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24 DJ Eddie One: Every Shift But Midday · The Heavy Hitter DJs Podcast

• 0:01
  Be SAVAGE.
• 0:02
  On this week's show...
• 0:06
  And I remember talking to somebody at Sirius and telling them, yeah. I'm a Heavy Hitter.
• 0:10
  Bro, that's what got me the job. I'm not kidding. That's what got me the job.
• 0:14
  Wow.
• 0:15
  Saying that I was a Heavy Hitter got me hired at Sirius Hot Jamz 50.
• 0:19
  In three, two, one. I'm DJ Enuff. I'm DJ Camilo.
• 0:24
  I'm DJ Kast One. And I'm Len Boogs, a.k.a. L. Boogs. Ladies and gentlemen, boys and girls, everyone worldwide, this is the Heavy Hitter DJs Podcast.
• 0:38
  Yes, sir. Once again, we back at it. The Heavy Hitter DJs Podcast, L. Boogs in the place, DJ Enuff. Yes. Kast One. Yo.
• 0:46
  Birthday boy, DJ Camilo, and we welcome our guy, DJ Eddie One.
• 0:52
  Hey, one.
• 0:53
  Yes, sir. West Coast Los Angeles in the building. Building. Yeah.
• 0:58
  Look at that guy. He's a pro. Is that West Coast as they get and is as Heavy Hitters as they get. You're OG now, Eddie. Damn. Yeah, man. I'm OG now just like you guys. I still remember it.
• 1:09
  I still remember the induction with you.
• 1:13
  Eddie Eddie One, I gotta induction with... Who the who the fuck is Eddie One? Eddie one, you're the first one to show up with a DJ setup for our interview. I like that. I like that, yo. We're keeping it real, man. We still got the Technics.
• 1:27
  You know, we got the we got the Pioneer S11.
• 1:30
  Nice. Yo. Eddie One is a DJ, DJ, DJ, and I love that. Let me get you real quick. Hold up. Let me let me let me show off real quick. Let me give you the overhead. Let me give you the overhead. Oh. Oh, okay. Oh.
• 1:42
  Step your game up. Step your game up. Hold I got one more. Got one more. Step your game The fatal work cam. Fatal work cam.
• 1:52
  I like that.
• 1:54
  Yo. Eddie One, for anybody out there who's saying what's up to you for the first time, let them know. Eddie One, I'm from.
• 1:59
  I represent heritage. All I got, man. Yeah, man. So Salvador, Latino.
• 2:06
  Been part of the Heavy Hitters since around 2004, 2005.
• 2:10
  Whoo. Been doing radio in LA since 2006 in LA, officially in LA. But before doing radio in LA, I did Sirius Satellite Radio.
• 2:21
  I did Hot Jamz 50, the hip hop channel back in the days before they merged with, Sirius.
• 2:27
  You know, I did this trip back in the days, 2005 to Puerto Rico for the Mixed Show Power Summit. I fell in love with reggaeton, and I brought it back to the West Coast with me. And since then, it was...
• 2:38
  You know, I I stayed in my lane.
• 2:40
  My lane is now all Latino.
• 2:42
  Okay. You know? So I've been... You know, I'm I'm I'm known as the Latino guy here in LA, you know, been responsible for breaking a lot of Spanish records here in LA and very proud of that. I'm very proud being with the OGs here today. Tell them what time you want. Tell them what time you want. Yeah. What time you want over there? Yeah, man. So now I do the morning show. So I just finished the morning show. My bad. I was a little bit late, but the morning show finished at ten.
• 3:05
  I do six to ten.
• 3:06
  I've done every single shift you could think of. Obviously, I started just like a lot of you guys overnights.
• 3:12
  You know, I did the overnights twelve to six in the morning. Used to get out of the club and go straight to the go straight to the radio station, and and and, you know, I worked my way up to nights and then afternoons, and then I landed on the morning show now, which Eddie One. They they say everybody is replaceable. Uh-uh. But you sound very not replaceable, bro, because you've done every shift on that on that radio is crazy. Like Yeah. Not everybody except midday.
• 3:38
  Midday is the only shift I've never done, but I've done every every other shift that you to do list. Yeah.
• 3:44
  By the way, Eddie, before... But that that was in there, right, before you landed at the radio station. Let's go back to the record pool. Let's go back when you was really out there, and you... She's trying to at least just make a name for yourself.
• 3:54
  Was that when you first started doing the record pool out there, or was it something before that? Oh, yeah. Yeah. So I was involved in in in in street promotions.
• 4:03
  Let me cut you off. Hold up a second. Because the very few few... First times I met you, I met you, and you was actually fucking putting up posters on a a street corner in LA in LA, and that... That's how I kinda, like, remembered when I first met you. Yeah. Yeah. Yeah. That was my first that was my first hip hop gig.
• 4:22
  So I I used to work for Frank Vidal, older brother of the Baka Boyz, radio legends here in LA.
• 4:31
  He had a a promotion company called Ghetto Baby.
• 4:35
  I started working with him and doing the poster boards. You know, I do... I did a lot of work for him back in the day for all the major labels back then for Interscope, for Universal.
• 4:45
  I did a lot of that through him, and then I branched out and started my own company called West Coast Street Promotions.
• 4:52
  I worked all the stuff for, like, all the West Coast stuff back in the days for Priority Records, all the Friday soundtracks, all the stuff for Ice Cube, Snoop, Mack 10. So That's when record labels were paying. Yeah, man. This is before the digital, before the MP3s.
• 5:09
  So the way I started my own company was by showing improving the work on the street, man. I was I was on Sunset one time putting up some poster boards, and I had a rep from Priority Records pull over and scalp scalp me right there.
• 5:23
  Like, hey. I want you to come do some work for Priority Records, and that's how I started getting my own gigs.
• 5:29
  And I still helped Frank Vidal because, you know, I I always had respect for him and and his company. So I would... I started my own and still worked for them at the same time, and I was doing both. And then I decided that's when the record pool came about with DJ Vice, another, you know, DJ legend here in LA.
• 5:47
  We we got together, and we we had a a a vinyl record pool called West Coast Record Pool. So... And I was going to... I was doing the street promotions, putting up the poster boards, passing out the flyers, going to the mom and pop record stores.
• 6:00
  But not... You wasn't DJing you wasn't DJing at this point. Were you No. I wasn't.
• 6:04
  I was Eddie One. I was not DJ Eddie One. I was just Eddie One. Right.
• 6:08
  I wasn't thinking about DJing yet.
• 6:10
  And then when the whole MP3 boom happened, Serato came, and I noticed, you know, that the that it was going all digital and that the street promotion was not gonna... Was kinda dying out. And I decided to make the switch to DJing, which I took as a hobby at first, but then, you know, it became a gig.
• 6:28
  How... And how long did it take you to get, like, good at DJing? Let me ask a question. How old were you when that happened, when that transition happened, age wise?
• 6:36
  Bro, I was in my early twenties.
• 6:38
  So I started DJing pretty late. Yeah. That's late for somebody to start DJing. So, like, how'd you how'd you find the time and find the effort to to become even good at it? You know, it's it's... People were not taking me serious at first. Like, they were like, yo, this... You know, he's he's a promoter. How is he a DJ?
• 6:56
  What is... You know, what what is he?
• 6:57
  A promoter? Is he a DJ? You know, a lot a lot of questions were raised, but it took me a while. I I...
• 7:02
  It took me a while. You know, I I mastered the mixing. I'm not a scratch DJ. I'll tell you that. I can I can scratch enough to get by and do some tricks and, you know, do some cool stuff, but I'm not a scratch DJ?
• 7:15
  I take pride in my blends, bro. I'm really good at blending. I'll do a live mashup on the go on the fly on the air without thinking about it. I I would say my strength is on the mixing part and on the blending and mashing up records together. Clean. Clean mixing. Yeah. So when I first went to New York and I saw how you guys do it and a lot of cutting, I found that I was like, oh, okay.
• 7:35
  So they don't really blend in New York.
• 7:37
  I do cut records in because you like to see that reaction from the crowd sometimes when you just drop something, and you hit them with something like left, right, left field, and they're like, oh, you know, they're not expecting that. I do that I do that more at the club or at events, and I still do it on the radio.
• 7:53
  I do a mix of both nowadays, but when I first started, I was strictly, like, a mixer mixer. When I went to the West Coast for the first time, that's one of things that stood out to me because I turned on the radio, and I would hear the DJs that would go from record to record. And it was, like, not just a a blend, but a long blend. Like, they will hold the mix for, two hours.
• 8:13
  Yeah. For, like, $15.16 bucks. I'm like, yo. I don't think I know five people in New York that could hold the mix for that long, bro. I was like, yo. This is crazy, which made me wanna in turn come back and be like, I gotta step my blend game up so I could be able to, like, hold the blend for a long time. Even though, you know, it's not a thing in New York that much, but it's still a skill.
• 8:32
  You know what I'm saying? When it comes to No. Yeah. It is. For sure. Sure.
• 8:35
  Over here, people appreciate that more. And I think cutting records in is good as long as you cut them in on on beat and on point. But...
• 8:43
  Yeah. Yeah. But if you're just stopping and just hit dropping bombs and just...
• 8:47
  I'm a be honest. I don't have respect for that.
• 8:50
  I said it. If it's not on... If it's... If you're going from, like, 90 to...
• 8:54
  Or a 130 and you're just dropping a bomb to just hide the fact that you're not blending or transitioning that you can actually do the job. Yeah, man. At least put a transition, like, an actual premade transition to go up or go down.
• 9:10
  So... Yeah. Eddie Eddie, at this time... Well, you... You're playing everything, though. Right? You haven't tapped into just doing the... You're playing everything at this time?
• 9:17
  I mean, at the radio station, I I I No. No. No. Not today. I mean, at that point when you made the transition from from the Yeah. Yeah. Yeah. In the early two thousands, I was still doing, hip hop and reggaeton. So I was carrying two crates Right. Just like just like Camilo.
• 9:31
  I was carrying my Spanish crate, and I was I was carrying my hip hop crate.
• 9:35
  And it was hard finding reggaeton on vinyl. Yeah. That was that was a that was a challenge because you had a How long was it? Like, all the Spanish, just have the books with the CDs.
• 9:45
  You know what I'm saying? There was no was trying But there was there was there was bootleg there was a lot of bootleg reggaeton songs out there. Yeah. You buy one bootleg, and there'll be, like, three songs on one side, three on the other, and I was... That's how I used to get through.
• 9:58
  But at the end of the day, if you really wanted that soft fashion, you needed to get those CDs. I'm I'm pretty sure Cheeky Star has something to do with that vinyl. I don't I don't remember those. Don't remember the the reggaeton on vinyl. Have to go look to that. I I have some.
• 10:10
  I still have them. Was getting a lot of them from New York. Weren't they white label? They were white label. This? Yeah. They were bootlegs. I put you on. Kazzanova used to do those. Remember DJ Kool? Yeah. You know what? Yeah. Yeah. Yeah. I remember. I'm gonna go I'm gonna go get my records and look through them. Hey, man. I know I have some. I just... You know what it is? Sometimes you forget. Like, I I can't... You... Back then when we used to use records, we would know every record that's in the crate and where every record was.
• 10:35
  Like, my records are frozen in time. And I was just talking about those people online the other day because my records are frozen in time from the day that we started using CDs, and then we went to MP3s or and WAV files or whatever. My records are frozen in time from that day. Oh.
• 10:49
  So I I don't... Y'all y'all y'all see that red bag right there on the floor?
• 10:53
  You see that red bag? That's what you got left? That bag came with me on my last gig when I was using vinyl. Wow. And that's, like, my, like, like, my classics and a couple of joints, and I haven't touched it since.
• 11:04
  Like, it's The hits.
• 11:06
  Should open it and see what's in there.
• 11:07
  The hits hits. Do it right now. Pull the record out. Pull the record out. Go on. Pull the record out. Let's do it.
• 11:12
  Let's do it, bro. Pull the record out.
• 11:14
  Bro, you better do it. I'm gonna go get all my vinyl because I still have the flight cases. Eddie One, you know the flight cases, the old joints? Yeah. Yeah. What's that? Look at that ice cream. Fire.
• 11:23
  Make sure power so many make sure power so many carrying cases. Like, I would, you know, pack up for every gig. It'll be a little different. So I was just, okay.
• 11:30
  Let me grab this and put this here, you know, last minute because I wouldn't play this all the time. Right? Mhmm. Mhmm. But crazy. Right? Don't make me don't make me go pull out my Tupac records, bro. Right? So I got the I got the OG Tupacs, the OG Biggies.
• 11:44
  Bro, I have a a good 1,000 records myself.
• 11:46
  One more from Queens, so you already know.
• 11:48
  Of course. That's a goal. That's a goal.
• 11:51
  No. Yeah, man. So back to the records on on reggaeton on vinyl, I started doing my own here in LA.
• 11:56
  Okay. Felli Fel. Shout out to Felli Fel.
• 11:58
  Felli Fel had a... His own vinyl called Heavy Hits, and I had... And then I used to help him distribute his vinyl. I remember that.
• 12:06
  And that's kinda how I got involved with Felli before I started DJing.
• 12:11
  Because as a promoter, I I I told him, like, hey, bro. We need to start our own vinyl because reggaeton is hot. You keep your hip hop vinyl. I'll start my reggaeton version. So he had Heavy Hits, and I had my own, vinyl called Heavy Rotation.
• 12:25
  Yeah. I remember that. Yeah. So... And and I used already... You were both a Heavy Hitter by then, or it was just Felli?
• 12:31
  No. It was just Felli. It was Felli.
• 12:33
  It was just Felli. So mine was just Heavy Rotation. I wasn't a Heavy Hitter yet, and that's when, you know, I started doing a lot more business with Felli because I used to also sell his mixtapes.
• 12:42
  I used to go to the record stores and sell the mixtapes and sell the vinyl for him, and that's how I built the relationship with him.
• 12:50
  And I was always working records. So if I was taking on on a project on the hip hop side, let's say let's say, you know, Friday soundtrack, whatever, I would take the vinyl up to the radio station with him and and and try to get those records played. I would remember, like, break... Remember B2K? I don't know if you guys remember those dudes. Bump. Bump. Bump. Yeah.
• 13:09
  I broke those I broke those out here in LA as a promoter. I I took them to the nightclubs. I would do the the the walkthroughs with them.
• 13:17
  I did a lot of the grassroots stuff with with with a lot of the local acts here in in in the West Coast.
• 13:23
  No. And I I love this part because, like Camilo always mentions, we gotta man the people up the grind. We... All all the steps that you take to sit down there and say, hey. I do the morning show.
• 13:30
  Like, you know what saying? You was doing a bunch of stuff tied to what you're doing now. Dealing with just the hustle from day one, which led to DJing, which led to, like like, you know... I mean, fast forward to now, he's a radio...
• 13:41
  You are a radio legend at the Yeah, man. Of course. So thank you. Yeah. Eddie's been Eddie's been working for a long time.
• 13:46
  It's hard to say it's hard to say it's hard to say, you know, it's hard to stay on top, man, but, you know, you just gotta keep grinding. And and and, you know, if your listeners like you, they're gonna they're gonna follow you wherever you go.
• 13:56
  Eddie, was it was it tough transitioning from saying, you know what? I'm just focused on the Latin stuff, and then then everything else could just... You know what mean? Was it was it tough to just, like, you create it all?... At the end of the day.
• 14:08
  Not at all. Because I... I'm born in El Salvador, bro. I came here to to LA when I was 11.
• 14:13
  I didn't know how to speak English, bro, when I got here. Wow. So Same. Spanish Spanish was always my first language.
• 14:20
  And, you know, that's why you hear a little bit of an accent when, you know, when I speak English. That's because I learned it after I got here. Got it. But when I went to Puerto Rico, I remember... This is... This was the turning point for me. 2005, I was at the Mixshow Power Summit, and I saw Akon perform"Locked Up" with Voltio.
• 14:39
  Yeah.
• 14:40
  And and then and then Lennox came out with all these model girls.
• 14:45
  I don't know if you guys remember that.
• 14:47
  I don't know if you guys were there for that one. Big big club, right, with the huge Yeah. Yeah. Yeah. Yeah. I I I remember that. Woo hoo. And they they came out with, like, a 100 models, bro, to make a statement, and they were all dressed in white. And I was just blown away by that. And'05, '05 was an incredible year for Yeah. reggaeton wave. That's really, like, when we had the explosion, really. '05, 2006. Yeah. Those two years. I remember seeing Zion & Lennox. Bro, that made me go to the mall. I went to the mall in Puerto Rico, and I remember coming back home with the the last Don, the Don Omar, the Gasolina, Barrio Fino, Ivy Queen, Zion & Lennox, Luny Tunes, Wisin & Yandel, and I didn't know them yet. I remember on my flight back to LA, I was listening to all those.
• 15:33
  And out of those CDs, I put together a mixtape called Los Angeles.
• 15:40
  Okay.
• 15:41
  Which that mixtape is what blew me up as a Latin DJ.
• 15:45
  Thanks to that mixtape, everybody knew me, you know, got to know me as as the as the reggaeton DJ guy, which I don't... I didn't I didn't mind taking on that that title.
• 15:55
  Right.
• 15:56
  And and, bro, that mixtape blew up. It it blew up. But at that time, you were still playing hip hop and stuff like that. Yeah. I was. Yeah. Right. And I still like hip hop.
• 16:05
  I think my hip hop...
• 16:06
  I'm a I'm a be... I'm a keep it 100. My love for hip hop probably went away. And in the mid twenty tens mid twenty tens after that is...
• 16:16
  I don't know, man. I just wasn't feeling a lot of the music coming out. Well, twenty tens is... I think hip hop really took, like, a a dip. And... Well, that digital shit came up. Yeah. And I think I think that... Well, that's when the EDM slowly started really... EDM took over. Right. And and hip hop was just, like, hanging on, hanging on. You know what I'm saying?
• 16:35
  Like, it's hanging on right now. Right. Right.
• 16:37
  You know? Yeah. And so so then you use your... I'm I'm assuming that this is where it came in handy being a promoter and a marketer. You were able to spread that mixtape out. Exactly. Yeah. Right? I remember, like, taking it to the stores myself, and the stores would take it and buy it and sell it. I I used to take it to places like Melrose, like, it's...
• 16:59
  Which is a big, you know, big big big, known worldwide here. It's a Hollywood spot. All the shops there would sell it for me. The record stores would sell it for me. And then the funny thing is that I took it to the alleys, which is... We call it here Los Callejones in Spanish, which is, like, the hood spot where everybody goes to go do their shopping, and they just got bootlegged. It got to the point where, like, it got bootlegged, and I just I couldn't control it. I was...
• 17:24
  At first, I was mad about it.... Me when they bootleg your shit, you made it. Yeah. Exactly.
• 17:29
  At first, I was mad about it, but then I...
• 17:32
  But then afterwards, I was like, you know what? This is actually helping the situation.
• 17:36
  Yeah. That promo right there, you can't even pay for that type of promo. Right. Yeah. Once you get them, like, you know you know... And I and I tell this story all the time. When when I first went to Europe and I went there for the Beatnuts, not for myself. I went to DJ for the Beatnuts. Like, and we landed, and we hit this this concert place, and they had the the the guy selling mixtape. My shit was there. I was like, woah.
• 17:57
  I'm hot out here. No. The Beatnuts are...
• 18:00
  The Beatnuts were big here too in LA.
• 18:03
  Right. I remember doing a club night once, with DJ Vice. We... He used to do a club on Thursday nights here at a club called Florentine Gardens, and and we brought the Beatnuts.
• 18:12
  And we had more like a like a b boy room and more like a commercial room. Well, that b boy room was...
• 18:19
  People couldn't fit on that, bro. You know?
• 18:22
  Okay. At this point, you had learned... You had to teach yourself how to DJ. Taught yourself how to DJ.
• 18:26
  You you went to PR. You got the mixtape. You you came back. You set up the mixtape. You put that out. At what point were... Did you start doing clubs and taking the steps that was starting to get you more noticed to be able to get to radio? So... And was it hard getting into clubs? As, you know, as a late bloomer, let's just call it what it is. Yeah. I was. Late bloomer. Yeah.
• 18:46
  How how how did that how did that go?
• 18:48
  Especially in LA. Remember my first my first club, Big Bro. I'm... I fucked up.
• 18:56
  I suck, bro.
• 18:57
  I suck. You're supposed to suck. You can't talk to.
• 19:01
  I was so nervous.
• 19:03
  First club in LA, DJI here was a club called on Mirage. Still goes... Still hap...
• 19:07
  Still goes to... Today. Still open today. And, man, I was I was a train wreck. I was a train... Especially, think about it, especially here in LA where mixing, it's... Mixing is king, and I couldn't... No. I couldn't mix. I couldn't keep it together. West West Coast West Coast DJs to me as well are scratchers, man. Yeah. They've always been on that crapping and all that to me. So I'm sure I'm sure, you know, for you, it was like Technically I looked... Yeah. I looked up to a lot of them, like the Beat Junkies Right.
• 19:40
  Mr. Choc Yes.
• 19:44
  And and and even DJ Vice.
• 19:46
  Like, Vice, bro, bro. Vice has some cuts back in the day. So Vice is now known as a...... Nasty, man. We got... Yeah.
• 19:51
  We gotta we gotta get Vice on this pod, man, because Vice Vice is is is Yeah. To me, he's a West Coast DJ legend. Like Of course. Do you look up on YouTube, DJ Vice. He had a battle.
• 20:02
  I forgot with who it was.
• 20:03
  It was a seven up. What's it? Was it seven up? Or what what... It was like a...
• 20:07
  It was a soda company that used to put together problems? In New York. Probably Pepsi.
• 20:12
  No. I think... Yeah. It probably was Pepsi, but he battled... I remember him battling this DJ in New York.
• 20:18
  He won that battle, bro. And they gave it to the to the DJ in New York. This was around the Tupac Biggie Biggie, days. So Might have been Sprite. Look look it up.
• 20:29
  Look it up. And then when you guys see it, tell me who really won that battle. I forgot. And he was saying it was rigged for the East Coast. Yeah. Was saying that's what he... That's what he's trying to say. He said it was rigged for the East Coast. I'm gonna go watch that battle. Yeah. You gotta watch it, bro, because he won hands down.
• 20:44
  He won that one hands down. So you were doing the clubs.
• 20:49
  At what point did you did you did you always wanna do radio, or did you just kinda, like, materialize?
• 20:54
  Or what was that all about?
• 20:57
  No. Yeah. I definitely wanted to do radio.
• 20:59
  Because see, when I used to work as a promoter and then go to the radio stations, I used to see these guys play.
• 21:04
  And watching them DJ is what inspired me.
• 21:07
  So watching Felli, watching Vice, watching a lot of these guys doing, you know, doing their thing is...
• 21:15
  A lot of... Watching them is really what got me to to become a DJ. And, yeah, like you said earlier, all those street promotion skills and everything I learned on the street, I put it into the DJ to promote myself and to make my name to make my name out there. Eddie. Put my name out there. Tell us how your radio started. Like, what was, you... What was the phone call?
• 21:33
  Where'd you start? What First gig? First radio gig. Your first day, all that. Yeah. First radio gig for me was actually Sirius, satellite radio.
• 21:42
  Oh, wow. So so I remember getting down with the crew, and I remember talking to somebody at Sirius and telling them, yeah. I'm a Heavy Hitter.
• 21:50
  Bro, that's what got me the job.
• 21:52
  Oh. I'm not kidding. That's what got me the job.
• 21:55
  Wow. Saying that I was a Heavy Hitter got me hired at Sirius Hot Jamz 50.
• 22:01
  At that point, 2004, I was the only West Coast mixer on sat... On on Sirius.
• 22:08
  You... My mix would come on at seven on channel fifty, and it was cool, man, because I would get emails from, like, Midwest.
• 22:16
  You know, people like, hey. I mean, we, you know, we listen to you in the middle of nowhere here. We go out, get some beers to go out in the truck.
• 22:21
  Yeah. Yeah. We listen to you.
• 22:23
  And and and I was the only DJ that had the West Coast flavor. So I was playing, like, you know, all the West Coast stuff, and I was playing all the E-40, the Bay Area stuff that was big at the time too. Talk about the E. Yeah.
• 22:36
  So I was playing all the E-40s, Too $hort.
• 22:39
  I was playing all that stuff that wouldn't get played from the guys in the East Coast because the East Coast guys would would keep it 100% East Coast or Dirty South. And I was mixing it up. I was mixing... Obviously, the East Coast stuff was big, so I was mixing up East Coast, West Coast, and Dirty South, but my... But I was keeping it mostly West Coast.
• 22:58
  No. Because at that time, it was also tough for you guys on the West, to be honest, because the East East guys, I'm...
• 23:03
  East Coast guys really didn't wasn't touching any of those records. So for you to do that on satellite Yeah. That obviously became your thing.
• 23:11
  Yeah. Blow the whistle, tell me when to go. I was playing all that, yeah, Bay Area stuff along with all that West Coast stuff, the East, the Ice Cube tracks, you know, all that stuff. So after Sirius, then what?
• 23:23
  After Sirius, I was doing mix shows for a syndicated company in small markets. Can't remember the name of the company. Oh, yeah. It was called Mix Matters, bro. Mix Matters.
• 23:35
  So I was doing... Recording mix shows for free. I wasn't getting paid. They're supposed to get my name out there. I was doing mix shows in Fresno, Bakersfield, Kansas, all small markets.
• 23:49
  And I knew that I had to start somewhere.
• 23:52
  If I wanted to be on radio in LA, I had to have something... Some experience.
• 23:55
  So I used that syndicated make show for my resume.
• 24:01
  And then in 2005, I remember a record label rep telling me, hey. KIIS FM, the pop radio station in LA, is looking for a Latin DJ that can play pop and reggaeton.
• 24:18
  Didn't shit about pop, bro. I went into this I went into this job interview. And you say yes. Right? Yeah.
• 24:25
  Do you know how to play pop? Yes.
• 24:28
  Bro, I was playing Kelly Clarkson, Katy Perry.
• 24:32
  But I learned I learned all that on the job, on the go.
• 24:37
  Right. And so I I was do... I was doing a two hour mix show, so I ended up landing that gig at KIIS FM. Were you live?
• 24:44
  No.
• 24:45
  Okay. KIIS FM.... Not live, but not because I didn't want to be live. I was not live because that's how they did things there.
• 24:51
  This was 2005.
• 24:53
  I did KIIS FM for a whole year.
• 24:55
  And then in 2005, Latino 96.3, which is now my station called... Now it's called Mega. Let me show you the slipmat here.
• 25:05
  I remember that. Hell yeah. Hell yeah. See.
• 25:08
  Yes, sir. That's the originals... That's the originals, Spanish station here in LA that started in 2005.
• 25:15
  Bro, I was itching to get on it, but I didn't reach out to them. I was like... In my head, I was like, I know I got a name. I know I got a buzz. If they want me, they'll come get me. So I waited a whole year working at KIIS, waiting waiting to see if they would reach out. I remember being at a at a concert, at a reggaeton concert on a December 2005 meeting the music director from Latino.
• 25:40
  Shout out to Jerry Puyes. He now works for Apple Music. I'm sure Boogs probably knows him. Yeah. He's our Latin guy. Yeah.
• 25:48
  And he said, hey. You wanna come work with us? And and that's how I ended up at Latino in 2006.
• 25:54
  So from 2006 to present, I've been a Latino.
• 25:58
  Quick question. Like like, I wanna say around 2010, maybe '09, reggaeton also kinda fell off. Yeah. Right? It has its waves. Yeah. I was back when...
• 26:09
  Now it's back No. When I was No.
• 26:11
  No. A 100%. But it did. It did.
• 26:12
  Took a crazy dip. What... So what was your music format then? Because then, you know, at that time, know, reggaeton was holding off for a minute.
• 26:20
  Yeah. Mhmm. It was tough. I still remember.
• 26:22
  Like, yeah. It... The top fives, the Wisin & Yandel, Daddy Yankee, Don Omar, Ivy Queen.
• 26:28
  It was like that It was like that over and over and over and over, and it got old. And it got old. Nothing new was coming out.
• 26:36
  I think we went through a couple of years of some really tough times at the station. I remember. 1,000. But real real quick, Eddie. But to think about it, like, when we were over at La Calle in '06 and on, we had the same issue because at the end of the day, Camilo...
• 26:49
  Literally, what Eddie said, it was only five artists making music. That's it. Five artists. That's it. That's it. That's it. That's why it was so hard to break records. It's the same... Like, at least now, there's the... You know, the list is a little wide. You know what I mean? It's a bit... At that time, it was... There's the Wisins. It was the the the Daddy Yankees. It was the Hector el Fathers.
• 27:06
  Those guys at that time. I mean, I I also I also think that was the beginning of the end for La Calle. Yeah.
• 27:11
  Oh, cool. Yeah. Yeah. Yeah. Yo. La Calle, we couldn't sell advertisement, bro. You know what I mean? 16 year olds were listening to our music, but we still needed the mom and pop to listen to the the beer commercial, the supermarket commercial. They could. Yo, it was... And that's bad. Yeah. And at that time, the stations were looked at as, like, too young for advertisers because everybody was 18-34. You're not spending no money. You don't got no money for... To do anything at 16 years old.
• 27:35
  Yeah. But but now all those people that were 18-34 format are now 18-49, 25-54 for us. So a lot of those listeners that were at the club with me partying in 2005, 2006, and on are now my listeners are still listening that have kids now that, you know, that are homebuyers that, you know, that can... That have spending that have spending, you know, what... That have money to spend for for advertisers. So that whole... That that that definitely changed. Speak... Speaking of speaking of those listeners following, you know, for me, it's crazy because I've had listeners or people that party with me in '05, and now their fucking kids are partying with me. Yeah. It's crazy to me. But who got old? They did or you did? Yeah. Well, you know.
• 28:21
  You know, this is this is how you know when you've been DJing for a long time. Fact. No. But it I'll have I'll have girls come up to me. Hey. You DJ my quinceañera.
• 28:31
  And then I run into them, like, at a soccer game or or, like, just out on the street.
• 28:36
  And there's girls that I'll DJ... I DJ their quinceañera, and then I end up DJing for them when they get married.
• 28:42
  Oh my god.
• 28:43
  But think about me, bro. Like, my my son sends me pictures when he finds one of these guys in the club, and I'm like, shit.
• 28:50
  That's crazy, dog.
• 28:52
  That's... Yeah. You guys have also been doing it for a long time, man. All three of you. And and all four of you with Enuff. Of course. We ain't stopping. We ain't stopping. Yo, Eddie, I wanna know I wanna know when was your first live show? Like, first... On radio?
• 29:05
  Yeah. First live show. I was also... Bro, I was sweating.
• 29:08
  I was literally sweating. I wanna know. What time slot was it, Eddie? Was it early or late at night? No. It was a it was a seven to midnight show because when I started on the radio, I started as a mixer. I wasn't an on air personality yet.
• 29:21
  So I was paired up with this girl here on the air named Roxy. Shout outs to Roxy. Shout to Roxy.
• 29:27
  Yeah. She was doing the seven to night...
• 29:28
  Seven to midnight show, and I was... When I got hired by Latino, I was placed with her as her mixer. I used to do a mixture from eight to, eight to nine.
• 29:39
  Then that mixture kept getting longer and longer, and then it went to eight to ten.
• 29:45
  And then I ended up becoming, like, her cohost.
• 29:49
  Not not, like, officially cohost, but I would, you know, mingle with her on the air and talk with her And on the that's how I started learning my my mics...
• 29:58
  My radio mic skills. But, bro, I was I was so nervous. It was green as green could be.
• 30:04
  But see... And then another thing... Another point is that since I was a hip hop DJ first before becoming a a Latino DJ, a lot of the hip hop DJs would look down on the Latino DJs, especially here in LA. They would look down on them, especially because they were playing CDs. And I don't know how... If that happened in New York or if that ever happened in New York, where, like, the vinyl guys would kinda, like, look down on that CD guys.
• 30:33
  So I didn't want that to happen to to my station. So I remember when I got hired, I said, we're buying Technics.
• 30:41
  We're buying Technics, and we want the same record... Because I wanted us to have the same respect that the hip hop guys are getting. Smart. So so I came in as the mix show coordinator. That was my first title on Latino 96.3, mix show coordinator slash DJ.
• 30:56
  And I went on those... I went to the streets and hired DJs.
• 31:00
  And I remember telling a few of them that didn't know how to DJ with vinyl.
• 31:04
  Well, if you wanna DJ here, you gotta learn how... You need to learn how to play with vinyl, or you can't DJ here.
• 31:10
  Right. That's dope. And you know what that comes from? That comes from, number one, your background, you working records, you hustling, and you starting out as a hip hop DJ as well.
• 31:19
  Because you saw You know what's was. You know what's crazy? I can honestly say I've never seen, like, a Latin music DJ DJ with vinyl in my life. Oh, shit. That's fire, yo. That's amazing.
• 31:32
  Yeah. And I'll be cutting it, bro. I'll through... You know, bringing the records back and forth. I do the doubles. I try to...
• 31:38
  I do enough. Like I said earlier, I do enough, you know, a little scratching here and there, but I'm not a big time, big time scratching. That's not my Yeah. But at the end of the day, you know, you gotta entertain the people no matter what.
• 31:46
  Just playing the record at the end of the day, that shit gets old and boring anyway. Yeah. Yeah. A lot of peep... Yeah.
• 31:51
  Especially on radio, you know, you don't wanna be overdoing the tricks anyways. Mhmm. That's one thing I learned. And as... When you... When you're young, you know, you're young and dumb.
• 31:58
  You don't know. You just wanna... You wanna do the most. Yeah. Yeah. Yeah. You know what mean?
• 32:03
  It has the... Has has the scene over there now that reggaeton is making another wave.
• 32:08
  I mean, they've been on his wave, I'm gonna say, like, two, three years now, but, like, how's it seem for you? I mean, it's still it's still big. You know, gotta get used to all these new, artists coming out right now. I don't think the quality is there right now as far as the music Yeah. On the Spanish side as it was before.
• 32:24
  We're not on the dip dip right now, but I also feel like if it's not Karol G, Bad Bunny, it's not big. This is what you're telling me right now. You're telling me reggaeton right now needs Bad Bunny like hip hop needs Drake.
• 32:37
  Right. Sounds about right. Yeah. Sounds about right.
• 32:40
  Yeah. So, like, Karol G with her last album right now, you know, she made some noise, but we need another one. We need another one. We need Jay Balvin to come back strong. You know, Jay Balvin has been a little bit, you know, up and down, up and down lately. Bad Bunny keeps it consistent.
• 32:55
  We need ask you let me ask you.
• 32:57
  Are you guys in the West messing with Dembow at all?
• 33:00
  Yes. Besides Alfa.
• 33:03
  Yes.
• 33:05
  Yes and yes and no. More at the club than on the radio. Right. On the radio, I'll play Cuatroca. You know, there's a few track... Tracks that people know. Right.
• 33:14
  You know, Cecabola Quarantena. Don't know if you guys remember that one. Cecabo. So that's a classic... That's considered a classic here. Right. Cuatroca, people like that. There's a handful of records that I could play that are... Dembow.
• 33:26
  I hear some of those new Dembows, and I don't... I'm not feeling them.
• 33:31
  Right.
• 33:32
  Well I noticed the same thing on the radio here. Like, there's certain records that they play and they're gonna go, but there's a lot of records that they don't. Mhmm. Or they wait for them to get really big before they play. Right. When I when I talk to the Latin DJs here that are on rate... On Latin radio, they say that the Dembow doesn't resonate, you know, good. They don't get For radio?
• 33:52
  Not not as much. For radio. But at the club, it does. Oh. I look pretty...
• 33:56
  I what At the club, even the hip hop parties, we play Dembow, and it goes off with the whole room.
• 34:02
  But but it's more because you in and out. You... You're not sitting on it. You in and out. In and out. If you put it on the roof, you gotta give me at least two minutes worth of that shit. I mean, but even but even the mix show, yeah, even the mix show on the radio, it's still the same thing when it comes to Dembow. But, like, to Camilo's point. Yeah. And Eddie One's point, at the club and in the streets, it's killing. Yeah. Yeah. Yeah. For sure. In the streets... Ilu Pita Ilu Pita was probably the last big big Dembow, which is...
• 34:28
  You know? How long ago was that? That was, like, early years Yeah. A year or years ago. Yeah. Yeah. I think, El Alfa hasn't been doing as much lately.
• 34:37
  He fake retired, and he showed up the other day. I don't know. Yeah. So that that that has the...
• 34:42
  That has that that has affected Dembow a lot. A lot. There's a song that just came out with this guy.
• 34:49
  What is it called? I can't remember right now. You told my little nigh, the one that used to buy the the the El General sample.
• 34:58
  Yeah. Yeah. There's a couple that are that are that are bad that are not that are not that are not bad. That they're more for the club than than the radio club. The way I see Dembow, it's kinda like how I used to see reggae, like, English reggae not reggaeton.
• 35:12
  We are... Exactly. That you could still... They...
• 35:15
  You could play them either in a Latino club or in a Yeah. Or an African American club, hip hop club. They can... You know, people will get down to it. And, yeah, I think the brothers... I think the hip hop crowd does like Dembow. Mhmm.
• 35:25
  But, see, my my my crowds, if I...
• 35:28
  When I'm DJing, is mostly Latin, so it's a little different. I'm sure for you guys is... I think New York is different, man.
• 35:33
  I think Yeah. It is. I think the hip hop crowds and the Latin crowds mix more in New York than in the West Coast.
• 35:40
  100%. West Coast, it's still kinda like a separate thing. Yeah. It's either a Latin club or a hip hop club. Wow. Back in the days, it wasn't like that. Back in the early two thousands, twenty tens, hip hop and reggaeton nights were together.
• 35:54
  Because they were just trying to figure out what was gonna hit regardless. And to your point, yeah, I think sometimes the Dembow record is definitely catered for the club. It's not even catering to, yo. I'm a be on rotation verse hook verse hook. You know what I'm saying?
• 36:06
  The problem with Dembow nowadays, number one, is their content is too fucking raw. Yeah. It's not it's not built for radio. It's just sex sex sex, drugs, drugs, drugs, after hours, all that. Yeah. Because that's when, like, first came out. That shit was dirty. It was filthy as shit. You know what I'm saying? And then they cleaned it up because they realized, yo. We cleaned this shit up.
• 36:29
  When we changed our names here and there, we'd make a couple of million dollars. And then Dembow They're... Don't think Dembow has figured that out yet. Dembow just wants to get the YouTube going and the socials going. And sometimes, even if it comes from my fucking country, I just believe sometimes Dembow is like, this is it. Like, that's not even a song sometimes. You know what mean? That's what I was gonna say. You hit... Yo, bro.
• 36:48
  I was... Yo. You read my mind because I was just about to say that. Some of the Dembows have lyrics and sound like songs, and then there's then there's Dembows. It just sound like a party break.
• 36:58
  Yeah. You go. 100%.
• 36:59
  I agree with that one right there.
• 37:01
  Listen.
• 37:03
  Eddie, what what do you feel or what do you think about radio now in 2026?
• 37:09
  The, you know, the climate in the whole...
• 37:11
  Or, you know, in the West Coast, in your city, around the country, like, you see?
• 37:15
  What do you feel it's going?
• 37:17
  Do you think it's sinking? Do you think it's going through a transition? Like, what are your thoughts? I think it's going through a transition, and we we have to evolve, and that's what I'm doing. That's why you see me here with this setup because now we're not just radio, man. You gotta evolve. And Mhmm. I stream my whole show now. So my host... My show is streaming...
• 37:38
  It streams the whole... I stream the entire show from six to ten on the... On LaMusica and also on on the radio station's website.
• 37:47
  So I'm constantly, constantly telling the listener, hey. Shout outs to you listening to me on the radio. Shout outs to you listening to me and watching us.
• 37:55
  So I I do that a lot constantly throughout the show, and that's been working. It's been working for me.
• 38:02
  Do you go live from your studio? Yeah.
• 38:04
  So today, was live from here from the house. I'm in the... I'm in my house here.
• 38:08
  This is my... I have a I have a shipping container that I flipped into the studio. To that.
• 38:13
  I was gonna get to that, but hold on. One second. One more second. Like, did that start for you after the pandemic?
• 38:18
  Or Hey. Shout out to pandemic.
• 38:20
  Yeah. It started after the pandemic that I started streaming. So I was... I got on Twitch.
• 38:26
  I started doing a little bit stuff on Facebook, but before they knocked that down, I was doing Instagram during the pandemic. And then I went on to Twitch. And then I stopped doing the Twitch because I couldn't compete with myself on the radio. Man, there's times that after I get off the air, I don't wanna mix anymore.
• 38:42
  Yeah. And and and and and to do that Twitch, you gotta be consistent.
• 38:46
  You gotta be on every day. And I just can't be as consistent, once I get off the air, man, as a dad. I'm a soccer dad, man. So I got three kids.
• 38:56
  I got three kids that play for three different soccer clubs. Oh my god.
• 39:02
  I already know what your weekends are like, bro. Yeah, man. So so... Yeah. If the gig doesn't pay well, I'm not doing it. There you go. 100%.
• 39:11
  There you go.
• 39:13
  Not doing that because that soccer... The the soccer the soccer schedule is crazy. When did you get to that point? Because a lot of people don't get to that point about when the gig doesn't pay enough, I'm not going.
• 39:24
  When did you... Meaning, I'll I'll I'll set it up better. When did you realize you're worth that you could say no to them?
• 39:29
  No, man. Since since day one. You know, I would...
• 39:33
  You know, since day one, like, I I wouldn't take on clubs unless they were paying well, and same with the the gigs. Now today today today, I probably do more private gigs and and and big sporting events and corporate events and concerts than I do any clubs.
• 39:49
  I hardly do any clubs now. Right. I maybe do, like... I don't do clubs as much as you guys still do in New York. Nowadays here, I do more, quinceañeras, weddings, and on the weekends and, and weekdays.
• 40:00
  I also DJ for LAFC, the soccer team here in LA. I mean, that used... Okay.
• 40:04
  Dope. Still You doing it? Yeah. Yeah. Yeah.
• 40:06
  So, I was the first DJ hired by LAFC, and I know we have another... A couple other Heavy Hitters on board. They have a sock... Now now they have a team of DJs, so they rotate us. Let's do it. I just finished DJ. Right? Infa Red and you do it. Yeah. Exactly. Infa Red is on there.
• 40:21
  They usually bring me in when LAFC is playing Mexican teams or Central American teams where they want me to play more Spanish music.
• 40:29
  Got it. They just brought me in for the Latino heritage night this past weekend.
• 40:33
  So, yeah, that's another gig I do, you know, for LAFC, which is... It's a big deal here in LA. They got a big name here as a soccer team. And I like that because I think mostly all of us hit a point that you realize, like, yo. You know, like, somebody... These corporate situations are really good. Obviously, at the beginning, we don't understand it. We don't get it because no one teaches us any of this. But then you start realizing, like, it's okay to have a tax ID number. It's cool to have a EIN number. You know what saying?
• 40:56
  Because, like, not every... Cash is king, and it's the greatest thing in the world. But sometimes having that check on a continual basis, you know what I'm saying, like, it actually keeps you up. What is your head above water?
• 41:07
  Yeah. Exactly. So, yeah, before I would do...
• 41:09
  I was doing way more more clubs. Now I do more corporate and private events than actual clubs.
• 41:14
  Clubs... You know, now it's a whole different generation, man. And and, you know, they got their own scene going on. They got their own DJ still going on. I still gotta keep my name out there, and I find ways to still keep my name out there, with the youngsters. Like... Because, you know, these youngsters, you gotta keep these girls...
• 41:30
  Y'all don't call them youngsters, bro. You're me...
• 41:33
  I call them youngsters. I'm not calling myself old, but, you know, you gotta call them youngster, bro. It's a whole different... I mean, how is it for you guys? I mean, are you guys DJing for the same crowd, or is the crowd evolving?
• 41:45
  Is the crowd I... For me, I... No.
• 41:48
  The crowd's definitely evolving. A 100%. But for me, I challenge myself, and I put myself in rooms where the young'uns are at. Like, I I tell... Okay. This is what's going on over here. This is that 20 year old crowd. I make myself like, yo. I wanna do the spot. And and I go...
• 42:02
  Because for me, it's like, if you wanna evolve, you need to you need to know what's going the fuck on how they talking.
• 42:08
  Mhmm. They talk different than us. You know what I'm saying? Yeah. Yeah. Yeah. They dance different. Their their whole lingo's different. So I sit there, watch, and then for me, it's like it's like a little boot camp. I have... Like, I enjoy that shit.
• 42:20
  So I purposely put myself, like, in a real ratchet spot, or I'll put myself in a super Spanish spot where, like, I'll play maybe two hip hop songs the entire night.
• 42:29
  The rest is fucking Latin.
• 42:31
  That's dope. And then I make myself... And and and I'll make it important that, okay.
• 42:35
  I gotta downtown. I gotta touch one of these, you know, these spots that the artists hang out and this and that, which... Those are the ones I don't enjoy the most because I don't want to cater into the fucking artists and not the crowd type shit.
• 42:48
  But I do them because I think it's just important to touch everything, man. I think important to... Even here, like, the Caribbean scene is huge. Yeah. At least at least once every two months, I make sure I'm, like, at a Caribbean spot just because, bro, it's like, you know, if you wanna evolve and stay on top of the game, man, you got... You have to be in these rooms.
• 43:05
  No. Like, yo. Sometimes I've done gigs. Like, I tell you, like, I fucking host the the the human resource convention. 5,000 people, T Mobile Arena type shit. You know what I'm saying? Like Yeah. And then they bring up Patti LaBelle out of nowhere and President Clinton out of nowhere. But in that crowd, dog, I promise... You'll hunch it one... My back cast. I promise you, there were people from my college there, dog, which are now professionals, but they look at you like... First of all, they go, what the fuck are you doing here? And I'm like, I'm getting it back. You leave me the fuck alone. But, like, it's just crazy. They'll tell you, yo.
• 43:36
  I used to party with you. And, like, no bullshit. Some people have told me, like, have you hit us? Camilo. Right? And I'm like, look at you and your corporate shit, but you still... You know what I'm saying?
• 43:44
  Like Yeah. But you do gotta figure out, like, yo. There's more shit out there to get, bro. There's more money to get out.
• 43:50
  No. Yeah. Especially in the corporate, man. So I've I've done gigs for, like, medical companies.
• 43:55
  Like, yo. Same. There's a company here called AltaMed, and it's straight on my listeners, man. Girls that are, like, medical assistants or they're nurses.
• 44:05
  You know? And they do these they do these these events where they bring all the workers, and they take over the entire stadium at SoFi Stadium, and they'll set up... Oh, I'm not kidding you. It's, like, 5,000, bro. It's, like, 5,000 people in there.
• 44:18
  All, like, you know, all listeners, all females...
• 44:21
  Mostly females. There's nice too, but mostly females that listen to to me on the radio, and they'll hire me to do that. And I love doing those events, man. Those are easy. Those paychecks are definitely way better. Those are way better. Nightclub nightclub joints.
• 44:34
  Yeah. For sure. For sure.
• 44:37
  The nightclubs, I think, is to keep your name and stay relevant and stay street.
• 44:41
  And in the corporate and private ones and the and the private events, you know, the weddings, those pay really well too, man. Yes.
• 44:47
  They do.
• 44:48
  Yes. They do. And they keep calling you too. They don't stop calling you for those like that. Yeah. Yeah. For sure. So anyway...
• 44:54
  Yeah. That that... Let's get into this. That studio you're in right now. I know all about it because you, you know, you gave us a whole tour on it. But that studio for everybody's watching right now is an actual...
• 45:06
  What do you call that? Shipping container? Yeah.
• 45:08
  Yeah. Container. A shipping container. Let me see let me see if I can connect to this... To the...
• 45:13
  From my phone to give you a live Twitter, bro.... Flip that shit right there, bro. It's fucking...
• 45:19
  It's amazing. Like... So what? This... Do have a shipping container? You just put it in your backyard and made it a studio? Yeah.
• 45:24
  I'm trying to do that. Basically...
• 45:26
  You didn't have... How... First of all, how do you buy a shipping container? How much a shipping container? No. There's a whole there's a whole YouTube video that that that anyone did that I had watched. I gotta watch it. Yeah. Yeah. Yeah. Yeah. He even has, like... He just went to the shipyard and said, hey, guys. Do you guys have an extra shipping container I can buy? You could buy them just like He even had the ventilation system going on in there. Like He got tough. He got the flash shit. He got the flash shit. Yeah, man. I redid...
• 45:49
  I I I did the whole thing. Like, if you walk in, you can't tell it's a shipping container from the inside unless you're looking at it from the outside.
• 45:56
  So I put... It's insulated.
• 45:59
  I got AC in here, electrical.
• 46:02
  I mean, I made sure that I was gonna have enough, you know, enough sockets for the electricity.
• 46:07
  I maybe have, like, 20 outlets in here in this... In a in a 10 by 20. I know LA... Outlets at the top.
• 46:14
  I got outlets at the bottom. I know LA doesn't rain crazy. Right? It doesn't rain crazy, but I'm sure it's water.
• 46:20
  No. Yeah. Yeah. Yeah. It's it's it's sealed really well from the top, especially because we had to drill at the top to put some lights at the top.
• 46:27
  So Right. Right. I had to drill some holes to place the lights and and everything, but but... No. Yeah, man. I wish I would've done this during pandemic. I did it after to a couple of years later.
• 46:39
  Man, if I would've done this during pandemic when everybody was streaming, oh, man, I would've killed I would've I would've killed it.
• 46:46
  Yeah. That's fire, Eddie. See this. I wanna go definitely go watch. Biggest... And and I'll tell you. World.
• 46:53
  World. World. World. We run out of time.
• 46:55
  Camilo, what you always ask is, like, what what is it you tell young Eddie One, etcetera, whatever, for the youngest coming up, what what have you? So, Eddie One, we need to know you speaking to the young ones.
• 47:06
  The next generation... The young is as he calls it. The young is... We call them the YNs in New York. The YNs coming up that wanna be a Eddie One. You know, like... Yeah. Yeah. Listen.
• 47:17
  You've been hustling. You started hustling, like, off the street, you know what I'm saying, to to where you are now. But, like, what what... Now in 2026, things are different. Like, what is your advice for somebody coming up that wants to be on radio, that wants to do gigs, corporate, soccer fields, soccer for, you know, soccer teams, all that? You gotta find your niche, man.
• 47:35
  So I found my niche with the Spanish, with the... My niche was the Spanglish because I can rock I can rock Spanglish, like, naturally, not forced.
• 47:45
  So I think that's where I found my lane. You gotta find a lane. What makes you different? What sets you apart? Are you a blender? Are you a scratcher?
• 47:53
  Are you good on the mic?
• 47:55
  You know?
• 47:56
  Do you need work on the mic?
• 47:58
  Because a lot of DJs also don't don't even speak when they DJ. Yeah. Right. You know? So I I think you gotta polish a little bit of everything. I think I would've just been another DJ if I would've stuck to just hip hop.
• 48:09
  But since at the time, there wasn't that many Latin DJs, I think that's what that's what really helped me. Do do you see way more Latin DJs now, like, pop up doing what, you know, you do? Yeah. There's a whole new generation of DJs out on the street, you know, out of the clubs, doing more of the young crowd the young crowd, nightclubs.
• 48:27
  So... Yeah. But I I haven't seen...
• 48:30
  An Eddie One. No.
• 48:32
  Here we go. That's it.
• 48:34
  I haven't I haven't seen one that really, like, catches my eye, like, oh, wow. You know? Like, wows me. There's a lot of nay... Big names out there, but I don't see that many, nowadays that that that wow me.
• 48:46
  And it's probably because so much technology nowadays, and I'm not against technology at all, but sometimes there's a lot of push button DJs.
• 48:53
  Yeah. Yeah. And I... And and I think we're losing not... I think we're losing a little bit of the craft when it comes to DJing.
• 49:01
  So... No. You can't... Sometimes I look at these young guys, and you can't blame them because they're coming up in a different time than we did. You know, turntables to them is actually some dinosaur shit. So I get... It's it's not available like it was for us. So... But even when I watch them scratch... Like, sometimes I watch these DJs scratch on controllers.
• 49:18
  They're not scratching the way we did it on the left side. I scratch it from the top or from the inside. From the inside. And I'm like, how the fuck? You...
• 49:24
  Even some of our Heavy Hitters like Perreta, Mega j, you watch, they're cutting from this side. I'm like, yo. And they they sound great. Okay. But it's a whole another... The way they're coming up, man. Yeah. Yeah. And don't get me wrong. I embrace technology too.
• 49:37
  Like, I have my controller. I go... When I do the corporate events or private events, I'm on a controller. I'm not DJing on table. Only DJing on turntables for the radio.
• 49:46
  You know? Because I just like... I like how it looks. I like the look of it. For the look. Right? Yeah. Yeah. For looks. Yeah. I could DJ on the CDJs, but if... Do I prefer to DJ on the tables? I would probably... For me, it's probably tables first, CDJ second, and controller last. Because because you a DJ DJ DJ. That's why you a DJ DJ. You know what mean?
• 50:07
  Before he raise up.
• 50:10
  When can they find you? Hey. Do you need them to know? Find me here. Check me out there. Got Let them know what time you want. All of that. Let me let me do my commercial real quick. Alright.
• 50:19
  So you can find me on on social media under DJ Eddie One. This is how it's spelled. Let me use my hat here to promote.
• 50:26
  I love it. There you go. Nice. Nice and clean. I like it. So the... And then besides the the radio, I'm also, an Airbnb host.
• 50:38
  Yeah.
• 50:39
  So you could find me you could find me to... On Airbnb also. That's how you diversify the portfolio. Yeah, man. Oh, the properties is the... Is what I'm trying to expand now, So I also do that.
• 50:50
  That's amazing. And, yeah, you could also find me online under djeddieone.com djeddieone.com, LA.
• 50:57
  LA. Shout out to LA and everybody watching, worldwide.
• 51:01
  Here we go. Eddie One is a OG, and that's all love. He's now Thank you for inviting me, man. Deep. He's been hanging with all love. Thank you, bullshit. Join me God bless join me watching Eddie One's YouTube. I'm a watch this video right here.
• 51:13
  Before you buy... It's called before you buy a shipping container, watch this. I'm gonna watch it right now. Yeah, man.
• 51:19
  I mean, it it was... I mean, just putting this together was not easy, but, you know What's the price tag? What's the price tag on putting that together? Roundabout. Just the roundabout number. Yo. Get out his pockets, man.
• 51:28
  At least 30.
• 51:29
  30.
• 51:31
  Yeah.
• 51:32
  And I'll be pissed.... Pay to you gotta pay to get... You gotta pay to play, baby. Yeah. At least 30, and it all depends. I... The most expensive on on a container is the electrical work. Right.
• 51:44
  And I put a lot of electrical work on this because I wanted to make sure I had enough electricity in here, enough sockets, enough. You know? So that's the most expensive part, I think, on the shipping container. Then you got insulation.
• 51:56
  Then you got AC.
• 51:58
  But, yeah, you... Man, you could get a shipping container for, like, $3.
• 52:03
  Yeah. And then you gotta build it up.
• 52:04
  You know what mean? Go to YouTube and check out Eddie One's how to build the container into the studio.
• 52:09
  And and, Eddie One, you know how it is, man. We'll be riding for a minute.
• 52:12
  Number love, my brother. Thank you. L. Boogs, Enuff.
• 52:14
  Camilo, Kast, you guys are OGs.
• 52:17
  Love you, brother. Lick it. Jeez. Every hit is just Love you, brother. Cruel. Who the fuck is Eddie One?
• 52:22
  The world. Go ahead and make sure you subscribe to the Heavy Hitter DJs Podcast.
• 52:27
  Break the show and share it with someone who cares about the roots of what moves us. I'm the crowd mover, L. Boogs. I'm the big Spanish guy, DJ Enuff. I'm DJ Camilo, And I'm DJ Kast One. Heavy Hitter, hitter.
• 52:42
  Sucks up.