:57

Just one day you'll get it. Uh just trust yourself.

SPEAKER_01 1:42:00

You just gotta make a remix every single day and have about 1200 remixes, and you'll get there.

SPEAKER_34 1:42:06

I mean, I did I did this because I sat working for a pool, right? So I had I had to. I had to.

SPEAKER_01 1:42:14

But it does make you better, right? The more tracks you make, the quantity. Yeah.

SPEAKER_34 1:42:18

I I mean, I learned more in six years than what I did in 10 or 15 when I started, right? Because it was every day. And every time, I mean, there were people uh before VPM, there were people that they were on me all the time, like, hey, you you you need to sound like this, and you need to sound like this, and then this is good, but it's not good enough. So they were always moving me out of my comfort zone, right? So that's why it helped me. And then when I started working at VPM, they never told me how to do a remix, but I've heard what they had. And they're they're good, they're very good producers there. I mean, and I was like, I need to step it up. If I want to continue, I need to step it up. So I it was, I mean, uh, I studied a lot in this six years, so that's why I told you if you if you could study, if you could save 10% of the money that you earn and then go and and have tutorials, but the ones that you need to pay or or or online schools, it will help you a lot that if you just click and click and click until something makes sense. Because I did that for many years, and then uh at the end I did pay so I could learn how to do it better, right? Because I don't have I don't have analog equipment, uh, everything is in the box. So so uh it takes me more probably to get to a certain quality than if I have it in analog year. But this is the point. I mean, I mean you can make something decent in a box if you just connect with the right people that already know how to do it. So uh so that would be my my uh suggestion, right? To anybody that wants to do it, just there's a lot of stuff on the internet, just and there's not expensive. I mean, they're tutorials for twenty dollars. I mean, there you go, and they're good.

SPEAKER_01 1:44:11

That's and just take that word from Sergio Villanueva, you know, you gotta invest in yourself, whether that's time into yourself, that's money, putting aside, you know, if you really want to make this happen, you really have to make this happen. Yeah, you know, and that means you might have to work and also be a DJ and also be a producer.

SPEAKER_34 1:44:28

Yeah, yeah. But if you if you want to, you can, right? Say that's right. 10%. I always I have that mentality. 10% of what my income always goes to my knowledge, whatever I can do, right? Uh I I'm right now I'm starting, I'm starting, I'm starting to to learn how to uh do uh video edits for promotion, right? Right now I'm gonna be my I'm gonna be my my own my own company, so I need to learn how to do and I'm investing 10% of whatever I do to to classes online.

SPEAKER_35 1:44:59

Good advice.

SPEAKER_34 1:45:00

Yeah, so it's you have to. I mean it's not much. I mean sometimes it's a dollar, sometimes it's a hundred dollars, sometimes it's ten dollars. It's ten percent. It's not it's not a fee. If you do two dollars, save them for something that helps you grow on knowledge.

SPEAKER_01 1:45:15

Take that, and don't ever stop producing, brother.

SPEAKER_34 1:45:18

You know, I won't I won't. I I'll always do this till I get this.

SPEAKER_01 1:45:23

I'm like, no, man, no, man. No, no, no.

SPEAKER_34 1:45:26

I haven't done nothing in English right now, but I will probably in two months. I'm gonna do this Spanish once. I'm I have I wanna do four volumes of this because there's a lot of songs that they're I haven't heard, a remix that I like. Uh and I want to make this this four volumes, and then I'll start making probably English and reggaeton and all that.

SPEAKER_01 1:45:47

Well, I hope to see you on EDC too, brother. You know, I I don't know why I don't see real DJs and producers like you guys, man. We're not we're highly underrepresented there.

SPEAKER_34 1:45:56

There's a lot of rules you need to. I mean, I need to have a Spotify with a million hits, probably before I get there, right? So, I mean, there's rules.

SPEAKER_01 1:46:06

Well, I guess uh me and Kamosha got to create our own festival, man.

SPEAKER_34 1:46:10

Shit, yeah, and I'll be there. That's right.

SPEAKER_01 1:46:12

The Anassa Bor Latin Music Festival. Let's do this. Let's do it. All right, Zadio. Well, thanks again, my brother. Big shout out to you in Mexico. Thank you.

SPEAKER_34 1:46:20

Thank you, thank you, thank you. So I'm gonna give a shout out. Shout out to Derek, my homeboy from Canada.

SPEAKER_01 1:46:26

There you go.

SPEAKER_34 1:46:27

Shout out to Jesus Fernandez, my homeboy from Spain. I mean, I love that guy. Me too, man.

SPEAKER_01 1:46:33

They got a lot of his remixes too. I want him on this show, man.

SPEAKER_34 1:46:36

Uh he's a very cool dude. I mean, I don't I don't know if I don't know. I don't see why he's it will he would tell you no. He's he's a very cool guy. Um, who else? Uh shout out to the crew of BPM. Why not? Thank you guys. Uh, and then um shout out to oh man, I forgot his name. Oh, I'll I'm gonna stop there. Shout out to everyone after that.

SPEAKER_01 1:47:01

All right, brother. Big shout out to you, man, for taking the time to speak to us. Yeah, drop that knowledge.

SPEAKER_34 1:47:06

What is what is the name of the radio station that you have?

SPEAKER_01 1:47:08

We are on El Sabor Latin Music Podcast, and it's Will Y, baby. That's how we do it.

SPEAKER_34 1:47:13

Shout out, shout out to El Sabor. Oh, man, I forgot. El Sabor.

SPEAKER_01 1:47:17

You got El Sabor, man. That's what we are. The flavor. That's right.

SPEAKER_34 1:47:20

Okay, shout out to El Sabor. Thank you for having me.

SPEAKER_01 1:47:23

El Sabor celebrating all flavors of musica latina. That's how we do it, brother.

SPEAKER_34 1:47:27

There you go. From Sasa to Latin. Yeah. Yeah, it's dope.

SPEAKER_01 1:47:31

And commotion, you want to end this with this something, man?

SPEAKER_35 1:47:35

Uh, I guess if everybody's gonna hear me, let's get into some conspiracy theories. No, no, I'm kidding. Okay. On the next episode to be continued.

SPEAKER_01 1:47:43

I like that cliffhanger, man. All right, guys. Well, thank you so much for joining me. DJ Commotion. Big shout out. Thank you, brother. That's my new co-host right there. You'll be seeing him more and hearing him more. Absolutely, man. And Mr. Sergio Villanueva.

SPEAKER_02 1:47:55

Yeah.

SPEAKER_01 1:47:56

Reach out to him on Instagram. Thank you so much, brother. And I'm gonna have the link to you on the uh podcast episode. So whether you listen on Spotify, Alba Music, or iHeartRadio, click on description and you'll find a link for Mr. Villanueva. Perfect. All right, my brother. Take care and catch you on the next episode. Yeah.