Alt.Latino: Karol G's 'Tropicoqueta'

Summary

All Songs Considered: Alt.Latino Episode – Karol G's 'Tropicoqueta'

Release Date: June 25, 2025

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Introduction

In this vibrant episode of Alt.Latino, hosts Felix Contreras and Ana Maria Sayer delve into the rich tapestry of Latin music, spotlighting both emerging talents and established artists. From the energetic beats of Mexican bands to the sophisticated rhythms of Afro-Uruguayan sounds, the conversation weaves through various genres, culminating in an in-depth analysis of Karol G's latest album, 'Tropicoqueta'.

---

Spotlight on Pantion Rococo's New Single: "Parison"
Timestamp: 00:27 - 03:49

Felix introduces Panton Rococo, a seasoned ska, punk, funk, and reggae band from Mexico City, celebrating their new single, "Parison", featuring Karin Leon. He remarks, "They're basically doing what they've always done, but giving it new vitality with all of these younger artists" (03:49).

Ana Maria echoes his enthusiasm, highlighting the band's contribution to Mexico City's vibrant punk scene: "Sabino is like the perfect voice for this, like who he is as a rapper, explosive in the scene to be on this track" (02:26). Their collaboration bridges the gap between old-school and new-school Mexican sounds, showcasing a seamless blend of tradition and innovation.

---

Exploring Juan Waters' Afro-Uruguayan Influence
Timestamp: 05:13 - 12:38

Ana Maria shifts the focus to Juan Waters, an Uruguayan singer-songwriter known for his incorporation of Afro-Uruguayan candombe styles. She describes his work as "a really beautiful blend that it's just so nice on the ears" (06:34). Felix adds, "It's another example of the Afro Uruguayan music. Kandombe. Everybody knows Afro Cuban, cumbia..." (07:14), emphasizing the cultural richness Juan brings to his music.

Their discussion underscores the importance of preserving and celebrating traditional rhythms within contemporary music, highlighting how Juan Waters bridges his Montevideo heritage with his New York influences.

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Roxana Ahmed's "Todos los Fuegos": A Jazz Interpretation of Argentine Rock
Timestamp: 09:34 - 12:38

Felix introduces Roxana Ahmed and her album 'Todos los Fuegos', which reimagines classic Argentine rock songs with jazz instrumentation. He notes, "This is a straight ahead jazz ballad, okay, with the piano. Everything about it says jazz" (09:35). Ana Maria praises the album's fusion of genres, stating, "It's a spectrum of sounds, but primarily jazz because she's trained as a jazz vocalist" (10:13).

The hosts discuss how Roxana, alongside jazz harpist Brandy Younger, pays homage to Argentine rock pioneers like Fito Paez and Gustavo Serrati, bringing new life to timeless tracks while maintaining their original essence.

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Deep Dive: Karol G's 'Tropicoqueta' – Evolution and Authenticity
Timestamp: 12:38 - 22:33

Ana Maria ignites the conversation by introducing Karol G's highly anticipated album, 'Tropicoqueta', released just a week prior. She expresses her candid thoughts, "I'm gonna say what I actually think" (13:42), setting the stage for an honest critique.

Felix draws parallels between Karol G's experimentation and Carlos Santana's iconic collaboration with Tito Puente, highlighting the fine line between cultural appreciation and appropriation: "But if she brings it, with respect, to me, there's no such thing as appropriation. I don't hear it" (19:48). Ana Maria contemplates the album's authenticity, questioning, "Is Carol in this album?" (18:18), and whether the album truly reflects Karol G's artistic identity.

The duo praises Karol G's versatility and intentional blending of genres, noting how she seamlessly integrates mambo, merengue, and vallenato into her pop and reggaeton foundation. Ana Maria remarks, "It's like, a comprehensive overview of a lot of different styles of Latin American music" (16:00), while Felix emphasizes the album's potential longevity and impact on her legacy.

Notable Quotes:

• Ana Maria Sayer: "Do I think that's, like, really a problem? Not necessarily." (17:35)
• Felix Contreras: "She’s like a chameleon. But again, in a very, very respectful way." (21:22)

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Viano Antiano ft. Mima: "Fuego" – A Modern Protest Anthem
Timestamp: 22:33 - 25:22

Transitioning from Karol G, Felix introduces Viano Antiano and vocalist Mima, discussing their remake of Puerto Rican protest anthem "Monon", now titled "Fuego". He describes it as "a straight on challenge to colonialism" (24:50).

Ana Maria praises the track's powerful message and lyrical depth: "This is a really beautiful track" (25:08). They highlight Mima's impressive background, including her collaborations with Rita Indiana and Eduardo Cabra, underscoring her talent and the song's relevance in contemporary socio-political discourse.

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Maijay's Debut Album and "Peter Pan yome consiento"
Timestamp: 25:22 - 27:48

Ana Maria spotlights Maijay, a Venezuelan artist making waves with her debut album. She shares a heartfelt story from an incarcerated listener who appreciates her work, particularly mentioning Maijay's "Tiny Desk" performance: "It's her debut album... it is gorgeous" (26:08).

Felix briefly comments on Maijay's authentic blend of Venezuelan essence with mainstream American pop elements, noting her family's musical legacy through her father, Fernando Osorio: "He's written for Celia Cruz, Marc Anthony, Ricky Martin..." (27:04).

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Conclusion

Felix and Ana Maria wrap up the episode by reflecting on the diverse range of music explored, from traditional ska and punk to contemporary pop and protest anthems. They commend the featured artists for their creativity and authenticity, leaving listeners with a rich appreciation for the evolving landscape of Latin music.

Closing Remarks:

• Felix Contreras: "You have been listening to amazing new music. Amazing from your friends here at Alt.Latino." (27:42)
• Ana Maria Sayer: "Thank you for listening." (28:21)

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Notable:

• The episode features interviews and discussions centered around cultural authenticity, musical evolution, and the blending of traditional and modern genres in Latin music.
• Quotes included are indicative of the hosts' perspectives and insights, providing listeners with a deeper understanding of the topics discussed.

---

Note: Timestamps correspond to the provided transcript segments and serve as references for the quoted material.

Transcript

[Progressive Insurance]

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[Felix Contreras]

From NPR Music, this is Haute Latino. I'm Felix Contreras.

[Ana Maria Sayer]

And I'm Ana Maria Sayer. Let the chisme begin.

[Felix Contreras]

It's already begun. Okay. Another show. Oh, my God. Great new music.

[Ana Maria Sayer]

Yeah, I'm really excited. There's a lot to be said.

[Felix Contreras]

So I brought in a song from the band Pantion Rococo, and they are a longtime ska, punk, funk, reggae band from Mexico City. They have a new single. It's featuring Karin Leon. It's this really cool old school Mexican with collaborating with new school Mexican. And the new school Mexican sounds like even older old school Mexican.

[Ana Maria Sayer]

I'm looking at the collaborators right now and I'm really excited.

[Felix Contreras]

Okay. All right. This track is called Parison. This is Pantion Rococo featuring Karin Leon.

[Ana Maria Sayer]

And Sabino and Remy Valenzuela and sht.

[Felix Contreras]

You are correct.

[Ana Maria Sayer]

God, what did you do before you had me here? I'm. Dude, no one can see me, but I'm bowing down in the studio. That is a great cut. That is. See, I think what people don't know about Mexico City is there's always been a very healthy punk scene.

[Felix Contreras]

Oh, yeah.

[Ana Maria Sayer]

Kind of like parallel to the cumbia scene to me, in my head, like that though they sit kind of side by side. And Sabino to me is like the perfect voice for this, like who he is as a rapper, explosive in the scene to be on this track. Wow. Really amazing.

[Felix Contreras]

I had members of Panteo and Rococo on the show back in 2019, and they're one of these bands from the mid-90s in Mexico that I think get taken for granted because we always talking about the early 90s, right. The late 80s, early 90s. Cafetacuba, Cayfanes, Maldita, Vencidad, these really groundbreaking pioneers. Well, these are bands Panteon, Rococo and Molotov. Right. They like, they walked through the doors that the other bands opened and they continued the ska thing, the punk thing, the reggae thing, and they kept doing it. And I love seeing this new single from these guys. They're basically doing what they've always done, but giving it new vitality with all of these younger artists.

[Ana Maria Sayer]

It sounds so contemporary and right and perfect for this moment musically with who they're collaborating with, who they're bringing onto this record. And this I keep talking about this. But this is really an explosive moment for alternative forms of Latin music. Like, people are really interested in hearing not just reggaeton, not just corridos, especially out of Mexico. And this fits perfectly into that thing where it's. They're still bringing what is the essence, what is the heart of the city, of the alternative music scene in Mexico City. But then they're doing it in a way that you're working with a Karin Leon, who obviously is explosive in a lot of different genres. You're working with a Sabino, who's really leading in the rap scene there. I mean, everything about it makes perfect sense.

[Felix Contreras]

The track is called Parison. That's Pantion Rocco with Karin Leon Savino, Sht and Remy Valenzuela. Right, I got your attention?

[Ana Maria Sayer]

You did get my attention.

[Felix Contreras]

Okay, Anna, what did you bring?

[Ana Maria Sayer]

This music first caught my attention because it's Juan Waters, Wonderful, amazing Uruguayan singer, songwriter. I've loved all of his stuff. It's always really interesting. This specifically caught my attention because he released this adorable music video. Felix, you will die if you watch this music video. It's his daughter. He wrote a song for her and it's her running around. It's really, really, really cute. Anyways, so he's now releasing an album this Friday. But what I wanted to play today is another song off that record. It's called Manejando Porpando.

[Felix Contreras]

You got my attention with that one.

[Ana Maria Sayer]

Look at that. So, okay, Juan Waters, he's been around for a while. This specifically he did in a candombe songwriting style, which is an Afro uruguayan sound from 18th century Montevideo. And it also pairs with a milongon, which is another kind of slower type of candombe sound. So he lives in New York. Like, he's lived most of his life in New York, in Queens. But he takes the fact bringing some of his home, bringing Montevideo, bringing Uruguay into his music very, very seriously. And it ends up being this really beautiful blend that it's just so nice on the ears. I love it. I love the record.

[Felix Contreras]

The other thing I like about it, it's another example of the Afro Uruguayan music. Kandombe. Everybody knows Afro Cuban, cumbia, Valle, NATO and all that. And there is such an amazing rich culture down there. Anytime we could hear those kind of beats, those kind of rhythms, that. That tradition from that part of the world, I'm all for it. I'm there for it.

[Ana Maria Sayer]

That was Manejando Porpando by Juan Waters.

[Felix Contreras]

Okay, we're gonna stay in Southern Cone. This record should be on the Best of The year so far. This is vocalist Roxana Ahmed. She's got an album called Todos los Fuegos. It's all covers of Argentine rock and with jazz instrumentation, jazz arrangements. She's got the biggest names in Argentine rock. Charlie Garcia, Luis Alberto Spineta, Gustavo Serrati from Soda Stereo, Fito Paez. And then she's got some of their songs and she reimagined them in the most creative and amazing way. This is a remake of the Haste Vertu Corazon from the 1986 album La La La that featured both Fito Paez and Luis Alberto's Pineta. We're going to hear the original version a little later, but this is her version. This is called Dejacet ver tu Coraz. So.

[Ana Maria Sayer]

How is this not jazz?

[Felix Contreras]

You know it. I. It is jazz. Okay, but. Cuz you're reading my notes from my. From my paper, you're cheating.

[Ana Maria Sayer]

I'm literally that person. Like, what's he going to say?

[Felix Contreras]

This is a straight ahead jazz ballad, okay, with the piano. Everything about it says jazz. But there are other parts of the record where she uses elements of contemporary music and maybe some electronic keyboards. The whole record is a spectrum of sounds, but primarily jazz because she's trained as a jazz vocalist. And I've been listening to it a lot lately because I put it on one of my Spotify playlists. So it's.

[Ana Maria Sayer]

Who. Who did you blend it with?

[Felix Contreras]

This jazz harpist, Brandy Younger, who has.

[Ana Maria Sayer]

I know Brandi Younger.

[Felix Contreras]

She's part of this movement of South American musicians who are jazz musicians, but are in this case brilliantly reinterpreting Argentine rock, which I think is foundational. I think most people would agree from the back in the rock Espanol days. This track is from 1986. Like the Argentines, they. They defined rock. It was. That was. That was the land of rock.

[Ana Maria Sayer]

And more. So the importance of Argentine jazz, that's a through line too. In the rock. It's a through line. Most recently, to name Catre Lipaco. They have traditional jazz sensibilities. Jazz chaining. I mean, it's present in all of these places. It's also of great importance to give you your credit for your jazz.

[Felix Contreras]

I don't need your stinking credit.

[Ana Maria Sayer]

Felix.

[Felix Contreras]

You're welcome. Let's hear the original version so you can see what she's done, how she's reinterpreted this. This is one of the more quieter moments of Argentine rock. The drummers using brushes on the drums on this track. You know, like a jazz Drummer.

[Ana Maria Sayer]

If you had just played that for me straight ahead, I maybe would have said jazz, I think.

[Felix Contreras]

Huh. Interesting.

[Ana Maria Sayer]

Yeah, it's just. It's so toeing that line.

[Felix Contreras]

The name of the record is Todos Los Fuegos. The artist is named Roxanna Ahmed. And we heard the track Dejaced Ver.

[Ana Maria Sayer]

Tu Corazon, who is also such a lovely, delightful, wonderful person.

[Felix Contreras]

Right.

[Ana Maria Sayer]

Yeah, we love her.

[Felix Contreras]

We have to take a break.

[Ana Maria Sayer]

Oh, we have to take a break.

[Felix Contreras]

Because we have some talking to do.

[Ana Maria Sayer]

Because we have some talking to do.

[Felix Contreras]

Okay.

[Ana Maria Sayer]

I'm really excited.

[Felix Contreras]

I know this is going to be good. Okay. We're going to take a break. We'll be right back. And we are back. Okay. Now, again, this is one of those things where we're gonna take. And you know, we usually touch glasses off. We have to take a. Take a track, one of the album per show. Usually we do a little deeper dive on little deeper discussion.

[Ana Maria Sayer]

So I actually tried to convince Felix to dedicate a whole show to this album. I'm revealing you.

[Felix Contreras]

Oh, my God.

[Ana Maria Sayer]

Exposing you. And he was like, I don't think I get it. Why would we do a whole show on this? We're talking about Carol G's new album, Tropico Keta. It came out last week. It's been a hot. Already a hot topic of conversation in the ways that I expected it to be. When I heard the record, I actually, interestingly, Felix, I went on Weekend All Things Considered and talked about this over the weekend. And I was very, like, choosy about my words of how I said this. I'm going to be real here. I'm gonna say what I actually think.

[Felix Contreras]

Let's just say that on air, you're supposed to be authentic and true everywhere you go. But anyway, go ahead.

[Ana Maria Sayer]

So let's first start. Let's give people a little bit of a sample if they haven't heard it yet. I want to play a little bit of the track Tropico Queta, which is the title track from the record.

[Felix Contreras]

Okay. Name that tune that you're sampling.

[Ana Maria Sayer]

I honestly had a second where I was like, oh, my God.

[Felix Contreras]

What is it?

[Ana Maria Sayer]

What is it? Mambo number five?

[Felix Contreras]

No, it's Querrico Mambo Mambo Number five.

[Ana Maria Sayer]

An interpolation of Querrico El Mambo.

[Felix Contreras]

I've learned that song as Querrico El Mambo. So maybe Mambo numero Cinco. Maybe number five. Because he did Mambo number five and Mambo number eight. Cuban musician Perez Prado, who's a very, very Big deal in Mexico in the 50s, Mongo Santa Maria left Cuba for the first time to go play in Mexico with this guy, Perez Prado. He created this major, major mambo thing, more so in Mexico. That's why mambo's so big in Mexico. Musico Tropical. That's what we're listening to. We're listening to Perez Prado being sampled.

[Ana Maria Sayer]

Well, and if you listen to the song, Felix, she starts with a mambo, and then she ultimately actually breaks it down into a merengue towards the end. Did you hear? Do you remember what I'm talking about? Yeah. So she does almost within one song, and obviously she throws in a dembo at a certain point. So it's like, within one song, she's going to three very distinct genres and pitching it as just like. She calls it like her ora loca song. Like, she's like, this is my song that if we were in Colombia, everyone would come out and do the dancing and whatever. So what she's really trying to do here, Felix, is do, like, a comprehensive overview of, like, a lot of different styles of Latin American music. She does a vallenato song, traditional Colombian music, no Puedo Vivir cinel, which I love. I think that both of the lyrics on those songs are absolutely hilarious, too. She does a song that's inspired by Juanga's Beas Artes album, Esse hombres Malo. She does a song with manuchao. It's called Viajando por el Mundo. On one hand, I think. I think it's really cool seeing that Pan Latin has now been redefined. It's actually like, let's pay homage to every single style of music and get everyone excited to dance merengue again and get everyone excited to dance mambo again. And on one hand, that's really wonderful. On another hand, obviously, I knew the second I saw it was going to be complaints again. We bring up again this conversation around appropriation, Right. I was like, okay. People are going to say, well, does she have a right to do a merengue? Does she have a right to do a mambo? Does she have a right to do all these things? I can already see her face and this. Okay. I think, actually, Felix, the question of whether or not it's appropriation is not really the relevant question here.

[Felix Contreras]

Agree.

[Ana Maria Sayer]

Yes. There is that question of, are you capitalizing on, you know, using someone else's music? Is she gonna make money off of using a merengue? That's a super fun, danceable beat. That's not really from where she's from or whatever. Yeah, that's true. Do I think that's, like, really a problem? Not necessarily. But to me, the question. It's a question of authenticity. On one hand, she can look at it from this very anthropological perspective and be like, oh, I want to pay homage to all these things. I want to include all these things. She talks about being very, very intentional about going to her producers and having a sense of. This is one sound I want to explore. This is another sound I want to explore. Which, again, cool. But is Carol in this album? That's what I'm not sure about.

[Felix Contreras]

Interesting.

[Ana Maria Sayer]

Like, I don't know. If I hear this album and I say, oh, it's fun, but who's Carol G? What's her music like? What's the Carol G sound at? I don't know that I get that from this record.

[Felix Contreras]

I listened to it twice straight through, because I was really fascinated by what I heard. And I'm, you know, I'm not personally familiar enough with, you know, all her past stuff. That's your world, right? You know what it reminded me of? It reminded me of when. And when Carlos Santana did Tito Puente's Oyo Comova, okay? So here's a bunch in 1970, a bunch of San Francisco hippies led by this Mexican guy who's a blues artist. He didn't even know Tito Puente. One of the other guys in the band had to. Had to tell them about Tito Puente. It was authentic in the way they rearranged the song. So appropriation, you know, Tito Puente didn't complain when he started getting the royalty checks, okay, because it became a really big deal, as, you know. But that's what this reminded me of is listening to this and Carol Jeans, like, oh, she's experimenting. She's doing all these other things, you know. Right off the bat, when I heard Perez Bravo, I said, okay, let me find a long way home, because I want to listen to this in the car for a while, you know, And I just want to go back on the record on appropriation. You know, at this point, I don't know if it's age, experience or whatever. You know, if you're going to bring it and you're going to bring it, with respect, to me, there's no such thing as appropriation. I don't hear it.

[Ana Maria Sayer]

Yeah, I think there's something super fair. I mean, she brought El Buki on. Like, she brought Manuchao on. Like, it's not like she was completely ignoring, you know, the Origins of what she was trying to do. Like, I think. Yes. Is there always more artists can do? Sure. I think what she's probably more concerned with here is making music that's gonna last. She has hit that moment in her career, Felix. And I think you talk about this, actually, where she's like, oh, I've been making pop for a long time. I've been making reggaeton for a long time. And now I'm. I'm thinking about my legacy. Did she successfully cement that legacy? Will this album last? I'm not sure, but I think that's what she was trying to do.

[Felix Contreras]

It's maturation. That's what it is. I'm sorry, the Wise Old Man. No, it is. It's a maturation. It's an artist coming into her own right. These are different tools I have at my disposal to be able to create an identity for myself.

[Ana Maria Sayer]

But I'm curious. The sounds themselves, the songs themselves, did they feel like they did them properly?

[Felix Contreras]

Yeah, absolutely. Yeah. The track she did with Spanish French singer Manu Chow, I thought it was a Manu Chow record. In a way. She's like a chameleon. But again, in a very, very respectful way. Last week, I went to go see Paul Simon. He played one track from his Graceland album, which was made with South African musicians. Huge conversations about appropriation when that happened. Right. But the song stands the test of time. It's a great song. Whether we'll be listening to it 20, 30 years from now, who knows? Time will tell. But mad respect for her for doing this, man.

[Ana Maria Sayer]

And I love that you're saying that example in your Santana example as well. Because then it's like, oh, how quickly we forget. It's like now. Oh, what? Of course. Are you. Are you kidding me? Like, that's legend status. That's the stuff. That's the type of thing that no one would ever go and criticize Santana. They wouldn't even think to now, because it's like. No. That's how he cemented himself. So it's like the way these things evolve. The most significant characteristic of this record is the fact that we are living in a moment where pop can sound.

[Felix Contreras]

Like this, which is amazing.

[Ana Maria Sayer]

That's amazing. Those were a few songs from Carol G's new album, Tropi Coqueta.

[Felix Contreras]

Okay, we're gonna switch gears a little bit. I brought in a track by our friend Viano Antiano, who did a collaboration with a vocalist by the name of Mima. It's a remake of a Puerto Rican protest anthem. Called Monon by a protest singer named Roy Brown. This track is called Fuego. This is a straight on challenge to colonialism. The original version is from 1969. Today's version, it speaks to those same issues on the island. And then they expanded too, as you hear in the lyrics from different parts of the world. It also references Palestine all through the lens of queerness and through the lens of the amazing, incredibly talented people in Puerto Rico. Mima's given name is Yarimir Cavan Reyes. She's collaborated with Rita Indiana. She's collaborated with Eduardo Cabra. She was the lead female voice of one of my favorite bands, Y f they did A tiny desk in 2018. She's extremely talented. So underrated. This track again is called Fuego. The artists are Viano, Antiano and Mima.

[Ana Maria Sayer]

There's so much force behind it. It's like it's finally being let out. And it paired with the lyricism here and the message. And I think sometimes too, when we get political in the music in such a specific, explicit way, it can feel less like art and more like a statement. And this, this is a really beautiful track.

[Felix Contreras]

Watch the video because the video is really powerful as well. Again, the track is called Fuego by Viano Antiano and Mima. Okay, you get to close this out this week.

[Ana Maria Sayer]

Maije, love her from Venezuela. We've brought her on the show before she did A Tiny Desk. I received a letter from someone who's incarcerated in Texas State Prison today, which was really beautiful, saying he appreciates the show, all these different things. And he said Maijay's Tiny Desk is actually his face favorite. And he listens to it all the time. It's her debut album, Felix. Can you believe it? She's been on the scene for forever, but this is the first time she's putting out a full body of work. And let me just tell you, I've heard the whole thing. It is gorgeous. It's coming out on Friday, but I'm gonna play a little bit of the song. Yo me concient. She has a lot of the vocal stylings, a lot of the cool synth, a lot of the cool guitar of what I hear in a lot of the mainstream American pop, but that she always has that essence from Venezuela. I want to play you another track. It's called Peter Pan. What comes out of her is very authentically between both worlds in a way that blends really nicely. Her dad is actually a very famous songwriter, Fernando Osorio. He's written for Celia Cruz, Marc Anthony, Ricky Martin, Luis Fonzie, like literally everyone like, has been in the scene in Miami for years and years and years. So, you know, it runs in the family.

[Felix Contreras]

Yeah. Apparently.

[Ana Maria Sayer]

That was Peter Pan yome consiento off of Maya's new album.

[Felix Contreras]

You have been listening to amazing new music. Amazing from your friends here at Ote Latino. Our audio editor is Simon Rettner.

[Ana Maria Sayer]

The woman who keeps us on track is Grace Chung.

[Felix Contreras]

Surya Mohammed is executive producer of NPR Music. I'm Felix Contreras.

[Ana Maria Sayer]

And I'm Ana Maria Sayer.

[Felix Contreras]

Thank you for listening. Thank you for listening.

[Progressive Insurance]

Thank you. Thanks.

[Felix Contreras]

Thanks.

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