Presented By BMI
Jesus Gonzalez, the VP of Creative, Latin at BMI moderates a discussion between latin music’s most exciting songwriters and producers (Albert Hype, Alexis Fierro, Álvaro Díaz, Caleb Calloway and Armenta) in the urban and regional Mexican realms on how they’ve crafted their biggest hits at Billboard’s Latin Music Week 2024.
Jesus Gonzalez moderada una discusión los más emocionantes productores y compositores del mundo urbano y mexicano (Albert Hype, Alexis Fierro, Álvaro Díaz, Caleb Calloway and Armenta) nos cuentan cómo crearon sus más grandes éxitos.
Jesus Gonzalez, the VP of Creative, Latin at BMI moderates a discussion between latin music’s most exciting songwriters and producers (Albert Hype, Alexis Fierro, Álvaro Díaz, Caleb Calloway and Armenta) in the urban and regional Mexican realms on how they’ve crafted their biggest hits at Billboard’s Latin Music Week 2024.
Jesus Gonzalez moderada una discusión los más emocionantes productores y compositores del mundo urbano y mexicano (Albert Hype, Alexis Fierro, Álvaro Díaz, Caleb Calloway and Armenta) nos cuentan cómo crearon sus más grandes éxitos.
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MusicTranscript
00:00It was like three in the morning, and a friend of mine invited me,
00:05I think we were in Monterrey, if I'm not mistaken,
00:08he invited me to go out for a dance.
00:10And for the first time in my life, I saw a bottle of Don Periñón,
00:14but Lady Gaga version.
00:16I had seen before the Don Periñón Luminos, etc.
00:19But I saw Lady Gaga, and I was like, what is this?
00:21I had never seen her, she was pink.
00:23And when I got to the apartment, I started writing,
00:26Don Periñón, Lady Gaga.
00:38Good afternoon, how are you?
00:44Wow.
00:45I am Jesús González, Vice President of the Latino Creative Department
00:50of Autoral Society, BMI.
00:53Thank you, thank you.
00:57We have the honor, the privilege,
01:00to represent talents like these,
01:04sitting here with me on the stage.
01:07Producers, composers, collecting their gifts globally,
01:12fighting so that every penny that belongs to them
01:16reaches their pockets,
01:18and fighting for the value of music
01:21that is impacting the musical and cultural world.
01:26Welcome, guys.
01:29A round of applause.
01:30Thank you, Corillo.
01:31For us, this is an opportunity to put ourselves on this stage,
01:36one of the biggest stages in the industry,
01:38and give light to this process, to this journey that you have lived.
01:42I have the privilege of meeting you personally on this journey.
01:46Let's start with influences,
01:49and where this music comes from,
01:53that inculcates you to continue.
01:55Álvaro, how are you, my friend?
01:57Hi, how are you? I am Álvaro Díaz, for those who don't know me.
02:02I started making music when I was 14, 13 years old.
02:07Actually, since I was 10 years old,
02:09I tried to be in a punk band,
02:11and I was rejected because I didn't know how to play bass.
02:14But that was my beginning,
02:16when I realized as a child that I like to make music,
02:18and I hope that one day I will learn to write songs,
02:21learn to compose, learn all this,
02:24what mixing is, and all that.
02:25And that's how I started to fall in love,
02:27with influences like Teo Calderón, Residente,
02:32Zion & Lennox, Kanye West,
02:34and the list goes on, Ismael Rivera.
02:38My dad was really cool.
02:40I don't know, a mix of all those things
02:42made me fall in love with music,
02:44and learning little by little,
02:45sharing the studio with these people who are here,
02:48that we have shared a lot,
02:49makes me improve, and I don't know, that's it.
02:53In that, Caleb, what inspired that music?
02:56My story is basically the same as Alvarito's.
02:59I mean, we started making music together in 2012,
03:02and since I was 14,
03:04Ismael Rivera, Papi Super Cocolo,
03:07my family members are in music.
03:09In music, my uncle played with Ricky Martin,
03:12with Jerry Rivera.
03:13So I started making music when I was 14, 15 years old.
03:16First, I sang, I didn't have anyone to make me tracks,
03:20so I made my tracks,
03:21and then I said, I don't like to sing, I'm going to make tracks.
03:24I met Stepana, and from then on,
03:27what is Kanye, what is Pharrell,
03:29Ryan Leslie, a lot of Looney Tunes, Tiny.
03:33I think we have more or less the same influence,
03:35and that's why we work so hard together.
03:38And here they are, right?
03:40Armenta, we have to jump next to Mexican music.
03:45What's up, what's up, what's up?
03:46I'm Armenta, it's a pleasure to be here with you,
03:48and I'm personally influenced by the Tijuana Tucans.
03:52I started making music when I was 11,
03:54running, and a little influenced by Juan Gabriel, Mexican music.
03:58We speak the same language,
03:59one is made of lyrics and poetry,
04:01so Juan Gabriel, Joan Sebastian, and the Tucans
04:04form a unique style,
04:06and at 17, influenced by R&B,
04:08R&B in Spanish, a little Spanish,
04:10Spanish and Spanish,
04:12we ended up making a different style,
04:14which to this day has had an impact,
04:16and we have managed to do what we have managed to do to be here.
04:20Exactly, Chachito.
04:22Nice to meet you, my name is Chachito.
04:25I used to be a football player,
04:28and you won't believe it,
04:29but also at the age of 13, 14,
04:32I realized I could make songs.
04:35I would go into the classroom,
04:37with my football, all muddy,
04:39during recess hours,
04:41and I would look at a corner,
04:43at a classmate of mine,
04:45who was full of kids,
04:46as you say in Puerto Rico, Colombia,
04:49full of kids because my classmate had a guitar,
04:51and everyone would say,
04:52sing this, sing that,
04:53and I would drop my ball,
04:54and boom,
04:55I had to learn how to play the guitar,
04:57and I had to learn how to write songs.
05:00But what started as,
05:03oh, because of the kids,
05:05to get attention,
05:06then it became a passion,
05:07and then I didn't care about anything else
05:09other than making songs,
05:10day and night,
05:11at any time,
05:12I would grab the guitar,
05:13I remember,
05:14something quick,
05:15an anecdote,
05:16I had a pregnant aunt,
05:17when I grabbed my first guitar,
05:18it was just noise,
05:19tatatata,
05:20and I had an aunt who was at my house,
05:22pregnant,
05:23and she would say,
05:24shut up, please,
05:25with the guitar,
05:26but that's how I started to compose songs,
05:28to get passionate about music,
05:30record for the kids,
05:32but now,
05:33it's a lifestyle.
06:02But I was playing guitar,
06:03then in 2015,
06:04I started making beats,
06:05and so a lot of my style
06:07came from playing in rock bands,
06:11so now what I do in the Latin scene,
06:15I try to incorporate it
06:16as much as I can,
06:17and thankfully,
06:18now a lot of the Latin guys
06:20are experimenting with that sound,
06:22which is really cool for me.
06:24Absolutely,
06:25and going into that with you specifically,
06:26you bring that musicality,
06:28right,
06:29in terms of the musicianship,
06:31and we see it.
06:32I mean,
06:33this is one of the driving forces
06:35behind the global hit of Telepatía,
06:37right,
06:38and that rhythm that you brought.
06:40There's a guy,
06:42Te Felicito,
06:43Shakira,
06:44right,
06:45how many times,
06:46Diamond,
06:47Platinum,
06:48but you bring that musicality.
06:50Do you see that growing
06:51within the genre,
06:52like you said?
06:53Yeah,
06:54for sure.
06:55I think I see it now.
06:56I mean,
06:57Alvaro Diaz,
06:58my buddy here,
06:59he's doing,
07:00he's one of the pushers of that
07:02genre-bending sound
07:04as an artist,
07:05you know,
07:06and I think that's something
07:07that a lot of people
07:08are going to start,
07:09you know,
07:10following those footsteps
07:11and experimenting more,
07:12with more,
07:13and yeah,
07:14I definitely see it coming.
07:15I'm really excited for it.
07:17Absolutely,
07:18and we see it too.
07:19You know,
07:20he threw it to you,
07:21Alvaro,
07:22what you've done musically
07:23in creating your world,
07:24right,
07:25with your colleagues
07:26literally sitting next to you
07:28with happiness.
07:30I mean,
07:31great,
07:32great success,
07:33right?
07:34That world,
07:35and now,
07:36with the long-awaited
07:37drop of Sayonara,
07:38right?
07:39What,
07:40you know,
07:41that process,
07:42so many years,
07:43and I was there
07:44back in the L.A. days,
07:45you know,
07:46seeing the seeds
07:47that were planted
07:48in that project.
07:49What has been
07:50what you were talking about
07:51and what you had in mind,
07:52now what you've done?
07:53I mean,
07:54our boy just finished
07:55two sold-out shows,
07:56Mexico City,
07:58well,
07:59it's been a super blessing,
08:00all of that.
08:01I,
08:02when we mentioned
08:03all of my,
08:04like the artists
08:05that influenced us,
08:06something that they had
08:07very particular,
08:08the artists that
08:09influenced me
08:10was that they had their sound,
08:11and I think that
08:12that's a little bit
08:13that's missing
08:14a little bit
08:15in the music
08:16nowadays,
08:17like the artists
08:18dare to be themselves,
08:19dare to
08:20literally
08:21sound like,
08:22well,
08:23have a vision
08:24and execute it,
08:25and like I fell in love
08:26with that from the start,
08:27and I think that
08:28the media
08:29and a lot of people
08:30fell in love,
08:31especially in Puerto Rico,
08:32to pursue
08:33what everyone likes,
08:34and everyone liked something,
08:35and I always
08:36drew attention
08:37to something else,
08:38and for some reason
08:39I always
08:40went that way,
08:41and that's why
08:42nowadays,
08:43like the projects
08:44have the identity
08:45that if you like it,
08:46you like it,
08:47if you don't like it,
08:48well, you don't like it,
08:49but lately
08:50it sounds like Alvaro Díaz,
08:51and you know that
08:52Alvaro Díaz's project
08:53is not trying to
08:54sound like anyone else,
08:55and that comes
08:56with all the influences
08:57we mentioned,
08:58it's like,
08:59maybe no one
09:00has experienced this,
09:01but I would like to do it,
09:02it's losing that fear
09:03of,
09:04no one has done this,
09:05or no one has experienced
09:06this,
09:07it's like,
09:08let's take a risk,
09:09because in the end
09:10it's like,
09:11I don't know,
09:12it's me,
09:13and that story
09:14was born from the beginning
09:15of the first days
09:16that we started in the city,
09:17that we started with Kale
09:18to make music,
09:19to whenever I'm in the studio
09:20with Alvar,
09:21that we create,
09:22it's always like
09:23a freedom
09:24because,
09:25adding to the question
09:26that you asked Alvaro,
09:27I think that's what
09:28it should be,
09:29I think that at the end
09:30of the day,
09:31the artists that will
09:32stand out the most
09:33are the ones
09:34who dare to do it,
09:35and even though
09:36everyone always says
09:37it's us,
09:38but you realize
09:39when someone is
09:40chasing what people
09:41like,
09:42and what you genuinely
09:43like,
09:44I don't know.
09:45Well,
09:46you've marked it
09:47very well,
09:48right,
09:49our Alvarito,
09:50so,
09:51talking about that
09:52transition
09:53that you are
09:54making,
09:55Armenta,
09:56I have to go to you,
09:57that you've had
09:58with that pen,
09:59I mean,
10:00Nel,
10:01Bebe Dame,
10:02TQM,
10:03I mean,
10:04global hits
10:05with that pen,
10:06now making that
10:07transition
10:08to the creative side
10:09where you are
10:10doing your project,
10:11what is that process,
10:12or is there a difference
10:13in this song
10:14for me,
10:15this one over there?
10:16Well,
10:17thank God,
10:18focused and
10:19working,
10:20and personally,
10:21the process
10:22of being able
10:23to put together
10:24global hits
10:25like that,
10:26gives you the experience,
10:27or the boards,
10:28as they call it in comedy,
10:29to be able
10:30to have your ears
10:31educating you
10:32little by little
10:33when deciding,
10:34I think this song
10:35is made for me,
10:36as Alvaro said,
10:37the sound of one
10:38is particular,
10:39and one has to
10:40understand his own sound,
10:41so,
10:42one as a composer
10:43has to adapt
10:44to any style.
10:45So,
10:46within composing
10:47songs for everyone,
10:48you have to know
10:49which song is yours,
10:50and which song
10:51is not yours.
10:52And,
10:53currently,
10:54thank God,
10:55we are working
10:56on a very beautiful
10:57project,
10:58with a lot of heart,
10:59which,
11:00in the end,
11:01is what the audience
11:02appreciates,
11:03and the audience
11:04understands.
11:05And,
11:06now,
11:07with Tusi,
11:08along with TWP,
11:09which was a hit,
11:10I had to work on that album,
11:11in two days,
11:12and important songs
11:13right now,
11:14we ended up
11:15defining a concept,
11:16and defining a sound.
11:17I quote Alvaro again,
11:18it's defining your sound,
11:19and defining your style,
11:20and understanding
11:21the commitment
11:22that goes with
11:23making music.
11:24It's not just
11:25doing for doing,
11:26and producing for producing.
11:27You have to understand
11:28where you want to go,
11:29and with what vision,
11:30obviously.
11:31And the hard work,
11:32working hard,
11:33is the key.
11:34And hard work
11:35is working on
11:36Chinito Pacas' project,
11:37CAE 24,
11:38Fuerza Rígida,
11:39El Tuyo,
11:40Te Habla El Compatito,
11:41which is also
11:42BMI Familia,
11:43greetings,
11:44and congratulations
11:45to the guy as well.
11:46You get on his roller
11:47and help him write
11:48six or seven others.
11:49Talk about hard work
11:50and dedication.
11:51Chachito,
11:52speaking of output
11:53and production,
11:54your story
11:55of how you grew
11:56in this industry
11:57as well,
11:58when you look
11:59at his catalog
12:00of songs,
12:01I mean,
12:02all of this group
12:03are,
12:04as I say,
12:05songs that
12:06are taking
12:07Latin music,
12:08Mexican music
12:09to levels
12:10that have never
12:11been reached.
12:12Talk about
12:13this creative
12:14process,
12:15how you
12:16created
12:17this
12:18creative
12:19process,
12:20how the
12:21connections
12:22and growth
12:23have been,
12:24you as a composer
12:25and now
12:26in what you're
12:27doing as
12:28a businessman.
12:29That's right,
12:30it's something
12:31incredible,
12:32how you,
12:33when you're
12:34in your room,
12:35I usually,
12:36I don't know
12:37how they get
12:38inspired,
12:39many like
12:40to be in
12:41a studio
12:42full of people,
12:43full of friends.
12:44I like to be
12:45in my room
12:46writing alone
12:47with Oscar Maidón
12:48as his manager
12:49and he gets
12:50into the cabin
12:51and I get
12:52outside
12:53and he gives me
12:54ideas
12:55and I land them.
12:56So,
12:57it's something,
12:58I'm a little
12:59nervous,
13:00I've never been here.
13:01It's something
13:02very nice
13:03to watch
13:04people
13:05grow.
13:06What I like
13:07in particular
13:08is to start
13:09with the beginnings
13:10with the artists
13:11and watch their
13:12progress
13:13little by little.
13:14That your lyrics,
13:15maybe one is
13:16a little
13:17forbidden,
13:18whatever you want,
13:19but you help them
13:20and always be there,
13:21even behind the cameras,
13:22see the process
13:23of how
13:24your lyrics,
13:25they have the
13:26strength to
13:27expose them
13:28to an audience
13:29and make them
13:30famous.
13:31Right?
13:32And he's being modest
13:33because when he
13:34talks about Oscar
13:35Maidón,
13:36I mean,
13:37the songs
13:38this guy's written,
13:39Drompe la Dompe,
13:40right?
13:41Also,
13:42Lady Gaga,
13:43Dom Periño,
13:44Lady Gaga,
13:45as I told you,
13:46Guiza,
13:47right?
13:48De Nata,
13:49Junior H.
13:50So,
13:51the compa,
13:52the production
13:53and the work,
13:54right?
13:55Speaking of
13:56that transition
13:57of now
13:58you in the
13:59industry
14:00developing
14:01as
14:02men of
14:03work,
14:04I know that
14:05you have
14:06a label,
14:07right?
14:08With Oscar
14:09alongside
14:10management,
14:11with your
14:12label,
14:13artists that
14:14are
14:15in the
14:16industry,
14:17right?
14:18It's another
14:19process,
14:20right?
14:21It's another
14:22process,
14:23and we
14:24go back
14:25to the
14:26same thing.
14:27It's
14:28that,
14:29how
14:30do you
14:31like
14:32seeing
14:33artists
14:34grow
14:35when
14:36they're
14:37nothing
14:38and
14:39you
14:40with
14:41your
14:42lyrics
14:43and
14:44your
14:45songs
14:46and
14:47your
14:48music
14:49and
14:50your
14:51art?
14:52How
14:53do you
14:54like
14:55seeing
14:56artists
14:57grow
14:58when
14:59they're
15:00nothing
15:01and
15:02you
15:03with
15:04your
15:05lyrics
15:06and
15:07your
15:08music
15:09and
15:10your
15:11art
15:12in Los Angeles. Yeah, he found me. It was crazy. It was great. He was at a house doing
15:20a song camp with Phantom Nail, Chris Chill, one of the composers of BMI, but it was a
15:32process in terms of seeing that vision. Now, as we look at a couple, two, three years later,
15:38what has been accomplished, again, as a producer, now as a businessman, and just launching now
15:44as an artist, right? Hayabusa, your first album. What's that process?
15:49Yes. Hayabusa en la calle. No, it's exciting. It's been a process. I looked up to a bunch
15:56of people in the industry. Yo siempre decía que tengo mi proceso de quiero ser productor,
16:01quiero ser artista, y también quiero tener mi label y ayudar a artistas como yo que quizás
16:06no tenían esa persona que lo ayudara. Alvarito y yo, we did it ourselves, con ayuda de gente
16:14como Angelo, pero siempre tuve la visión de que quería hacer algo más y ayudar a
16:19la gente, y en verdad, nos dio la bendición de conocer a Mico y a Cioquipo Trabajo, a
16:24Mauro, a la gente que ella tiene alrededor, que nos las puso más fácil también, y tener
16:29un artista donde yo puedo plasmar mis ideas y que te hagan caso y que los ayudes a crecer
16:36y ayudar a sus familias, etc. Para mí es algo súper importante. También ahí estoy
16:42yo como artista en la disquera, teniendo también el freedom to do creatively what I wanted
16:48to do. That's what we wanted to create at The Wave, is not put handcuffs on artists,
16:53not tell them, oh, this is what's happening. It's like, be yourself. There's eight billion
16:57people on this earth. Si tú eres tú, vas a tener a alguien en tu esquina que te siga,
17:03¿me entiendes? Eso es tener la identidad. Eso es lo que nosotros queríamos promover
17:07y no lo estábamos viendo. Nosotros dijimos, mira, con el dinero que tenemos, vamos a apoyar
17:14a estos artistas, and thank God, she's a superstar, and you know what I'm saying, and we're going
17:19to sign more people, and we're going to help more people get their sound out.
17:23Amazing, amazing. It's gone great, and part of that initial pinky swear we did was like,
17:29okay, we got Caleb, Alvaro's coming next, you came over.
17:33Got the whole crew.
17:34Felicilandia hits, Sayonara hits. You just dropped a little kind of behind the scenes.
17:41¿Se quieren ver ese proceso creativo, lo que pusieron en tus redes con ti, Nati Peluso?
17:47I mean, ¿qué canción? Pero enseñas como el proceso, how it went down, and it was literally
17:52ustedes en el estudio, y cantando el coro, y se arma. I mean, ¿cuál es ese proceso?
17:58¿Cómo te gusta trabajar?
17:59Bueno, siempre cambia, pero sí, el tema con Nati Peluso, por querer asistir en la calle,
18:06hoy sale dos canciones nuevas más de Sayonara. Sayonara es como una historia, y el deluxe
18:12es como, se llama finales alternos. La idea es como, tiene una historia y tiene un final,
18:16y entonces, lo que se me ocurrió para el deluxe es hacer como tres finales diferentes,
18:20como para que todo el mundo tiene su historia, y tú puedas escoger como que cuál sería tu final,
18:24como que tú terminas la historia de Sayonara como tú quieras. Pero sí, en el estudio,
18:29siempre es diferente, como que nosotros, yo me imagino, o sea, me identifico cuando dicen
18:34como que te gusta estar solo en el estudio, pero también todo varía. Yo cuando compongo
18:39mis canciones más personales, siempre me gusta estar solo. Casi siempre saco hasta el tema
18:43de la canción, como Yoko, o Majin Boo, o Baby Cita, y todas estas canciones, ya existe el nombre
18:49antes de existir la música. Es como que, Problemón, ya existía en mi mente, que iba a hacer una canción
18:55que se llama Problemón, y ni siquiera sé qué iba a decir, pero es como, como si voy a escribir una película
18:59y ya sé de qué quiero que se trate, pero también me gusta como que ir al estudio y fluir,
19:03y que salga lo que estamos sintiendo en el estudio. Muchas veces, cuando trabajo con otros artistas,
19:11que estoy ayudándolos a ellos, me gusta estar más con ellos en el estudio, como que casi nunca
19:16compongo una idea completa y se la presento. Más bien, puedo tener ideas, pero me gusta estar
19:22con ellos para que tengan su sello. Hablando de eso, has escrito dos canciones número uno para otros artistas
19:28con esa pluma, ¿verdad? Para Yandel y para Raúl, ¿verdad? Así que, con la pluma y artísticamente,
19:34nuestro voz pesada aquí. ¿Cómo fue ese proceso? Bueno, primero tener el privilegio de trabajar
19:39artista, así que uno súper admira como un Yandel o como un Raúl, que empezó con nosotros desde cero
19:45y ver la súper estrella que se ha convertido. Está cool trabajar con ellos en el estudio para
19:50unsear las ideas. Es como un proceso bien cool, no sé, como trabajar con un artista que tú estás
19:55ayudando a que él encuentre su visión y la diga, pero también tú como artista. Creo que es mucho
19:59más difícil componer para uno, me imagino que producir para uno también, porque tienes como
20:04otra persona tuya aquí diciendo, no, eso no está cool, no, eso tú no lo dirías, no, qué sé yo.
20:08Más fácil cuando compones con alguien y simplemente le presentas ideas, ellos van diciendo, sí, no, sí,
20:15no sé. Buenísimo. No, no, no, así fluye. Hablando de esas colaboraciones y ahora entre
20:23géneros más y más, ¿verdad? A nuestro calladito allá, Albert Hype, you come from, you know, doing
20:30Party and Terrid and all these amazing, you know, urban songs. Tell us about your experience
20:37working with another BMI affiliate, Iván Cornejo, Frank Rio, and jumping into La Música Mexicana
20:44side, which we're seeing a lot of, and even our boy Armenta coming out and getting down with
20:49Tiny You and Jota Rosa, right? Where you see? Yeah, Iván is, I met Iván last Billboard, a couple
21:00Billboard weeks ago, yeah, and I was already like, he was already on my radar and I was, you know,
21:06it was awesome to get in with him and Frank, Frank Rio, it was like, and he's, but I don't know,
21:13the Mexican regional genre is something that's obviously is massive now and there,
21:22it reminds me a lot of, I don't know, like Reggaeton in 2019, where like in 2019 there was
21:28this massive like renaissance of just different sounds and different ways of doing things. So,
21:33I feel like that's what's happening now with Mexican regional and it's awesome to see people
21:39like Iván, Armenta, and others doing, you know, pushing that genre forward and trying new things
21:48with it and it's something also that I feel like it's a, there, it's, we're bridging a lot of the
21:54gaps that used to be there between Mexican regional music and Latino Urbano music and
22:00so I think it's something that's special and it's amazing and I hope it keeps happening.
22:04Absolutely and with all you on this stage, it's only going to continue to grow.
22:12Are literally, you know, a large part of why the Reggio is getting, you know, even pulled
22:19off that word, right?
22:34Like a script.
24:04Melodies.
24:34But you have to know that part of the music.
24:36You have to understand that if you want to make a song that's happy, obviously you have to use,
24:40I mean, I mean, use major tones, one or another minor for a variation and the melody ends up being
24:47the, from my perspective, 70% of a song. A good melody makes you a hit and a lyric
24:53ends up complementing it, but having a stage delimited by good tones, I think it's been
25:00a key element to make a song that has an impact, that people will remember, catchy lyrics,
25:06hooks, the hook is key and that's something you learn, I mean, one from the Mexican regional
25:10that has to adapt to the new sounds, we learn it, I personally, from what Albert does,
25:17I mean, what the people from Urbano do is make hits, you know?
25:21Make melodies and make things that stay, that hit you in the head, bam, bam, bam, and you end up
25:26singing it without realizing it.
25:29So that part of the industry has come to strengthen us and that's why I think my partner
25:33Chochito is here, and me, and more from the industry, Daniel Candia, Tito WP,
25:38that are part of the new wave of the Mexican region as composers, we understand that 70%
25:43or 80% is a great melody. If you don't have a melody, I think you're a little lost.
25:49Well, everyone has sung their melodies here, guys, so we have a few minutes left,
25:57look, for us it's very important, right, as I say, on the one hand, to represent them,
26:03to give them their gifts, but also that education, since you are, right, reaching new levels
26:11of success, right, and for us it's very important, that financial education, that business education.
26:18You, as composers, artists, what are your suggestions to this audience, to someone
26:24that maybe sees you and says, wow, I want to follow that path, what anecdotes or something
26:29that you can share here, Álvaro, starting with you.
26:55There's always a beginning, you know, like not being afraid of how you can start, it's like starting
27:00to give and practice and practice, it's like taking inspiration, you know, from whoever your favorite artist is,
27:06develop the sound, how you would like to speak, what kind of words you would like to use,
27:11what kind of melody, what kind of composer you want to be, have that clear so that you can
27:15continue developing, I think it's practicing, you know, it's like, we always use
27:20Kobe Bryant as an example, obviously he's a basketball player, but that obsession he had with his craft,
27:25the Mambo mentality, getting up and working hard, working twice as hard as everyone else
27:30to continue being better and improving, focusing on you, being your only competition, you know,
27:36I think that should be the trick, like, and from there, reading a lot, watching movies,
27:41like everyone can be inspired by different things, people who read poetry and get inspired,
27:46people who watch a movie and get inspired, people who listen to other artists get inspired,
27:50so it depends, but that's why you have to know it, like, music works with everyone
27:55in a different way, it's you finding what works for you and keep developing yourself.
28:03Great.
28:05Yes, I say the same thing as going to the studio, studying, looking for these five artists,
28:11these artists that you love and get something out of each one to then create your identity,
28:17I mean, having the identity, I say that something that me, Alvarito, everyone here knows,
28:22what is our sound, it took us time, it took us time for people to understand that,
28:27and go for it, as we say, and keep going, keep going, keep looking for your identity,
28:31until you have that practice, it will take you to another level, I mean, try not to be like anyone else,
28:36but at the same time, get the best out of those artists that you've idolized since you were a kid.
28:42Great. Albert?
28:44Well, just like what Caleb says, looking for your identity, for me, that was an incredible key,
28:51for me, looking for what makes me different and what I bring to the table, you know?
28:57What's different is what's happening in the rest of the industry, and I also think that finding a choir,
29:04that you can develop your talent, and yeah, just like, you know, just a community,
29:11as a community, it's really important, you know, we collaborate all the time,
29:15and that's, you know, I don't think any of us would be here without collaboration,
29:18so I think that's super important.
29:21Great, Chachito.
29:23For me, something very important are the experiences.
29:28I've lived something very curious, which is saying yes to going out to a choir,
29:34it changed my life a little bit.
29:36It was like 3 in the morning, and a friend of mine invites me, I think we were in Monterrey,
29:42if I'm not mistaken, he invites me to go out to a choir, and for the first time in my life,
29:46I saw what is a bottle of Don Periñón, but Lady Gaga version.
29:51I had seen Don Periñón Luminos before, etc., but I saw Lady Gaga, and I was like,
29:56what is this, I've never seen her, she was pink.
29:58And when I got to the apartment, I started writing,
30:01Don Periñón, Lady Gaga, glasses on her face, no washing.
30:06But I got up at 3 in the morning, I said yes to going out to a choir,
30:09and that changed my life.
30:11Well, talking economically with V&M,
30:13Go out to the choir.
30:15Have experience.
30:17A song of 600 million, I don't know how many it already has.
30:19A lot.
30:21Living experiences, for us composers,
30:23going out, saying yes to everything,
30:25knowing, opens your mind a little.
30:27Very good.
30:29Armenta.
30:31I think there's always a first time, and always a first day.
30:33You have to understand that when you start,
30:35I mean, who learned to ride a bike without falling?
30:37Nobody.
30:39You have to try, and try, and try,
30:41and try.
30:43My philosophy of life is hard work,
30:45so I think there's a first day in which
30:47you have to understand that you're not going to be the best.
30:49You have to understand your reality,
30:51that you're not standing still,
30:53and in the end, the one who works hard,
30:55becomes a black belt.
30:57There's always a white belt, and a black belt.
30:59Thank God, life allows you,
31:01with talent and dedication,
31:03to become a black belt.
31:05But you have to understand that you have to be a white belt
31:07to become a black belt.
31:09So, hard work,
31:11living experiences,
31:13being there,
31:15saying yes to what you can add,
31:17ends up being fundamental to understand
31:19how the business of composition works.
31:23This is what it is, you know?
31:25It's making music, it's vibrating,
31:27it's connecting with people,
31:29it's a person who doesn't have filters,
31:31it's you, and whenever it's you,
31:33you can get to places
31:35that life has for you, you know?
31:37With that,
31:39we leave you.
31:41This is the process of art
31:43and commerce, right?
31:45So, thank you very much.
31:47We have a panel of each of these talents.
31:49Thank you, Billboard.
31:51Thank you, Leila.
31:53Here, your humble servant.