Siempre es Lunes – Ep. “Charlando Cosas de Kid Power Posse a DJ Adam”

Host: Macetaminofen
Date: March 18, 2026

Overview:

In this energetic, nostalgia-fueled episode, Macetaminofen and his friends dive into the golden era of Puerto Rican urban music, tracing its evolution from Kid Power Posse, early pioneers, and iconic albums, to the impact and legacy of DJ Adam. With stories about tapes, DJs, fashion trends, and street culture, the crew reminisces and debates the key moments and unsung heroes who shaped Puerto Rico’s under and reggaetón scenes. The tone is raw, irreverent, and steeped in the energy of “la clase del under.”

Key Discussion Points & Insights

1. La “Clase del Under”: Setting the Stage

• Opening by celebrating their platform as a space for OG stories, without protagonism, sharing “datos que nunca se habían compartido” (01:00).
• Pride in chronicling history as insiders, driven by love of the craft and friendship:

  “...me siento. Hay gente que cree que la bendición de Dios es prosperidad económica. Pero para mí esto es una bendición. Poder hacer un podcast con mi pana brother.” – B (01:21)
  “Tú sabes que te quiero con cojones, cabrón...” – A (01:26)

2. Genesis: From Vico C to Kid Power Posse

• Recognition of rap pioneers: Vico C, Rubén DJ, Piro JM, Bruli (02:03).
• Vico C's evolution: "Misión la cima" as a favorite (02:34).
• Commentary on Vico C’s Christian era and underground influence (02:52).
• Spontaneous, rambling vibe dubbed as a journey “de Guaynabo a Moro Pacho... por allá por la puñeta." (03:38)

3. Musical Timeline – Key Albums & Cultural Touchstones

• Recap of 1992’s major hits:
  • "Bachatarrosa" – Juan Luis Guerra
  • "Perspectiva" – Gilberto Santa Rosa,
  • "Cuenta conmigo" – Jerry Rivera (“El disco fue ‘Dónde están los ladrones’ de Shakira, pero zumbo mil mierda. Todos están pegados.” – A, 04:54; B, 04:58)

4. Kid Power Posse: The Menudo of the Era

• The impact of "La Medicina" and pairing rap with colorful, trend-setting fashion (06:13).
• Nostalgic stories of getting Kid Power Posse cassettes and fake Walkmans as Reyes gifts (05:16).
• The group was “algo bien loco… un dúo con bailarines,” sparking trends with cross colors, “bobos,” and Kansas pants (06:13–07:03).
• Clarification on the lineups and confusion around Johnny Press and Pedro Press (07:14).
• The group’s lineup spits off with references to early dancers and fusions like Black Dragon Squad, which broke through in Japan (08:34).

5. The Evolution of Underground: Sound, Copyright, and Rivalries

• "La Medicina" differentiated by being a clean, radio-friendly response to Nando Boom’s “Enfermo de Amor” (09:45).
• Anecdote on reggaetón copyright drama involving Wisín y Yandel, Don Omar, and Nando Boom (“…Nando los demandó porque es copyright. Y creo que dejaron. Wisin y Yandel dejó a Don, tuvo que pagar” – A, 09:56).
• How early underground sound traveled from Denoise to mainstream radio like X100 – noted as “super limpia, comercial” (12:06).

6. Bruli, Tritugé, and the Blending of Rap with Dancehall

• Tribute to BR (Bruli), regarded as the one who took rap “más reguiado” and pioneered complete albums in the style (13:13–13:30).
• Discussion about mid-90s fusion acts like Trituté Funky, Big Boy, and the rise of salsa-infused rap, praising Mikey Perfecto’s voice (14:00–15:02).
• Comparison to DLG and “what could have been” if these artists had stuck to their innovative styles (14:47–15:02).
• Side note: behind-the-scenes writers like Benny for stars such as Olga Tañón and Elvis Crespo (15:15).

7. Fashion, Lifestyle & Street Cred in the 90s

• Cross-color fashion, Kansas pants, bobo hats, and how US trends like Kris Kross influenced Puerto Rican youth (16:15).
• Shout-out to stores like Oak Tree, Wildpair, and Flag Bros for their key role in streetwear culture (17:00-18:17).

8. The Role of NPM Records and Early Production

• Background on Norman Pérez Monarca (NPM Records) as a behind-the-scenes figure, producing key tapes and facilitating distribution (21:50–23:04).
• Their clean lyrics stance and scratch-censoring of “malas palabras,” setting industry standards for radio-friendliness (25:45–26:03).

9. DJ Adam: A Quiet Legend

• DJ Adam’s trail highlighted as coming from the B-Boy scene, emphasizing his authenticity and technical scratch skills (26:25).
• Memorable anecdote:

  “Cuando yo primera vez escuché un scratch, yo decía que eso lo hacían como una lata... yo creía que era una lata. Qué locura.” – B (26:54)

• DJ Adam’s output (“MAM 2,” “Reclamando Territorio,” work with Tego Calderón, and more) and commitment to clean, innovative production (27:55–28:17).
• “Señor Oficial” called a “gran paso del género del reggaetón en la crítica social” – credited as pivotal in genre evolution (28:17).

10. The Legacy of Eddie Dee

• Eddie Dee’s talents are praised, especially his versatility in social commentary, storytelling, and reggaetón hits (29:07–29:21).
• Notable quote:

  “…para mí Eddie, que yo lo tengo top 3 pero es más personal porque es bien completo el cabrón te podía hacer un perreo, un rap y una crítica social y mil mierda el tipo estaba muy cabrón.” – A (29:07)

• Details about his self-styling as "El Terrorista de la Lírica" and role in ushering in Tego Calderón (29:57–32:40).

11. Shout-Outs & Closing

• Community engagement through shout-outs to the “Movimiento Nación Playero” and reiteration that the show is about delivering pure, unvarnished history (34:16–34:56).
• A sense of archiving and pride:

  "...un montón de gente vivió estos tiempos bien bonito, coño, mano, a mí me gusta mucho que lleguen todos de la vieja llegando como que el pan está diciendo la que hay, porque aquí no estamos exagerando, estamos contando los datos como son..." – A (34:40)

Selected Notable Quotes & Memorable Moments

• On doing the podcast together:

  “Poder hacer un podcast con mi pana, brother. Oh, con mi bro cabrón. Tú sabes que te quiero con cojones, cabrón.” – B & A (01:21–01:26)

• On 90s musical nostalgia:

  “Juan Luis Guerra... Ese disco a mí me encanta. Completo." – A (03:54–04:02)

• On Kid Power Posse fashion:

  “La moda: los bobos, la ropa cross color, las curitas... tú ibas al Paseo de Diego y todos los kioscos ambulantes vendían los bobos plásticos.” – B (06:13–06:31)

• On the business of old school tapes:

  “Norman ponía la torta y luego se lo vendían a Pedro Mercé para distribución.” – B (22:51–23:01)

• On pioneering clean reggaetón:

  “Eso se pegó feo, feo, feo porque de hecho en aquel momento yo aprendí algo bien cabrón. Si tú le dices a la gente que no puede hacer algo, la gente va a ir a eso.” – A (23:43)

• On Eddie Dee’s range:

  “El cabrón te podía hacer un perreo, un rap y una crítica social y mil mierda el tipo estaba muy cabrón.” – A (29:07)

• On keeping memories alive:

  “...un montón de gente vivió estos tiempos bien bonito, coño, mano, a mí me gusta mucho que lleguen todos de la vieja llegando… estamos contando los datos como son...” – A (34:40)

Timestamps for Important Segments

• 00:36–03:00: Opening, friendship, and purpose of the podcast
• 03:54–05:16: Musical landscape and favorite 1992 albums
• 06:13–08:34: Kid Power Posse: influence, lineup, and streetwear
• 09:45–12:23: “La Medicina: ”The clean hit and its underground roots
• 13:01–14:47: Tribute to Bruli and mid-90s rap-dancehall fusion
• 16:03–18:17: Fashion and lifestyle influences in the urban music scene
• 21:50–23:04: NPM Records’ behind-the-scenes industry role
• 26:23–27:55: DJ Adam’s legend and scratch anecdotes
• 28:17–29:21: “Señor Oficial,” Eddie Dee as a genre-shaper
• 29:57–32:40: Eddie Dee’s legacy and connection to Tego Calderón
• 34:16–35:10: Closing, shout-outs, and message to hip hop history lovers

Episode Tone

Irreverent, hyper-local, packed with slang, jokes, and asides; the hosts blend humor and straight talk, with occasional heartfelt respect for icons and departed peers. The “clase del under” is both a tribute and an informal school for anyone wanting real context about Puerto Rico’s urban music story.