All Songs Considered: Alt.Latino Episode Summary Episode Title: Alt.Latino: Rapper PJ Sin Suela on Puerto Rican Hip-Hop and More
Host: Ana Maria Sayer
Release Date: May 1, 2025

Introduction to PJ Sin Suela

The episode opens with Ana Maria Sayer introducing PJ Cinzuela—also known as PJ Sin Suela—as a prominent Puerto Rican rapper and hip-hop artist. PJ is acclaimed for his influential role in shaping the Puerto Rican hip-hop scene alongside big names like Bad Bunny and Raunquejandro. Ana Maria highlights PJ's commitment to using his music as a platform for political and social change, emphasizing his active participation in campaigns such as La Alianza during recent Puerto Rican elections.

The Evolution of Puerto Rican Hip-Hop

PJ shares his personal journey into hip-hop, reminiscing about his introduction to the genre during his early teenage years.

“My introduction to, like, Puerto Rican hip hop was probably when I was like 14 or 15... I found out about who was Tecuanue PA flo Intifada.”
— PJ Cinzuela [03:02]

He explains how, transitioning from bands like Blink 182 to hip-hop, PJ discovered influential artists through friends, which ignited his passion for the genre. This period in the early 2000s was pivotal in shaping the contemporary Puerto Rican hip-hop landscape.

Cultural Influences: Bomba and Plena

Ana Maria delves into the rich tapestry of Puerto Rican music by introducing Bomba y Plena, emphasizing their African roots and their role in protest music. PJ acknowledges the deep connections between traditional Puerto Rican rhythms and modern hip-hop.

“Plena has always been solidario with having something to say and about caring which... what's happening in Puerto Rico and Latin America.”
— PJ Cinzuela [09:15]

He draws parallels between Plena and hip-hop, noting that both genres emerged from community struggles and serve as mediums for expressing social and economic challenges.

Hip-Hop vs. Reggaeton: Distinctions and Overlaps

A significant portion of the conversation focuses on distinguishing hip-hop from reggaeton within Puerto Rico. PJ articulates his perspective on the cultural and thematic differences between the two genres.

“For me, he (Tego Calderón) is hip hop because he raps and he respects the Culture.”
— PJ Cinzuela [13:06]

He highlights that while reggaeton often dominates the commercial music scene with themes centered around nightlife and personal exploits, hip-hop in Puerto Rico remains a vessel for more profound social commentary and protest.

The Role of Protest in Music

PJ emphasizes that authentic protest music arises organically from personal and communal experiences. He criticizes the commercialization of violence-themed content, suggesting that when artists adopt such themes solely for popularity, it distorts the genre's true purpose.

“If all your songs are about buying a gun and killing someone, then obviously there's something wrong about it.”
— PJ Cinzuela [17:42]

He advocates for a balance where music reflects real-life struggles without glorifying negative aspects.

Influential Figures: Tego Calderón and Niejo

The discussion shifts to influential artists like Tego Calderón and Niejo, who have significantly impacted PJ's musical journey. PJ praises Tego for blending traditional Puerto Rican sounds with hip-hop, thereby paying homage to his roots while addressing critical social issues.

“Tego was doing reggaeton, but he would incorporate bomba, plena, boleros... and he was also talking about his black community and how the economy and being poor affected them.”
— PJ Cinzuela [10:50]

Regarding Niejo, PJ admires his storytelling ability and authentic portrayal of life’s dualities—balancing social struggles with moments of joy and celebration.

“He's like a happy rapper because he can mix social and economic struggles with going out to party and drinking and smoking.”
— PJ Cinzuela [20:07]

PJ Sin Suela’s Musical Journey

PJ offers an intimate look into his dual life as a medical doctor and a musician. He recounts his shift from pursuing medicine to fully embracing his passion for hip-hop, especially during his time in Philadelphia where he became deeply involved in the local hip-hop and trap scenes.

“I was just gonna do hip hop... I want to do what I love.”
— PJ Cinzuela [21:13]

He discusses his track "Sandunga," which marks his transition into more danceable music infused with cultural narratives. This song gained significant traction when performed at the La Fieta de Gallasan Sebastian festival, especially after the mayor danced to it, propelling PJ into the mainstream spotlight.

The Future of Hip-Hop in Puerto Rico

In contemplating the future, PJ envisions a fusion-driven evolution for Puerto Rican hip-hop. He believes that blending traditional genres like salsa, bomba, and cumbia with hip-hop will continue to innovate and prevent the genre from becoming stagnant.

“I think that hip hop is gonna keep evolutionizing in that you could do hip hop and make it a fusion with reggaeton or sarsia, cumbia or anything you want.”
— PJ Cinzuela [29:37]

Conclusion

The episode concludes with Ana Maria encouraging listeners to explore PJ Sin Suela's Tiny Desk Concert, celebrating his contributions to the Puerto Rican music scene both as an artist and a community advocate. PJ's dedication to integrating social issues into his music exemplifies the powerful role of hip-hop as a tool for change and cultural expression.

Notable Quotes:

• PJ Cinzuela [10:50]: “Tego was doing reggaeton, but he would incorporate bomba, plena, boleros... and he was also talking about his black community and how the economy and being poor affected them.”

• PJ Cinzuela [17:42]: “If all your songs are about buying a gun and killing someone, then obviously there's something wrong about it.”

• PJ Cinzuela [29:37]: “I think that hip hop is gonna keep evolutionizing in that you could do hip hop and make it a fusion with reggaeton or sarsia, cumbia or anything you want.”

Further Listening: Be sure to check out PJ Sin Suela's Tiny Desk Concert for an immersive experience of his unique blend of hip-hop and traditional Puerto Rican rhythms.