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Downloaded from
YTS.MX

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Official YIFY movies site:
YTS.MX

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Romeo: Where you from?

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Like from...

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Queens or Brooklyn or...?

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Mero: BX all day.

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Might catch me on like,
Vice, and like 183rd, bro.

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Romeo: You serious?

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Mero: Deadass.

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It was Yo! All merengue,
bachata, salsa, bolero.

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That was it.

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Romeo: I've always said
that New York is like,

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I mean, the Bronx.

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[music]

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Assistant: Marker.

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Mero: Alright, brother.

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So, like,
in your own words,

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what does bachata
mean to you?

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Romeo: That's a
really good question.

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I'ma have to tell you
in Spanish though.

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Mero: Yeah.
Go ahead.

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[music]

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[music]

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[music]

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Hey! Hey! Hey! Hey!

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Woman: Please make my life
and if Aventura is here,

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I'm going to die.

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[music]

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Crowd: Romeo!
Romeo! Romeo!

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[music]

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[music]

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[music]

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Romeo: To appreciate MetLife...

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[music]

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...we need to understand
where bachata started.

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[music]

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We need to appreciate
what happened in the past.

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[crowd cheers]

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[crowd cheers louder]

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[music]

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[music]

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[music]

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Romeo: A lot of people
don't have the story clear.

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[crowd cheers]

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You ready?

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Announcer: The situation
in the Dominican Republic

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is clothed in mystery.

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Romeo: We need to appreciate
what happened in the past.

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Announcer: Dictator's evil war
reign of terror and bloodshed.

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Man: The rise from...

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Announcer: ...the grimmest
of poverty...

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Mero: ...to the city...

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Romeo: We need to evolve.

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Mero: ...to the Bronx.

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Reporter: Santos is set
to rock Yankee Stadium.

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Romeo: You need to
reinvent yourself.

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Mero: That meteoric
rise to MetLife.

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Romeo: You need to
be very passionate.

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You need to love this.

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And I love this.

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[music]

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[music]

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[music]

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[music]

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[music]

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Mero: Bachata started
in the campo,

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on the rural countryside.

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The genre was
really reserved for people,

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poor people, on the outskirts.

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So, to have a star
of your caliber

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go around the whole country
and do free shows...

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Romeo: Right.

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Mero: ...that's big, bro.

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[music]

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It was like something that...

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I really needed.

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[music]

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Romeo: Something
that I've had in mind

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for quite a few years now.

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I thought about it
when I was in Aventura.

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like you just get caught up

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and you never
give things priority,

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and you should.

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[muffled singing]

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Romeo: It truly reminded me
of when I started

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with the guys in Aventura

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because we used to perform
in every pueblo from DR.

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[music]

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[music]
[crowd cheering]

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[crowd singing]

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[crowd singing]

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[crowd singing]

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[crowd singing]

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[Teodoro singing with crowd]

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[singing]

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Mero: Romeo's tour
returns to bachata's roots,

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in the campo.

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But bachata didn't always
sound like this.

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To understand
bachata's journey,

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we have to go back
to the beginning.

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So, I went back to el patio,
the Dominican Republic,

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to find bachata's origins

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in order to fully appreciate
how far the genre has come.

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My name is Joel Martinez.

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But you probably know me
as Mero or The Kid Mero.

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Like Romeo,
I also grew up in the Bronx

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in a Dominican family

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surrounded by Bachata
both old and new.

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Given that Romeo and I
have that in common,

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Romeo asked me to go on this
journey to lend my perspective,

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though a perspective
very similar to his own.

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So dope to be a part
of a project like this.

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Where do I begin?

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♪ Esta noche yo he venido ♪

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Mero: José is like an OG.

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To put it in like hip hop terms,

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he's Grandmaster Flash
and Romeo is like Jay-Z.

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There's so many elements
of the old mixed in to the new.

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♪ Porque lo que yo he sentido
por ti no he podido ♪

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[music]

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[music]

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Mero: Bachata was born
in the countryside

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of the Dominican Republic

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under the reign
of a cruel dictator.

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Announcer 1:
The Dominican strong man...

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Announcer 2:
...Dictator Rafael Trujillo.

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Announcer 1: ...Rafael Trujillo.

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Mero: Rafael Trujillo.

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Announcer 1: One of the most
absolute iron-fisted rules

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in modern history.

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Announcer 2: A rule
which created

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fabulous wealth for a few

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and the grimmest
of poverty for the majority.

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Mero: He killed tens
of thousands of people.

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Trujillo hated bachata.

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He thought bachata
was too poor, too vulgar,

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and amoral,
so he banned it.

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But against his wishes,

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the music was kept alive
in the countryside,

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in local bars, brothels
and gatherings

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by performers
who would later be referred to

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as the first bachateros.

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[music]

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♪ Con la otra mano
una copa de vino ♪

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Mero: Bachata continued to grow
in the impoverished outskirts

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until May 30th, 1961.

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Everything changed.

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[announcer music]

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Announcer: A 31-year reign
of terror and bloodshed

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comes to an end
in the Dominican Republic

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as dictator Rafael Trujillo is
shot down by seven assassins.

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He ruled by the gun
and died by the gun.

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[music]

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Mero: And the floodgates opened.

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With Trujillo's reign over,

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bachata emerged
from the countryside.

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And exactly one year later...

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Mero: Along with Calderón

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records from the likes
of Luis Segura

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and Leonardo Paniagua

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were pivotal as bachata
grew in popularity

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in the genre's early years.

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♪ ¿Qué será de mí con tantas
penas en mi pobre vida? ♪

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♪ ¿Qué será de mí...? ♪

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Mero: Seeing José
from the beginning

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and now seeing
where Romeo's taking it...

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is wild.

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[music]

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Mero: When you did that,
"La gira del pueblo,"

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rocking with the people

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that don't necessarily
come from means.

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Romeo: Yeah.

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You know, these are people

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that they're not necessarily
able to afford a ticket

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when I go to Olímpico
in Santo Domingo.

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So, I knew I had to do it.

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[music]

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[music]

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Mero: You hit a lot of towns
that most people don't hit,

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especially people,
artists of your caliber.

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And one of those towns
was Moca

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where your father
is from.

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Romeo: When we were originally
supposed to do that show,

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Mero: Yeah.

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Romeo: The weather
wasn't really helping us.

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So, it got postponed
and then it rained again.

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They were about
to postpone again

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and I said, "Look,
let's just do this.

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With rain or without rain,
let's just do this."

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[music]

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♪ Vete pal diablo, mujer ♪

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Romeo: It was beautiful to be
able to connect, you know,

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Mero: Yeah. Yeah.

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Romeo: There had to
be a few cousins.

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Mero: Yeah.

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♪ Así soy yo
de piedra y hierro ♪

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♪ A mí nadie
puede vencerme ♪

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00:14:22,120 --> 00:14:24,220
♪ Así soy yo
de piedra y hierro ♪

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♪ A mí nadie puede vencer ♪

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♪ Yo salí intacto
de tu infierno ♪

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♪ El diluvió no me afectó ♪

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♪ Hoy yo sigo invicto
a tus juegos ♪

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♪ Y tu hermana me besa
mucho mejor ♪

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[music]

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00:14:54,139 --> 00:14:56,149
Mero: When bachata
left the countryside

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00:14:56,169 --> 00:14:57,179
after Trujillo's death,

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this is where it went.

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The capital of
the Dominican Republic:

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Santo Domingo...

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...although it didn't stop here.

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00:15:06,120 --> 00:15:14,100
[crowd cheers]

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00:15:14,120 --> 00:15:16,200
But to understand the next
phase of bachata's trajectory,

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00:15:16,220 --> 00:15:19,159
we first need to understand

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00:15:19,179 --> 00:15:21,120
what makes bachata, bachata.

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I go to meet with a group
of local musicians

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to learn the basics
of the bachata sound,

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00:15:26,019 --> 00:15:28,159
the instruments,
the techniques,

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the rhythms.

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00:15:30,059 --> 00:15:31,029
From like,
a technical standpoint,

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00:15:31,049 --> 00:15:32,230
explain bachata to the layman,

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00:15:33,009 --> 00:15:36,009
somebody that has no idea
what bachata is.

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00:15:49,139 --> 00:15:53,110
[music]

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00:15:58,019 --> 00:16:02,019
[music]

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00:16:03,220 --> 00:16:08,059
[music]

225
00:16:09,149 --> 00:16:10,169
[tapping instrument]

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00:16:35,110 --> 00:16:36,220
[laughing]

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00:16:38,190 --> 00:16:39,220
[tapping instrument]

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00:16:40,000 --> 00:16:42,080
[crosstalk]

229
00:16:45,080 --> 00:16:45,220
[tapping instrument]

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00:16:47,190 --> 00:16:49,080
[tapping instrument]

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00:16:50,009 --> 00:16:54,080
[music]

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00:16:55,169 --> 00:16:59,129
[music]

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00:17:04,150 --> 00:17:08,150
[music]

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00:17:08,170 --> 00:17:10,220
Mero: The illest thing though
about the genre of bachata

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00:17:11,000 --> 00:17:13,220
is that it works
in any atmosphere,

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00:17:14,000 --> 00:17:14,180
you know what I mean?

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00:17:14,200 --> 00:17:15,190
In any setting.

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00:17:15,210 --> 00:17:18,009
Huge concert, it works.

239
00:17:18,029 --> 00:17:20,140
Intimate setting here
and it works,

240
00:17:20,160 --> 00:17:21,099
you know what I mean?

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00:17:21,119 --> 00:17:23,160
Like it's such a
dynamic genre of music

242
00:17:23,180 --> 00:17:25,200
that you can go to anywhere
and it just works.

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00:17:25,220 --> 00:17:29,029
[music]

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00:17:29,049 --> 00:17:36,160
♪ ¿Quién te dijo que no puedo
acabar con tu atropello? ♪

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00:17:36,180 --> 00:17:40,170
♪ ¿Quién te dijo que el dolor
no tiene límites ni freno? ♪

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00:17:40,190 --> 00:17:43,190
Mero: So, you already know
bachata started in the campo.

247
00:17:43,210 --> 00:17:45,039
Now, we're in the city.

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00:17:45,059 --> 00:17:46,019
We're in Santo Domingo.

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00:17:46,039 --> 00:17:47,029
We're in la Zona Colonial,

250
00:17:47,049 --> 00:17:50,029
which is like the Times Square
of Santo Domingo.

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00:17:50,049 --> 00:17:51,029
So, the music has
become more mainstream,

252
00:17:51,049 --> 00:17:52,230
you know what I mean?

253
00:17:55,009 --> 00:17:57,130
The rise from there to here...

254
00:17:59,119 --> 00:18:02,230
...to MetLife is bananas, man.

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00:18:03,009 --> 00:18:04,000
[music]

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00:18:04,019 --> 00:18:05,039
Mero: To reach those heights,

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00:18:05,059 --> 00:18:07,210
bachata had to cross an ocean.

258
00:18:07,230 --> 00:18:11,150
Trujillo had banned immigration
out of the Dominican Republic.

259
00:18:11,170 --> 00:18:12,190
But after his death,

260
00:18:12,210 --> 00:18:15,200
leaving the island became
possible for the first time.

261
00:18:15,220 --> 00:18:18,029
[music]

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00:18:18,049 --> 00:18:19,049
Economic and
political instability

263
00:18:19,069 --> 00:18:22,089
led to mass migration.

264
00:18:23,130 --> 00:18:27,039
Over 9,000 Dominicans
moved to the U.S. a year,

265
00:18:27,059 --> 00:18:29,160
particularly in New York

266
00:18:29,180 --> 00:18:32,190
in the Washington Heights
neighborhood in Manhattan.

267
00:18:32,210 --> 00:18:34,160
The differences between
the two environments,

268
00:18:34,180 --> 00:18:37,079
New York and the
Dominican Republic, were vast.

269
00:18:37,099 --> 00:18:39,109
So, pioneers created
social clubs

270
00:18:39,130 --> 00:18:41,119
and the Americanized version
of "colmados"

271
00:18:41,140 --> 00:18:44,079
in search of community
among their fellow Dominicans.

272
00:18:44,099 --> 00:18:46,160
Here, bachata
found a home abroad.

273
00:18:46,180 --> 00:18:47,160
Man: Domino!

274
00:18:47,180 --> 00:18:49,130
Mero: And soon,
Dominican culture took hold

275
00:18:49,150 --> 00:18:52,049
in a neighboring borough,
my hometown of the Bronx.

276
00:18:52,069 --> 00:18:55,150
[music]

277
00:18:55,170 --> 00:19:01,089
Tommy Mottola: The Bronx is
probably the most unique place

278
00:19:01,109 --> 00:19:05,079
certainly in this country
with respect to talent,

279
00:19:05,099 --> 00:19:09,089
and I would
say maybe in the world.

280
00:19:09,109 --> 00:19:10,049
Romeo: Growing up
in the Bronx for me

281
00:19:10,069 --> 00:19:12,210
was an incredible experience.

282
00:19:12,230 --> 00:19:16,180
You know, you kind of have...

283
00:19:16,200 --> 00:19:18,039
Tommy Mottola: So, there's a lot
of history there

284
00:19:18,059 --> 00:19:23,000
and a lot of roots
from immigrants, right,

285
00:19:23,019 --> 00:19:24,220
which we're all from.

286
00:19:25,000 --> 00:19:28,059
And certainly, Latin music
had its foothold there.

287
00:19:28,079 --> 00:19:31,069
Romeo: It was like a mix
of a different culture

288
00:19:31,089 --> 00:19:32,019
in every corner.

289
00:19:32,039 --> 00:19:34,119
You know, like,
you go downstairs,

290
00:19:34,140 --> 00:19:35,210
you listen to a little bit
of hip hop.

291
00:19:35,230 --> 00:19:39,109
You got the neighbor
rocking some salsa.

292
00:19:39,130 --> 00:19:42,029
You open the window
in the third floor,

293
00:19:42,049 --> 00:19:43,170
you hear some merengue.

294
00:19:45,000 --> 00:19:47,079
Lenny Santos: I wasn't drawn
to bachata at the beginning

295
00:19:47,099 --> 00:19:50,150
because it sounded
kind of like really old.

296
00:19:50,170 --> 00:19:55,109
Like, we didn't look cool
listening to that type of stuff

297
00:19:55,130 --> 00:19:58,069
at the age of 14, 15, 16.

298
00:19:58,089 --> 00:20:01,190
But when this artist
came about,

299
00:20:01,210 --> 00:20:03,180
called Anthony Santos,

300
00:20:03,200 --> 00:20:05,099
I was like,
"Wow, that sounds cool.

301
00:20:05,119 --> 00:20:06,190
I like the way
the guitar sounds.

302
00:20:06,210 --> 00:20:08,230
[music]

303
00:20:09,009 --> 00:20:10,039
Luis Vargas, Teodoro.

304
00:20:10,059 --> 00:20:14,190
Thalía: And then suddenly,
boom, bachata in your face.

305
00:20:14,210 --> 00:20:16,230
[music]

306
00:20:17,009 --> 00:20:19,119
It was like real music...

307
00:20:21,200 --> 00:20:23,200
...versus all the pop culture
going on

308
00:20:23,220 --> 00:20:24,079
with MTV and everything.

309
00:20:24,099 --> 00:20:26,160
Boom, real music.

310
00:20:28,000 --> 00:20:29,210
Lenny Santos: These artists
began singing with more feeling,

311
00:20:29,230 --> 00:20:32,059
more melodic flows, and...

312
00:20:43,170 --> 00:20:46,009
Romeo: Juan Luis Guerra.

313
00:21:19,019 --> 00:21:20,029
Chi Chi: That was the sound.

314
00:21:20,049 --> 00:21:21,029
You know what I mean?

315
00:21:21,049 --> 00:21:23,049
So, it's like, "It's not broken,
don't fix it."

316
00:21:23,069 --> 00:21:25,049
Then along comes
these four guys, right?

317
00:21:25,069 --> 00:21:30,039
[music]

318
00:21:30,059 --> 00:21:31,069
Lenny Santos: I met Romeo

319
00:21:31,089 --> 00:21:33,210
and I didn't believe his
name was Anthony Santos.

320
00:21:35,190 --> 00:21:37,160
I met him through
one of my musicians.

321
00:21:37,180 --> 00:21:41,130
And he told me,
"Hey, there's this kid.

322
00:21:41,150 --> 00:21:44,130
"He sings all the time
in the lunchroom.

323
00:21:44,150 --> 00:21:45,130
"And I don't know
what is his voice.

324
00:21:45,150 --> 00:21:47,089
"I never heard a voice
like that in my life.

325
00:21:47,109 --> 00:21:49,059
"It sounds crazy.

326
00:21:49,079 --> 00:21:50,150
You gotta hear him."

327
00:21:50,170 --> 00:21:51,130
So, me and Anthony
are conversating,

328
00:21:51,150 --> 00:21:52,119
I'm like, "Your name
is Anthony Santos?"

329
00:21:52,140 --> 00:21:55,019
Like, "Yeah, look at my ID."

330
00:21:55,039 --> 00:21:55,160
"Oh, yo, it is."

331
00:21:55,180 --> 00:21:56,109
Then, he's telling me,

332
00:21:56,130 --> 00:21:57,089
"Oh, you know
this song by him?

333
00:21:57,109 --> 00:21:58,039
You know that song?"

334
00:21:58,059 --> 00:21:59,119
I'm like, "Yeah,
I know that song.

335
00:21:59,140 --> 00:22:01,160
Play it."

336
00:22:01,180 --> 00:22:02,170
[humming]

337
00:22:02,190 --> 00:22:04,000
"Yo."

338
00:22:29,119 --> 00:22:33,089
[music]

339
00:22:33,109 --> 00:22:44,069
[muffled music]

340
00:22:44,089 --> 00:22:46,230
Romeo: I started doing music
in this...

341
00:22:47,009 --> 00:22:47,220
literally in this room.

342
00:22:49,039 --> 00:22:52,220
I just started, you know, like,
writing songs.

343
00:22:53,000 --> 00:22:55,089
I had a really
strong passion for writing.

344
00:22:55,109 --> 00:22:57,079
Mero: Yeah?

345
00:23:03,089 --> 00:23:07,019
[music]

346
00:23:11,049 --> 00:23:13,000
I can use an example lyrically.

347
00:23:17,089 --> 00:23:20,119
♪ It hurts my di... ♪
♪ It hurts my di... ♪

348
00:23:20,140 --> 00:23:21,069
What does that mean?

349
00:23:21,089 --> 00:23:25,150
He's like, "My di...
dictionary."

350
00:23:25,170 --> 00:23:28,069
So, he will leave that
to your imagination.

351
00:23:28,089 --> 00:23:30,019
And it was straight up.

352
00:23:30,039 --> 00:23:30,190
You know, it was vulgar.

353
00:23:30,210 --> 00:23:32,200
Like, you knew what he meant.

354
00:23:49,220 --> 00:23:51,200
I was listening to everything.

355
00:23:53,049 --> 00:23:57,119
I know as much about Biggie
and Tupac and Hov

356
00:23:57,140 --> 00:23:59,069
as much as I know
about Luis Vargas,

357
00:23:59,089 --> 00:24:00,069
Raulín,
and Anthony Santos.

358
00:24:00,089 --> 00:24:01,049
Mero: Yeah.

359
00:24:01,069 --> 00:24:01,180
Romeo: But I know my shit
in salsa too.

360
00:24:01,200 --> 00:24:03,000
Mero: Right, right.

361
00:24:03,019 --> 00:24:08,160
Romeo: And I think that that
plays a big part in why my music

362
00:24:08,180 --> 00:24:11,099
even early on like, that fusion

363
00:24:11,119 --> 00:24:12,109
where it wasn't something
I was forcing

364
00:24:12,130 --> 00:24:14,109
or I was doing intentionally.

365
00:24:14,130 --> 00:24:16,170
It was just organic.

366
00:24:16,190 --> 00:24:19,160
It was just me and my friends
and my cousin,

367
00:24:19,180 --> 00:24:22,210
Lenny, Mikey and Henry
having a good time.

368
00:24:29,190 --> 00:24:34,079
[music]

369
00:24:34,099 --> 00:24:35,160
We brought that,
you know...

370
00:24:35,180 --> 00:24:37,130
Mero: Like, a swag to it.

371
00:24:37,150 --> 00:24:39,079
Romeo: We got Bronx swag.

372
00:24:39,099 --> 00:24:40,049
Mero: Yeah.

373
00:24:40,069 --> 00:24:42,099
Romeo: It goes,
"5:00 in the morning."

374
00:24:42,119 --> 00:24:45,000
[inaudible]

375
00:25:13,000 --> 00:25:15,059
Romeo: Like I said,
we were just having fun.

376
00:25:15,079 --> 00:25:16,180
It was just like, "Yo."

377
00:25:16,200 --> 00:25:19,039
This is what we know how to do.

378
00:25:19,059 --> 00:25:23,109
And me personally doing
what I knew how to do best.

379
00:25:23,130 --> 00:25:25,170
Some of my closest friends
still say that,

380
00:25:25,190 --> 00:25:27,099
like, "That's the
best shit you do

381
00:25:27,119 --> 00:25:28,109
and the only shit
you do good."

382
00:25:28,130 --> 00:25:28,230
[laughter]
You know?

383
00:25:29,009 --> 00:25:29,220
Mero: Yeah. Yeah.

384
00:25:30,000 --> 00:25:31,170
Lenny Santos: We finally
got the first gig.

385
00:25:31,190 --> 00:25:33,009
It was a birthday party.

386
00:25:33,029 --> 00:25:33,180
And I'm thinking
about it right now.

387
00:25:33,200 --> 00:25:36,099
I remember every single detail.

388
00:25:36,119 --> 00:25:37,150
So, he goes...

389
00:25:37,170 --> 00:25:39,109
He was always dressing nice.

390
00:25:39,130 --> 00:25:40,170
That was always his thing,

391
00:25:40,190 --> 00:25:43,220
fashion, smelling good,
and his hair done.

392
00:25:44,009 --> 00:25:45,160
We actually had
to get some guys

393
00:25:45,180 --> 00:25:48,230
to walk 10 blocks
with the speakers.

394
00:25:49,009 --> 00:25:51,180
Then we started getting
restaurant gigs here and there.

395
00:25:51,200 --> 00:25:53,150
We'll go perform three,
four sets in one night

396
00:25:53,170 --> 00:25:56,099
in the middle
of a school night.

397
00:25:56,119 --> 00:25:57,109
Three sets in one night.

398
00:25:57,130 --> 00:25:58,119
We'd be finished,
like, by 6:00 in the morning.

399
00:25:58,140 --> 00:26:00,160
Oh, we got school
the next day.

400
00:26:04,039 --> 00:26:06,019
Like, we never said,
"We're gonna be famous.

401
00:26:06,039 --> 00:26:07,069
We're gonna kill it.

402
00:26:07,089 --> 00:26:09,150
We're gonna sell out arenas
and stadiums around the world."

403
00:26:09,170 --> 00:26:11,099
We never...
we never felt that.

404
00:26:11,119 --> 00:26:15,230
And I remember from one day
to another, kept creating.

405
00:26:16,009 --> 00:26:20,059
And some of the songs I did with
Aventura in our first album,

406
00:26:20,079 --> 00:26:22,230
I was living with these records
for nearly seven years.

407
00:26:23,079 --> 00:26:23,210
[music]

408
00:26:23,230 --> 00:26:25,200
♪ ¿Cuándo volverás? ♪

409
00:26:25,220 --> 00:26:27,160
♪ ¿Cuándo volverás? ♪

410
00:26:27,180 --> 00:26:28,160
♪ Si yo te quise,
si yo te amé ♪

411
00:26:28,180 --> 00:26:31,230
♪ Ay, mami linda, vuelve
otra vez ♪

412
00:26:32,009 --> 00:26:35,220
Romeo: We first dropped
an album as just "Teenagers."

413
00:26:37,170 --> 00:26:39,119
So, that album flopped.

414
00:26:39,140 --> 00:26:40,130
And we were just hurt.

415
00:26:47,140 --> 00:26:49,230
because, you know, we felt
like we were like intruders.

416
00:26:50,009 --> 00:26:51,119
You know, that's what
people would tell us.

417
00:26:51,140 --> 00:26:55,170
Bachata fans would be like,
"Yo, that's not bachata.

418
00:26:55,190 --> 00:26:56,079
You can't do this.

419
00:26:56,099 --> 00:26:57,170
You can't speak Spanglish.

420
00:26:57,190 --> 00:26:59,099
You can't dress that way."

421
00:26:59,220 --> 00:27:01,160
Romeo: Yeah.

422
00:27:02,230 --> 00:27:06,160
I remember when I first went
to DR at the age of like 17,

423
00:27:06,180 --> 00:27:10,210
not knowing that reputation
of what bachata represented.

424
00:27:10,230 --> 00:27:13,089
I would go around
telling people super excited,

425
00:27:13,109 --> 00:27:14,170
"Yo, guess what I do.

426
00:27:14,190 --> 00:27:16,000
Guess what I sing."

427
00:27:17,069 --> 00:27:20,130
And then I started, you know,
educating myself.

428
00:27:20,150 --> 00:27:21,180
I'm gonna always follow my gut.

429
00:27:21,200 --> 00:27:26,079
I'm gonna always follow my gut
when it comes to creating,

430
00:27:26,099 --> 00:27:28,170
when it comes to what type
of music I should be doing.

431
00:27:28,190 --> 00:27:32,079
And going back to
the Aventura days,

432
00:27:32,099 --> 00:27:35,210
we were a little disappointed
that the first Aventura album

433
00:27:35,230 --> 00:27:39,049
didn't really take off
the way we thought it would.

434
00:27:39,069 --> 00:27:41,019
But we were passionate
about music.

435
00:27:42,220 --> 00:27:46,039
I recorded four songs
with the guys.

436
00:27:46,059 --> 00:27:50,160
And we started giving these
songs in a CD to friends

437
00:27:50,180 --> 00:27:51,130
because they loved the songs.

438
00:27:51,150 --> 00:27:54,109
Now, you just
don't give it to anyone

439
00:27:54,130 --> 00:27:56,180
because this is going to be
a part of our next album

440
00:27:56,200 --> 00:27:58,019
when we leave this label,

441
00:27:58,039 --> 00:27:59,099
when we go to
the other one,

442
00:27:59,119 --> 00:28:00,180
whatever, blah, blah.

443
00:28:00,200 --> 00:28:01,180
And I don't know, bro.

444
00:28:01,200 --> 00:28:07,210
Somehow, someway
the shit got leaked.

445
00:28:07,230 --> 00:28:09,170
It was like a virus.

446
00:28:09,190 --> 00:28:11,160
And it started in New York.

447
00:28:11,180 --> 00:28:14,220
And out of like 10 cars
that would pass by,

448
00:28:15,000 --> 00:28:18,220
seven, at least seven
had these four records,

449
00:28:19,000 --> 00:28:20,210
especially "Obsesión."

450
00:28:20,230 --> 00:28:23,150
And what's interesting
about that song

451
00:28:23,170 --> 00:28:26,220
is that it wouldn't go away.

452
00:28:27,000 --> 00:28:27,220
It would not go away.

453
00:28:28,000 --> 00:28:30,140
Like, when we thought,
"Okay, this is it, bro,

454
00:28:30,160 --> 00:28:32,140
we're going to have to start
recording other records,"

455
00:28:32,160 --> 00:28:35,029
it started popping in DR...

456
00:28:35,049 --> 00:28:36,069
Mero: Yeah.

457
00:28:36,089 --> 00:28:39,069
Romeo: In the same way,
it started in a pueblo, Baní.

458
00:28:40,210 --> 00:28:44,069
The shit was just like
blowing up.

459
00:28:44,089 --> 00:28:49,119
From Baní, Santiago,
next thing you know all DR,

460
00:28:50,170 --> 00:28:54,190
Then the following year,
we start popping in Europe,

461
00:28:54,210 --> 00:28:56,069
same song, "Obsesión."

462
00:28:56,089 --> 00:28:57,029
And Britney at the time,

463
00:28:57,049 --> 00:28:57,160
which was like,
on top of the world,

464
00:28:57,180 --> 00:28:58,190
was number two.

465
00:28:58,210 --> 00:29:03,009
And we had a bachata number one
in Europe, the charts.

466
00:29:15,140 --> 00:29:16,000
♪ Son las cinco de la mañana
y yo no he dormido nada ♪

467
00:29:17,220 --> 00:29:18,210
Joaquín Díaz: It started
with Aventura.

468
00:29:18,230 --> 00:29:23,039
Aventura created a style,
a style of bachata.

469
00:29:23,059 --> 00:29:25,019
Lenny Santos: You know,
that music that's called

470
00:29:26,099 --> 00:29:27,200
Announcer: Aventura!

471
00:29:27,220 --> 00:29:29,210
Joaquín Díaz: When Aventura
broke up,

472
00:29:29,230 --> 00:29:33,019
Romeo took that even further.

473
00:29:34,069 --> 00:29:37,079
Romeo started his solo album,
which is Formula Vol 1.

474
00:29:37,099 --> 00:29:39,190
[music]

475
00:29:39,210 --> 00:29:41,089
Joaquín Díaz: Romeo has
his own style,

476
00:29:41,109 --> 00:29:42,170
which is a little
different from Aventura.

477
00:29:42,190 --> 00:29:43,200
It's two different sounds.

478
00:29:43,220 --> 00:29:46,150
Romeo: Simple, yet elegant.

479
00:29:46,170 --> 00:29:49,200
Joaquín Díaz: Romeo took it to
the romantic version of bachata

480
00:29:49,220 --> 00:29:52,000
where now girls
were falling in love

481
00:29:52,019 --> 00:29:54,029
with not only the songs
but with him.

482
00:29:55,069 --> 00:29:55,210
Tommy Mottola: It was so
overwhelming.

483
00:29:55,230 --> 00:29:58,170
The melodies were so incredible.

484
00:29:58,190 --> 00:30:01,079
♪ Enfrenté a la competencia
olvidando sin dolencia ♪

485
00:30:01,099 --> 00:30:04,170
Tommy Mottola: And Anthony's
voice as the lead instrument.

486
00:30:04,190 --> 00:30:07,059
It's almost like an instrument
that you've never heard.

487
00:30:07,079 --> 00:30:09,099
[music]

488
00:30:09,119 --> 00:30:14,049
Undeniably distinguishable
from any sound

489
00:30:14,069 --> 00:30:17,069
and any singer in the world.

490
00:31:02,069 --> 00:31:03,049
Newscaster:
The megastar Romeo Santos

491
00:31:03,069 --> 00:31:06,180
is the biggest name in
Latin music right now.

492
00:31:06,200 --> 00:31:07,220
Newcaster:
The Bronx-born musician

493
00:31:08,000 --> 00:31:10,220
is having the biggest
homecoming of his career.

494
00:31:11,000 --> 00:31:13,109
He's already sold out
back-to-back concerts

495
00:31:13,130 --> 00:31:14,140
at Madison Square Garden.

496
00:31:14,160 --> 00:31:18,109
And now, Santos is set
to rock Yankee Stadium.

497
00:31:18,130 --> 00:31:20,210
[music]

498
00:31:20,230 --> 00:31:22,029
Marc Anthony:
Yankee Stadium two nights.

499
00:31:22,049 --> 00:31:24,039
I'm like, "What?
What? What? What?

500
00:31:24,059 --> 00:31:26,039
Who does that?
Does it?"

501
00:31:26,059 --> 00:31:29,019
Now the next guy
is going to go,

502
00:31:29,039 --> 00:31:31,099
"Romeo Santos did it."

503
00:31:32,119 --> 00:31:35,049
He just took Latin music
to a whole other level.

504
00:31:42,049 --> 00:31:43,029
Joaquín Díaz: That definitely
caught the attention

505
00:31:43,049 --> 00:31:46,079
of all the other musicians
from other genres.

506
00:31:46,099 --> 00:31:49,029
They finally realized,
"Wait, there's something there

507
00:31:49,049 --> 00:31:50,130
we have not seen before."

508
00:32:08,059 --> 00:32:11,170
[music]

509
00:32:38,019 --> 00:32:39,069
Man:
Yo, open the door!

510
00:32:39,089 --> 00:32:40,059
Man: Coming.

511
00:32:45,029 --> 00:32:46,009
Joaquín Díaz: He comes into
the studio, I will say,

512
00:32:46,029 --> 00:32:48,049
like an architect.

513
00:32:48,069 --> 00:32:49,210
He has his drawings
already here.

514
00:32:51,170 --> 00:32:55,160
He sees the whole picture
from beginning to end.

515
00:32:56,140 --> 00:32:59,019
Romeo: It is
a very intense process.

516
00:32:59,039 --> 00:33:02,049
I consider myself
to be a perfectionist.

517
00:33:02,069 --> 00:33:04,029
[music]

518
00:33:05,200 --> 00:33:06,140
Man: One more time.

519
00:33:06,160 --> 00:33:10,170
♪ De lo único remedio
lo acepta ♪

520
00:33:10,190 --> 00:33:11,130
Man: Or...

521
00:33:11,150 --> 00:33:14,130
♪ De lo único remedio
lo acepta ♪

522
00:33:14,150 --> 00:33:16,049
♪ Hay amores que ♪

523
00:33:16,069 --> 00:33:16,220
Romeo: That's better.
That's better.

524
00:33:17,000 --> 00:33:18,210
Man: That's better.

525
00:33:18,230 --> 00:33:20,009
Romeo: Papi...

526
00:33:20,190 --> 00:33:22,160
It's like we're having fun.

527
00:33:22,180 --> 00:33:25,059
But, you know, we're gonna live
with these records

528
00:33:25,079 --> 00:33:26,089
for the rest of our lives.

529
00:33:26,109 --> 00:33:28,019
And we're gonna be gone,
and these songs are gonna live,

530
00:33:28,039 --> 00:33:30,170
so do it as best as you can.

531
00:33:37,200 --> 00:33:39,009
Romeo: Stop, stop.

532
00:33:56,039 --> 00:34:05,069
[music track playing
through speakers]

533
00:34:05,089 --> 00:34:09,150
Romeo: You always want to feel
what you felt with first love.

534
00:34:09,170 --> 00:34:11,139
What is first love?

535
00:34:11,159 --> 00:34:13,030
"Obsesión."

536
00:34:13,050 --> 00:34:14,190
"¿Cuándo Volverás?"

537
00:34:14,210 --> 00:34:17,230
It's not that I'm trying
to recreate that.

538
00:34:18,010 --> 00:34:22,039
But I want to feel that feeling
that I felt when I created that.

539
00:34:22,059 --> 00:34:25,019
And I get that
most of the time.

540
00:34:25,039 --> 00:34:26,230
This is a record.

541
00:34:27,010 --> 00:34:27,019
Man: Oh, yeah.

542
00:34:32,119 --> 00:34:35,070
Sergio George: You see Romeo
bringing in a person like Usher

543
00:34:35,090 --> 00:34:38,179
on a bachata track
and bilingual.

544
00:34:38,199 --> 00:34:41,059
And you got both sides who don't
even speak each other's language

545
00:34:41,079 --> 00:34:43,010
understanding and
they're feeling it.

546
00:34:46,000 --> 00:34:47,010
It has to be real.

547
00:34:47,030 --> 00:34:48,170
So, that's what's happening now
with this new movement

548
00:34:48,190 --> 00:34:53,000
of the Spanish-speaking
Bad Bunny, Ozuna, Romeo

549
00:34:53,019 --> 00:34:55,000
who are singing in Spanish.

550
00:34:55,019 --> 00:34:56,199
And maybe they have a few
words here and there in English.

551
00:34:56,219 --> 00:34:59,079
But that's where the market was
naturally going to go

552
00:34:59,099 --> 00:35:00,070
because the Hispanic culture
has exploded

553
00:35:00,090 --> 00:35:02,190
all over the world now.

554
00:35:02,210 --> 00:35:12,199
[music]

555
00:35:12,219 --> 00:35:27,170
[music]

556
00:35:27,190 --> 00:35:29,050
Mero: Having traveled
across the country

557
00:35:29,070 --> 00:35:31,159
in search of the soul
of bachata...

558
00:35:34,070 --> 00:35:36,119
...I finally got the chance
to see Romeo live.

559
00:35:37,150 --> 00:35:39,139
The fact that it's called,
"La gira del pueblo"

560
00:35:39,159 --> 00:35:42,010
and it's free
is super fitting, bro,

561
00:35:42,030 --> 00:35:44,170
because like, everybody's
just regular people, man.

562
00:35:44,190 --> 00:35:50,010
[crowd cheering]

563
00:35:50,030 --> 00:35:51,079
So, personally, to me,

564
00:35:51,099 --> 00:35:54,079
this is literally
a dream come true, literally,

565
00:35:54,099 --> 00:35:55,059
because I grew up
listening to this guy,

566
00:35:55,079 --> 00:36:00,010
making that connection
from my youth.

567
00:36:00,030 --> 00:36:01,050
So, you know, growing up

568
00:36:01,070 --> 00:36:02,199
and listening to it
in the background,

569
00:36:02,219 --> 00:36:05,090
singing along in my little
beat-up Honda Civic.

570
00:36:07,079 --> 00:36:09,190
This is incredible, man.

571
00:36:13,079 --> 00:36:23,130
[music]

572
00:36:23,150 --> 00:36:27,059
♪ Mi memoria ha conservado
lo que se ha llevado el viento ♪

573
00:36:27,079 --> 00:36:31,019
♪ Y yo estoy estancado
en esos tiempos ♪

574
00:36:31,039 --> 00:36:35,219
♪ Cuando tú me amabas y con
gran fulgor sentía tus besos ♪

575
00:36:36,000 --> 00:36:38,219
♪ Dime, quítame esta duda ♪

576
00:36:39,000 --> 00:36:42,139
♪ ¿Quién es esta extraña que
se ha apoderado de tu ser? ♪

577
00:36:42,159 --> 00:36:46,139
♪ ¿Dónde está la amante loca
que me erizaba la piel? ♪

578
00:36:46,159 --> 00:36:50,219
♪ Porque ya tú no me tocas
como lo hacía esa mujer ♪

579
00:36:51,010 --> 00:36:52,039
♪ Algo no anda bien ♪

580
00:36:53,059 --> 00:36:56,219
[music]

581
00:37:00,010 --> 00:37:03,150
[music]

582
00:37:04,119 --> 00:37:09,170
[music]

583
00:37:09,190 --> 00:37:13,030
Romeo: It just made
so much sense to do this

584
00:37:13,050 --> 00:37:14,159
with this album.

585
00:37:15,090 --> 00:37:15,199
Mero: Speaking of that...

586
00:37:15,219 --> 00:37:18,099
[music]

587
00:37:18,119 --> 00:37:21,059
...Utopia is a fire concept.

588
00:37:21,079 --> 00:37:25,179
How did you come up
with that idea of doing duets

589
00:37:25,199 --> 00:37:27,230
with like...

590
00:37:28,010 --> 00:37:29,150
Romeo: This was a project
that I had in mind

591
00:37:29,170 --> 00:37:32,190
for maybe seven, eight years.

592
00:37:32,210 --> 00:37:37,010
I wanted to do a concept album
where I do one song

593
00:37:37,030 --> 00:37:40,159
with each and every one of these
pioneers of bachata.

594
00:37:42,139 --> 00:37:46,210
This is my gift to DR
for so much they've given me.

595
00:37:46,230 --> 00:37:49,199
[music]

596
00:37:49,219 --> 00:37:54,199
The plan, to be honest with you,
was to only tour in DR.

597
00:37:54,219 --> 00:37:57,159
But that was it, that was all
I thought I was gonna do.

598
00:37:57,179 --> 00:38:00,019
[music]

599
00:38:00,039 --> 00:38:01,079
But the album came out

600
00:38:01,099 --> 00:38:05,000
and something interesting
happened.

601
00:38:05,019 --> 00:38:06,090
People were getting the concept.

602
00:38:06,110 --> 00:38:07,079
Mero: Yeah.
It resonated with people.

603
00:38:07,099 --> 00:38:08,079
Romeo: Yeah.

604
00:38:08,099 --> 00:38:10,199
And I just had this crazy...

605
00:38:10,219 --> 00:38:12,110
I was perceiving like,
"This is special.

606
00:38:12,130 --> 00:38:15,019
This is going beyond DR."

607
00:38:15,230 --> 00:38:16,179
I had a conversation.

608
00:38:16,199 --> 00:38:19,119
I'm like, "I need
to do something big,

609
00:38:19,139 --> 00:38:22,210
something that was
like a statement."

610
00:38:22,230 --> 00:38:26,190
And, you know,
someone mentioned MetLife.

611
00:38:30,030 --> 00:38:31,119
Marc Anthony: T woke up
one day and was like,

612
00:38:31,139 --> 00:38:35,210
"Yo, what's the
biggest venue like?

613
00:38:35,230 --> 00:38:37,050
And let's do it."

614
00:38:37,070 --> 00:38:39,090
Romeo: At first, I was like,
"Okay, we could do that."

615
00:38:39,110 --> 00:38:41,210
And then I just asked,
"What's the capacity?"

616
00:38:41,230 --> 00:38:46,030
When they said, "87,000,"
I bitched out a little.

617
00:38:46,050 --> 00:38:47,170
I was like, "Wait, wait, wait."

618
00:38:51,219 --> 00:38:53,210
Marc Anthony: You know, I heard
about this MetLife thing.

619
00:38:53,230 --> 00:38:57,019
In the beginning,
I was like, [gasping].

620
00:38:57,039 --> 00:38:57,190
It just took my breath away.

621
00:38:57,210 --> 00:38:59,199
I was like, "What you doing?"

622
00:38:59,219 --> 00:39:02,010
Like, I'm like,
"You've got balls, bro."

623
00:39:03,110 --> 00:39:06,219
But if anybody could
pull it off, it's T.

624
00:39:08,159 --> 00:39:10,210
There are a lot
of people talking shit.

625
00:39:10,230 --> 00:39:11,219
He does it.

626
00:39:12,000 --> 00:39:12,219
That's the difference.

627
00:39:14,030 --> 00:39:17,050
Joaquín Díaz: No Latin artist
had filled the MetLife

628
00:39:17,070 --> 00:39:20,219
by him or herself.

629
00:39:21,000 --> 00:39:22,099
Usually, artists will go
in a group

630
00:39:22,119 --> 00:39:24,099
of two or three or four artists.

631
00:39:24,119 --> 00:39:26,139
And then, you know,
they will sell tickets.

632
00:39:26,159 --> 00:39:29,019
But Romeo by himself,
all by himself.

633
00:39:30,019 --> 00:39:30,199
Marc Anthony:
Of course there's pressure

634
00:39:30,219 --> 00:39:32,139
in putting yourself
in that position

635
00:39:32,159 --> 00:39:34,030
because it can go wrong.

636
00:39:34,050 --> 00:39:35,039
Right?

637
00:39:35,059 --> 00:39:38,190
And it will hurt you
more than the good it does

638
00:39:38,210 --> 00:39:41,000
when you put yourself
in those big situations.

639
00:39:42,000 --> 00:39:43,119
Group: Amen.

640
00:39:44,159 --> 00:39:45,110
Marc Anthony: How many talks
do you think he had?

641
00:39:45,130 --> 00:39:46,099
How many people
were like, "Naw, um, oh,

642
00:39:46,119 --> 00:39:49,070
"I don't know.
Eh, ah, oh, oh man.

643
00:39:49,090 --> 00:39:49,190
"Oh, yeah, the budget.

644
00:39:49,210 --> 00:39:50,110
Oh, I don't know."

645
00:39:50,130 --> 00:39:51,110
He had to plow through that,

646
00:39:51,130 --> 00:39:55,130
do it, kick ass,
sell it out and he goes, "Next."

647
00:39:55,150 --> 00:39:56,119
You have to be that guy.

648
00:39:56,139 --> 00:39:58,150
And that's who he is.

649
00:39:59,179 --> 00:40:00,119
Joaquín Díaz: He was able
to fill the place up.

650
00:40:00,139 --> 00:40:04,110
That's groundbreaking
for bachata.

651
00:40:04,130 --> 00:40:05,230
It's come a long way.

652
00:40:06,010 --> 00:40:08,230
Romeo is taking it
to the next level.

653
00:40:09,010 --> 00:40:11,110
He broke the boundaries
of bachata not being accepted

654
00:40:11,130 --> 00:40:13,170
to bachata being respected.

655
00:40:13,190 --> 00:40:24,000
[crowd cheers]
[music]

656
00:40:24,019 --> 00:40:37,079
[crowd cheers]
[music]

657
00:40:37,099 --> 00:40:48,050
[crowd cheers]

658
00:40:48,070 --> 00:40:52,010
[crowd cheers]
[music]

659
00:40:52,030 --> 00:41:02,230
[crowd cheers]

660
00:41:03,179 --> 00:41:08,030
[crowd cheers]

661
00:41:10,230 --> 00:41:13,179
[crowd cheers]

662
00:41:24,150 --> 00:41:35,130
[crowd cheers]

663
00:41:35,150 --> 00:41:50,130
[crowd cheers]

664
00:41:50,150 --> 00:41:55,059
[crowd cheers]

665
00:41:55,079 --> 00:41:55,170
You ready?

666
00:41:55,190 --> 00:41:58,139
[crowd cheers]

667
00:41:58,159 --> 00:42:14,039
[music]

668
00:42:17,090 --> 00:42:20,190
[crowd cheers]

669
00:42:20,210 --> 00:42:24,210
[music]

670
00:42:25,000 --> 00:42:26,119
♪ No creo bien arrepentirme
de los hechos ♪

671
00:42:26,139 --> 00:42:30,099
♪ Jehová no se equivoca ♪

672
00:42:30,119 --> 00:42:36,139
♪ Te me puso en el camino como
prueba y tuve que aprender ♪

673
00:42:36,159 --> 00:42:39,079
♪ Todo lo que brilla,
no es porque sea oro ♪

674
00:42:39,099 --> 00:42:42,150
♪ Tú no eres primavera,
fuiste un invierno ♪

675
00:42:42,170 --> 00:42:46,139
♪ Torbellino, tormenta,
pero sigo en pie ♪

676
00:42:48,079 --> 00:42:54,119
[crowd singing]

677
00:42:54,139 --> 00:43:01,019
[crowd cheering]

678
00:43:01,039 --> 00:43:02,150
[crowd singing]

679
00:43:02,170 --> 00:43:07,000
♪ Tras la tempestad
llega la calma ♪

680
00:43:07,019 --> 00:43:08,170
[crowd singing]

681
00:43:08,190 --> 00:43:11,130
♪ Y la excusa que
no puedo ver ♪

682
00:43:11,150 --> 00:43:13,190
Romeo: Santo Domingo!

683
00:43:13,210 --> 00:43:16,159
♪ Así soy yo,
de piedra y de hierro ♪

684
00:43:16,179 --> 00:43:17,159
♪ A mí nadie ♪

685
00:43:17,179 --> 00:43:19,210
[crowd singing]

686
00:43:19,230 --> 00:43:23,000
♪ Así soy yo,
de piedra y de hierro ♪

687
00:43:23,019 --> 00:43:25,210
♪ A mí nadie
puede vencer ♪

688
00:43:25,230 --> 00:43:28,159
♪ Yo salí intacto
de tu infierno ♪

689
00:43:28,179 --> 00:43:31,190
♪ El diluvio no me afectó ♪

690
00:43:31,210 --> 00:43:34,150
♪ Hoy yo sigo invicto
a tus juegos ♪

691
00:43:34,170 --> 00:43:36,050
♪ Y tu hermana me besa ♪

692
00:43:37,210 --> 00:43:40,190
♪ Así soy yo,
de piedra y de hierro ♪

693
00:43:40,210 --> 00:43:43,130
♪ A mí nadie puede vencer ♪

694
00:43:43,150 --> 00:43:46,130
♪ Así soy yo,
de piedra y de hierro ♪

695
00:43:46,150 --> 00:43:48,130
♪ A mí nadie
me puede vencer ♪

696
00:43:50,230 --> 00:43:55,170
[crowd cheering]
[music]

697
00:43:55,190 --> 00:43:59,039
[music]

698
00:43:59,059 --> 00:44:07,210
[crowd cheering]

699
00:44:07,230 --> 00:44:09,000
Joaquín Díaz: Wow,
that performance,

700
00:44:09,019 --> 00:44:09,159
that was...
[giggles]

701
00:44:09,179 --> 00:44:11,099
Let me tell you.

702
00:44:11,119 --> 00:44:12,110
It was a lot of work.

703
00:44:14,139 --> 00:44:17,059
Romeo was the mastermind
of putting it all together

704
00:44:17,079 --> 00:44:20,050
and his conception of what
he wanted for the show.

705
00:44:23,150 --> 00:44:26,199
But we have a great team,
of course, a great crew.

706
00:44:26,219 --> 00:44:29,070
Everybody, you know,
is to be credited.

707
00:44:30,230 --> 00:44:32,090
Romeo: Give a big hand
to all these musicians

708
00:44:32,110 --> 00:44:34,170
that did this show
for promotion only.

709
00:44:34,190 --> 00:44:37,190
[laughter]

710
00:44:37,210 --> 00:44:40,139
That's huge.

711
00:44:43,110 --> 00:44:44,039
Papa, I believe in God.

712
00:44:44,059 --> 00:44:47,050
Papa, but, nah, nah, nah,
papa.

713
00:44:48,059 --> 00:44:49,219
Artie Pabon: We didn't
have a lot of time.

714
00:44:50,000 --> 00:44:51,099
And we had
a sort of drawing out

715
00:44:51,119 --> 00:44:54,179
what Romeo envisioned the
stage to look like, Utopia,

716
00:44:54,199 --> 00:44:57,130
because it was all themed
around the album "Utopia."

717
00:44:58,130 --> 00:45:00,199
To a certain degree,
he was the underdog.

718
00:45:00,219 --> 00:45:05,159
In the industry,
a lot of people doubted

719
00:45:05,179 --> 00:45:08,199
the undertaking of one night,
80,000 people.

720
00:45:10,079 --> 00:45:12,190
I know he was confident
all along, but myself,

721
00:45:12,210 --> 00:45:14,059
you know, I'm saying,
"Man, the last thing I want

722
00:45:14,079 --> 00:45:17,090
is to, you know, not to
meet the expectations."

723
00:45:17,199 --> 00:45:20,030
[singing]

724
00:45:20,050 --> 00:45:20,219
Woman: Sing that shit.
Sing it.

725
00:45:21,000 --> 00:45:23,070
[singing]

726
00:45:24,079 --> 00:45:24,159
♪ Baby ♪

727
00:45:24,179 --> 00:45:26,219
Romeo: Let's go.

728
00:45:29,119 --> 00:45:30,219
[music]

729
00:45:31,000 --> 00:45:33,099
Artie Pabon: Man, how many
people can go out

730
00:45:33,119 --> 00:45:38,150
and in 90 days
sell 80,000 tickets anywhere?

731
00:45:38,170 --> 00:45:41,150
That's not an easy task
on any genre.

732
00:45:42,159 --> 00:45:43,159
Joaquín Díaz: Not only the crowd
that we had,

733
00:45:43,179 --> 00:45:46,110
but it was just the undertaking
of so many artists.

734
00:45:47,079 --> 00:45:49,219
Mero: He united
all these legends,

735
00:45:50,000 --> 00:45:52,219
who meant a lot to him
and to the bachata genre.

736
00:45:53,010 --> 00:45:54,230
[music]

737
00:45:55,010 --> 00:45:59,090
♪ Es tu rabia
que domina tu actitud ♪

738
00:45:59,110 --> 00:46:03,079
♪ Ese ego que me clava
de una cruz ♪

739
00:46:03,099 --> 00:46:06,159
♪ Tus labios gritan:
"Sal de aquí" ♪

740
00:46:06,179 --> 00:46:10,090
[music]

741
00:46:10,110 --> 00:46:13,210
♪ De perfecto no me
puedo encasillar ♪

742
00:46:13,230 --> 00:46:17,119
♪ Me arrepiento
del pasado y voy a jurar ♪

743
00:46:17,139 --> 00:46:22,190
♪ No te he vuelto a ser infiel,
deja tus celos ♪

744
00:46:22,210 --> 00:46:25,219
♪ Convénceme que
no es orgullo ♪

745
00:46:26,000 --> 00:46:31,039
♪ Que no me amas
y no hay juego ♪

746
00:46:31,059 --> 00:46:34,050
♪ Háblame, aunque sea con odio ♪

747
00:46:34,070 --> 00:46:38,159
♪ Porque el coraje
lo aniquilo con un beso ♪

748
00:46:38,179 --> 00:46:40,210
♪ Me voy no queriendo ♪

749
00:46:40,230 --> 00:46:45,199
♪ Pues no es secreto
que yo te quiero ♪

750
00:46:45,219 --> 00:46:49,039
♪ Yo interpreto el silencio ♪

751
00:46:49,059 --> 00:46:52,230
♪ Si en la puerta
no veo tu impedimento ♪

752
00:46:53,219 --> 00:46:56,159
Mero: After seeing Romeo live,

753
00:46:56,179 --> 00:46:58,170
I decided I needed
to brush up

754
00:46:58,190 --> 00:47:01,130
on my bachata
dance steps ASAP.

755
00:47:01,150 --> 00:47:03,000
Hey!

756
00:47:05,139 --> 00:47:07,070
Hey.

757
00:47:12,150 --> 00:47:13,230
Mero: Mero.

758
00:48:11,130 --> 00:48:12,110
Man: Okay.

759
00:48:18,170 --> 00:48:20,079
[laughing]

760
00:48:20,099 --> 00:48:23,050
[music]

761
00:48:28,050 --> 00:48:35,150
[music]

762
00:48:35,170 --> 00:48:39,050
♪ Píntame la cara,
yo también te voy a ayudar ♪

763
00:48:39,070 --> 00:48:43,039
♪ A ver quién más
provoca carcajadas ♪

764
00:48:43,059 --> 00:48:46,030
♪ Tú y yo, payasos,
fantaseando por su amor ♪

765
00:48:46,050 --> 00:48:50,079
♪ Y ella ni devuelve
la mirada ♪

766
00:48:50,099 --> 00:48:53,150
♪ Así la ironía
de este cuento ♪

767
00:48:53,170 --> 00:48:57,199
♪ Ambos estamos expuestos
a una burla emocional ♪

768
00:48:57,219 --> 00:49:00,199
♪ Y sé, a mí no me cabe duda ♪

769
00:49:00,219 --> 00:49:01,230
♪ Que no va a ser
ni mía ni tuya ♪

770
00:49:02,010 --> 00:49:05,090
♪ Pero déjennos soñar ♪

771
00:49:05,110 --> 00:49:08,090
♪ Amores que causan
las chanzas ♪

772
00:49:08,110 --> 00:49:12,000
♪ Señalan
se ríen así sin piedad ♪

773
00:49:12,019 --> 00:49:16,000
♪ Pero son amores ingenuos ♪

774
00:49:16,019 --> 00:49:20,039
♪ Despiertan sarcasmo
en la vecindad ♪

775
00:49:20,059 --> 00:49:23,039
♪ Porque aparentemente
ella es feliz ♪

776
00:49:23,059 --> 00:49:27,090
♪ Y se burlan de frente
de ti y de mí ♪

777
00:49:27,110 --> 00:49:29,010
♪ Y qué mala es la gente ♪

778
00:49:29,030 --> 00:49:32,010
♪ Una careta no disfraza
el dolor ♪

779
00:49:32,030 --> 00:49:34,090
♪ Una careta
no disfraza el dolor ♪

780
00:49:34,110 --> 00:49:36,059
♪ Una careta
no disfraza el dolor ♪

781
00:49:36,079 --> 00:49:38,170
♪ Una careta
no disfraza el dolor ♪

782
00:49:39,070 --> 00:49:42,099
[clapping on beat]

783
00:49:42,119 --> 00:49:46,030
♪ Una careta
no disfraza el dolor ♪

784
00:49:47,079 --> 00:49:48,159
[clapping]

785
00:49:48,179 --> 00:49:53,159
♪ Una careta
no disfraza el dolor ♪

786
00:49:53,179 --> 00:49:54,050
♪ Porque aparentemente ♪

787
00:49:54,070 --> 00:49:57,039
♪ Ella es feliz ♪

788
00:49:57,059 --> 00:49:58,010
♪ Y se burlan de frente ♪

789
00:49:58,030 --> 00:50:01,010
♪ De ti, de mí ♪

790
00:50:01,030 --> 00:50:01,219
♪ Y qué mala es la gente ♪

791
00:50:02,000 --> 00:50:05,039
♪ Una careta
no disfraza el dolor ♪

792
00:50:06,039 --> 00:50:09,070
♪ Porque aparentemente
ella es feliz ♪

793
00:50:09,090 --> 00:50:13,059
♪ Y se burlan de frente
de ti y de mí ♪

794
00:50:13,079 --> 00:50:14,039
♪ Y qué mala es la gente ♪

795
00:50:14,059 --> 00:50:17,219
♪ Una careta
no disfraza el dolor ♪

796
00:50:18,000 --> 00:50:19,099
♪ El rostro alegre ♪

797
00:50:20,230 --> 00:50:21,199
Romeo: [Inaudible]

798
00:50:21,219 --> 00:50:27,179
♪ Somos dos payasos
en un circo de amor ♪

799
00:50:27,199 --> 00:50:29,219
[crowd cheering]

800
00:50:30,000 --> 00:50:30,210
Frank Reyes: Whoo!

801
00:50:42,199 --> 00:50:44,010
[music]

802
00:50:53,219 --> 00:51:01,119
[music]

803
00:51:01,139 --> 00:51:04,070
♪ Y voy a morir
de un amargue ♪

804
00:51:04,090 --> 00:51:08,099
♪ Y la asesina eres tú ♪

805
00:51:08,119 --> 00:51:15,110
♪ Este masoquismo es rentable,
aunque me afecta la salud ♪

806
00:51:15,130 --> 00:51:22,170
♪ Me hago el sordo y ciego
sabiendo me puede ir mejor ♪

807
00:51:22,190 --> 00:51:26,019
♪ Cuidadito ahí,
te crees que eres muy sabia ♪

808
00:51:26,039 --> 00:51:28,039
♪ Amor, no quita conocimiento ♪

809
00:51:28,059 --> 00:51:30,039
♪ Yo sé bien quién eres tú ♪

810
00:51:31,070 --> 00:51:33,159
♪ Mala ♪

811
00:51:33,179 --> 00:51:39,079
[crowd sings]

812
00:51:39,099 --> 00:51:42,099
♪ Malvada, pero estás buena ♪

813
00:51:42,119 --> 00:51:46,090
♪ No me importa
que seas una canalla ♪

814
00:51:46,110 --> 00:51:49,030
♪ Tú me enciendes
y me apagas ♪

815
00:51:49,050 --> 00:51:53,079
♪ Me subes a la cima
y me lanzas ♪

816
00:51:53,099 --> 00:51:56,070
♪ Y esa vaina me acorrala ♪

817
00:51:56,090 --> 00:52:00,150
♪ Una psicología
que me atrapa ♪

818
00:52:01,170 --> 00:52:04,230
[guitar solo]

819
00:52:06,030 --> 00:52:08,090
[guitar solo]

820
00:52:12,230 --> 00:52:18,090
[music]

821
00:52:20,030 --> 00:52:24,170
[guitar solo]

822
00:52:24,190 --> 00:52:27,079
[music]

823
00:52:27,099 --> 00:52:35,130
♪ Voy a permitir tus chantajes,
aunque resulten mi perdición ♪

824
00:52:35,150 --> 00:52:39,000
♪ Tengo una paciencia adaptable
que se amolda a esta situación ♪

825
00:52:39,019 --> 00:52:39,210
Mero: My journey here

826
00:52:39,230 --> 00:52:41,210
in the Dominican Republic
continues.

827
00:52:41,230 --> 00:52:44,059
In one of my last stops,
I head back to the countryside

828
00:52:44,079 --> 00:52:46,079
to see how the music
is kept alive

829
00:52:46,099 --> 00:52:48,130
and experienced every day

830
00:52:48,150 --> 00:52:50,059
in the kind of towns
where bachata thrived

831
00:52:50,079 --> 00:52:52,090
in its early years.

832
00:52:52,110 --> 00:52:54,030
It's a way more
intimate experience

833
00:52:54,050 --> 00:52:55,059
than you might find in, say,

834
00:52:55,079 --> 00:52:57,030
an urban environment
like Santo Domingo.

835
00:52:57,050 --> 00:52:59,179
[music]

836
00:52:59,199 --> 00:53:00,219
♪ Mala... ♪

837
00:53:01,000 --> 00:53:04,070
Mero: It's one thing to see
a band at a fancy club...

838
00:53:06,170 --> 00:53:10,019
...and a different thing to
see a band in a place like here.

839
00:53:10,039 --> 00:53:11,139
Like, Najayo...

840
00:53:11,159 --> 00:53:12,090
where if you look out
onto the ocean,

841
00:53:12,110 --> 00:53:13,050
it's families here.

842
00:53:13,070 --> 00:53:15,010
You know what I mean?

843
00:53:15,030 --> 00:53:16,050
This is locals.

844
00:53:16,070 --> 00:53:17,059
Like, this intimate, personal...

845
00:53:17,079 --> 00:53:19,099
Like, the majority
of bachata songs,

846
00:53:19,119 --> 00:53:21,010
you're bearing your soul.

847
00:53:21,030 --> 00:53:22,019
You know what I mean?

848
00:53:22,039 --> 00:53:26,030
So, it's like here,
that connection, the energy

849
00:53:26,050 --> 00:53:26,139
like, you feel it.

850
00:53:26,159 --> 00:53:27,070
It's palpable.

851
00:53:27,090 --> 00:53:36,030
[music]

852
00:53:36,050 --> 00:53:38,150
Romeo: I think bachata,

853
00:53:38,170 --> 00:53:41,219
you know, one
of the key elements is,

854
00:53:42,000 --> 00:53:44,070
people do listen to
what you're saying.

855
00:53:44,090 --> 00:53:46,039
It's not like...

856
00:53:46,059 --> 00:53:49,039
Certain urban records
is about the beat.

857
00:53:49,059 --> 00:53:51,070
So, if you have good lyrics
on top of a good beat,

858
00:53:51,090 --> 00:53:53,150
then that's a plus.

859
00:53:53,170 --> 00:53:57,070
But bachata, you just can't
just say something

860
00:53:57,090 --> 00:53:59,019
that is insignificant.

861
00:54:00,210 --> 00:54:04,030
Many artists have
told the girl, "I love you."

862
00:54:04,050 --> 00:54:06,070
How am I gonna
make that special?

863
00:54:06,090 --> 00:54:08,150
And you need
to say something

864
00:54:08,170 --> 00:54:11,099
that even if it has
been said before,

865
00:54:11,119 --> 00:54:13,179
it needs to be unique,
in its own way.

866
00:54:42,130 --> 00:54:44,090
Mero: It's like
Dominican blues.

867
00:54:44,110 --> 00:54:45,119
You know what I mean?

868
00:54:45,139 --> 00:54:46,199
So, like, it's emotional music,

869
00:54:46,219 --> 00:54:48,090
so you're more
listening to it for feeling

870
00:54:48,110 --> 00:54:49,119
as opposed to like,

871
00:54:49,139 --> 00:54:53,030
"Yo, I want to see this dude
shred on the guitar."

872
00:54:53,050 --> 00:54:54,000
You know what I mean?

873
00:54:54,019 --> 00:54:55,099
Like, even though
they do shred, bro.

874
00:54:55,119 --> 00:55:04,010
[music]

875
00:55:04,030 --> 00:55:07,090
♪ La vi en el altar ♪

876
00:55:07,110 --> 00:55:11,050
♪ Una diadema en su cabeza
y aquel novio ♪

877
00:55:11,070 --> 00:55:14,159
♪ Se llevó
lo que más quiero ♪

878
00:55:14,179 --> 00:55:18,090
♪ La imagen
no puedo borrar ♪

879
00:55:18,110 --> 00:55:22,190
♪ Quiero sacar de mi memoria
su vestido blanco ♪

880
00:55:22,210 --> 00:55:28,039
♪ El anillo en su dedo
y el beso que no le di ♪

881
00:55:28,059 --> 00:55:29,050
Romeo: Hey!

882
00:55:29,070 --> 00:55:32,159
[music]

883
00:55:33,099 --> 00:55:36,000
[music]

884
00:55:39,119 --> 00:55:43,050
[crowd cheers]

885
00:55:46,199 --> 00:55:48,230
[crowd cheers]

886
00:55:51,030 --> 00:55:53,039
Santo Domingo!

887
00:55:53,059 --> 00:55:59,230
[music]

888
00:56:00,010 --> 00:56:07,139
♪ Ella no dio despedida
ni me invitó a la catedral ♪

889
00:56:07,159 --> 00:56:11,099
♪ Por los chismosos del pueblo
llegué hasta la iglesia ♪

890
00:56:11,119 --> 00:56:13,179
♪ Murieron mis sueños ♪

891
00:56:15,039 --> 00:56:18,219
♪ La vi en el altar ♪

892
00:56:19,010 --> 00:56:22,030
♪ Precisamente cuando
el padre los unió ♪

893
00:56:26,159 --> 00:56:30,110
♪ Su boda iba a parar ♪

894
00:56:30,130 --> 00:56:35,099
♪ Pero elegí que sea
feliz causando ♪

895
00:56:35,119 --> 00:56:36,079
[mocking crowd screaming]

896
00:56:36,099 --> 00:56:39,010
[whispering] I fucking
love you, Romeo.

897
00:56:39,030 --> 00:56:40,119
And I love you, too.

898
00:56:40,139 --> 00:56:43,059
Lenny Santos: We got
to know him as Anthony,

899
00:56:43,079 --> 00:56:45,099
the regular man,
not Romeo.

900
00:56:45,119 --> 00:56:48,110
Romeo, he has that persona
and that's worked for him.

901
00:56:48,130 --> 00:56:51,099
But Anthony Santos
the real person...

902
00:56:52,099 --> 00:56:54,199
this guy could be a comedian.

903
00:56:54,219 --> 00:56:55,190
If he was not to be
a musician anymore,

904
00:56:55,210 --> 00:56:57,199
this guy is the funniest guy
in the world.

905
00:56:58,139 --> 00:56:58,150
Romeo: And Guillermo Conga.

906
00:57:06,219 --> 00:57:20,210
[laughing]

907
00:57:24,070 --> 00:57:25,130
Lenny Santos: He will have you
dying laughing.

908
00:57:25,150 --> 00:57:26,090
He's very caring.

909
00:57:26,110 --> 00:57:27,119
He's really cool.

910
00:57:27,139 --> 00:57:30,070
Tommy Mottola: He's a gentle,
kind-hearted person,

911
00:57:30,090 --> 00:57:31,119
a lot of fun.

912
00:57:31,139 --> 00:57:33,119
Artie Pabon: He's a great
human being.

913
00:57:33,139 --> 00:57:36,070
But when it comes
to his business, it's all off.

914
00:57:37,230 --> 00:57:40,039
He wants his business
handled right.

915
00:57:40,059 --> 00:57:42,090
Gerry Grimaud Jr.: I remember
one year, he's in Spain.

916
00:57:42,110 --> 00:57:43,119
He called me after a concert,

917
00:57:43,139 --> 00:57:45,170
I'm talking about a three,
four-hour concert, right?

918
00:57:45,190 --> 00:57:46,219
Right after the show,
calling me up,

919
00:57:47,000 --> 00:57:49,099
"Bro, remember
to raise up this guitar

920
00:57:49,119 --> 00:57:52,059
"and this little word I said
in such and such mix.

921
00:57:52,079 --> 00:57:53,000
Don't forget."

922
00:57:53,019 --> 00:57:55,000
And, I'm like,
"Bro, I got it."

923
00:57:55,019 --> 00:57:58,039
Joaquín Díaz: He has certain
work ethics that we follow.

924
00:57:58,059 --> 00:58:00,039
Artie Pabon: Working day to day
with Romeo,

925
00:58:00,059 --> 00:58:01,170
it's, um...it's tense.

926
00:58:01,190 --> 00:58:04,130
And you got to be sharp.

927
00:58:04,150 --> 00:58:05,119
You got to be on point.

928
00:58:05,139 --> 00:58:06,130
Romeo: See,
when you do--

929
00:58:06,150 --> 00:58:09,130
After that, go "Tú."

930
00:58:09,150 --> 00:58:11,050
You're going--
[singing]

931
00:58:11,070 --> 00:58:12,219
And it's, "Tú."

932
00:58:13,000 --> 00:58:13,210
[singing]

933
00:58:13,230 --> 00:58:15,090
Romeo: "Tú."
Grizel Del Valle: Okay.

934
00:58:15,110 --> 00:58:16,090
Romeo: Do that.

935
00:58:16,110 --> 00:58:17,070
[singing]

936
00:58:17,090 --> 00:58:18,119
Yeah, that shit
sounds fucking beautiful.

937
00:58:18,139 --> 00:58:20,090
Do that.

938
00:58:20,110 --> 00:58:21,090
Grizel Del Valle: Good.

939
00:58:21,110 --> 00:58:22,130
Romeo: Come on, girl.

940
00:59:17,210 --> 00:59:19,070
Mate Traxx: I see how he is

941
00:59:19,090 --> 00:59:21,090
with everything that he does,
everything.

942
00:59:21,110 --> 00:59:23,139
We're talking about recording,
but that's everything he does.

943
00:59:23,159 --> 00:59:25,179
And he brings out
the best out of me.

944
00:59:25,199 --> 00:59:28,150
I'm super honored by him.

945
00:59:28,170 --> 00:59:30,110
Incredible.

946
00:59:30,130 --> 00:59:31,219
Romeo: Okay, so...

947
00:59:32,000 --> 00:59:32,199
I'm sorry.

948
00:59:32,219 --> 00:59:34,070
Mate Traxx: You're fucking me up
over here.

949
00:59:34,090 --> 00:59:35,010
See...see...see this?

950
00:59:35,030 --> 00:59:36,070
And we're recording.
See this?

951
00:59:36,090 --> 00:59:37,030
Look, look, look, look, look.

952
00:59:37,050 --> 00:59:38,070
Watch this, right?

953
00:59:38,090 --> 00:59:39,070
We're recording this right now.

954
00:59:39,090 --> 00:59:40,050
Romeo: Don't get me on camera.

955
00:59:40,070 --> 00:59:41,079
Mate Traxx: Watch, watch.
Look, look. See.

956
00:59:41,099 --> 00:59:44,030
Romeo: So, look, I want
you guys to do something else.

957
00:59:44,050 --> 00:59:47,190
Not like,
not criticize but just like

958
00:59:47,210 --> 00:59:50,030
how it could be overwhelming
and...

959
00:59:50,050 --> 00:59:52,110
Mate Traxx: I hope you're
recording this shit right here.

960
00:59:52,130 --> 00:59:53,199
This is beautiful right here.

961
00:59:53,219 --> 00:59:55,119
You record this
to have it for B roll.

962
00:59:55,139 --> 00:59:58,050
Romeo: But share how
I pay very well.

963
00:59:58,070 --> 00:59:59,150
[laughter]

964
00:59:59,170 --> 01:00:00,150
So...so...so...

965
01:00:00,170 --> 01:00:02,079
Mate Traxx: Yeah.
He does.

966
01:00:02,099 --> 01:00:03,079
Let me tell you
something.

967
01:00:03,099 --> 01:00:04,059
You see how he is?

968
01:00:04,079 --> 01:00:06,150
That come to show you,
he's on top of it.

969
01:00:06,170 --> 01:00:07,159
He's on top of everything,

970
01:00:07,179 --> 01:00:10,070
even...even...even...even...

971
01:00:10,090 --> 01:00:14,199
Romeo: When you're done here
and you're mixing it in--

972
01:00:14,219 --> 01:00:16,000
Mate Traxx: I haven't slept.

973
01:00:16,019 --> 01:00:18,170
I've been up since yesterday,
but you hear this, right?

974
01:00:18,190 --> 01:00:19,179
That's what he is.

975
01:00:19,199 --> 01:00:22,130
Romeo: And the cop,
the Chichi, the reference,

976
01:00:22,150 --> 01:00:23,119
I need that.

977
01:00:23,139 --> 01:00:25,139
Mate Traxx: I was about
to go home and sleep

978
01:00:25,159 --> 01:00:26,190
because I'm dead tired.

979
01:00:26,210 --> 01:00:27,170
No, he wants
to keep on working.

980
01:00:27,190 --> 01:00:28,130
Romeo: Okay.

981
01:00:34,079 --> 01:00:35,050
Romeo: Okay.

982
01:00:36,150 --> 01:00:39,070
[applause]

983
01:00:41,099 --> 01:00:42,019
[giggles]

984
01:00:42,179 --> 01:00:45,150
[music]

985
01:00:45,170 --> 01:00:53,130
[music]

986
01:00:59,119 --> 01:01:01,170
[music]

987
01:01:01,190 --> 01:01:10,050
♪ Hoy pensé,
si yo no te vuelvo a ver ♪

988
01:01:10,070 --> 01:01:17,170
♪ No podré
desprenderte de mi ser ♪

989
01:01:17,190 --> 01:01:22,099
♪ A todo individuo
le llegan etapas ♪

990
01:01:22,119 --> 01:01:24,219
♪ Personas diversas ♪

991
01:01:25,000 --> 01:01:31,170
♪ Eres la mujer de mis sueños
con imperfecciones perfectas ♪

992
01:01:31,190 --> 01:01:34,170
♪ No existe otro hombre
en la tierra ♪

993
01:01:34,190 --> 01:01:38,159
♪ Que me haga temblar
de las piernas ♪

994
01:01:38,179 --> 01:01:43,030
♪ Con solo mirarte estremezco ♪

995
01:01:43,050 --> 01:01:47,090
♪ Hoy quiero ilustrar
que por ti vivo ♪

996
01:01:47,110 --> 01:01:53,150
♪ Tú para mí eres la luz ♪

997
01:01:53,170 --> 01:01:55,159
♪ Amarte es una virtud ♪

998
01:01:55,179 --> 01:02:01,159
♪ Voy a agregarte a la Biblia,
por divina y tan buena ♪

999
01:02:04,199 --> 01:02:05,150
Artie Pabon: Everybody got there

1000
01:02:05,170 --> 01:02:08,230
and saw this magnificent
humongous stage

1001
01:02:09,010 --> 01:02:12,150
with waterfalls,
with lights with you know...

1002
01:02:12,170 --> 01:02:15,230
It was amazing for anybody
that attended the concert.

1003
01:02:16,199 --> 01:02:18,179
But leading right up to it,

1004
01:02:18,199 --> 01:02:21,179
and this is something
nobody knows,

1005
01:02:21,199 --> 01:02:24,219
we get there
the night before for rehearsals.

1006
01:02:25,000 --> 01:02:27,190
We still have 30% to complete.

1007
01:02:27,210 --> 01:02:30,039
There's wires hanging.

1008
01:02:30,059 --> 01:02:31,159
And Romeo is going
to kill me for saying this.

1009
01:02:31,179 --> 01:02:32,179
You know, he's going crazy.

1010
01:02:32,199 --> 01:02:34,190
Nobody ever seen him
going crazy and upset that,

1011
01:02:34,210 --> 01:02:35,190
"What's going on?

1012
01:02:35,210 --> 01:02:38,159
"Normally when I get to
a stage for rehearsal,

1013
01:02:38,179 --> 01:02:39,199
"it's 100% done.

1014
01:02:39,219 --> 01:02:42,010
"Why do I got wires hanging?

1015
01:02:42,030 --> 01:02:44,000
Why aren't these
screens on?"

1016
01:02:44,019 --> 01:02:45,179
So, it was a lot of tension.

1017
01:02:47,070 --> 01:02:48,150
Gerry Grimaud Jr.: Yes,
super perfectionist.

1018
01:02:50,010 --> 01:02:52,099
Super perfectionist.

1019
01:02:53,099 --> 01:02:55,039
Artie Pabon: And it has
to be perfection.

1020
01:02:59,179 --> 01:03:00,190
Mate Traxx: Everything.

1021
01:03:00,210 --> 01:03:02,070
Everything matters
most to Romeo.

1022
01:03:02,090 --> 01:03:03,079
Everything.

1023
01:03:03,099 --> 01:03:04,230
When I mean everything,
things that you'd be like,

1024
01:03:05,010 --> 01:03:06,170
"There's no way
this makes sense."

1025
01:03:06,190 --> 01:03:08,079
Everything.

1026
01:03:08,099 --> 01:03:10,159
Artie Pabon: And he wants
to know a small detail,

1027
01:03:10,179 --> 01:03:12,159
"What color are the curtains?"

1028
01:03:12,179 --> 01:03:15,000
And, you tell him the color.

1029
01:03:15,019 --> 01:03:17,050
[music]

1030
01:03:17,070 --> 01:03:19,130
Sergio George: Talent is only
a small part of it.

1031
01:03:19,150 --> 01:03:20,110
You have to care.

1032
01:03:20,130 --> 01:03:24,010
A lot of artists
who don't last don't care.

1033
01:03:24,030 --> 01:03:24,219
They just care about putting
the money in their pocket

1034
01:03:25,000 --> 01:03:28,079
and buying watches
and Rolex and a car.

1035
01:03:28,099 --> 01:03:29,199
And they don't care about
that person

1036
01:03:29,219 --> 01:03:31,099
who has to sweat every day

1037
01:03:31,119 --> 01:03:34,210
and has to go to a job
to work to have money

1038
01:03:34,230 --> 01:03:36,159
to afford to go see you.

1039
01:03:36,179 --> 01:03:37,119
You got to care
about that person.

1040
01:03:37,139 --> 01:03:39,079
They don't have
to buy your concert.

1041
01:03:39,099 --> 01:03:40,110
They don't have to
do anything.

1042
01:03:40,130 --> 01:03:42,010
They can just take their money
and go somewhere else.

1043
01:03:42,030 --> 01:03:44,000
So, show that person respect.

1044
01:03:45,190 --> 01:03:47,079
They have jobs,
they have worries,

1045
01:03:47,099 --> 01:03:48,079
they have problems.

1046
01:03:48,099 --> 01:03:49,230
They don't have
to go to your show.

1047
01:03:52,150 --> 01:03:53,130
I got to care about the public.

1048
01:03:53,150 --> 01:03:56,130
I got to care by putting
my right show together,

1049
01:03:56,150 --> 01:03:57,150
but it's got to be right.

1050
01:04:42,179 --> 01:04:44,010
[laughing]

1051
01:04:50,130 --> 01:04:51,199
♪ Yo por su amor ♪

1052
01:04:51,219 --> 01:04:54,010
♪ Que me enferma ♪

1053
01:04:54,030 --> 01:04:54,230
♪ Yo por su amor ♪

1054
01:04:55,010 --> 01:04:57,230
♪ Me merezco
una recompensa ♪

1055
01:04:58,010 --> 01:04:59,150
Raulín:Yeah!

1056
01:04:59,170 --> 01:05:07,010
[music]

1057
01:05:10,119 --> 01:05:11,090
Raulín: Romeo!

1058
01:05:11,110 --> 01:05:14,170
[music]

1059
01:05:15,139 --> 01:05:17,219
[music]

1060
01:05:40,019 --> 01:05:43,079
♪ Y hoy te pongo
una querella ♪

1061
01:05:43,099 --> 01:05:47,130
♪ Que este abuso se resuelva ♪

1062
01:05:47,150 --> 01:05:48,199
♪ Yo por su amor ♪

1063
01:05:48,219 --> 01:05:50,230
♪ Llevo un delirio
que me enferma ♪

1064
01:05:51,010 --> 01:05:52,079
♪ Yo por su amor ♪

1065
01:05:52,099 --> 01:05:54,000
♪ Merezco una recompensa ♪

1066
01:05:54,019 --> 01:05:55,039
♪ Yo por su amor ♪

1067
01:05:55,059 --> 01:05:58,199
♪ He sufrido lesiones y varios
perjuicios al corazón ♪

1068
01:05:58,219 --> 01:06:00,000
♪ Yo por su amor ♪

1069
01:06:00,019 --> 01:06:02,210
♪ Por el daño causado hoy
te demando por un billón ♪

1070
01:06:05,150 --> 01:06:09,059
[music]

1071
01:06:09,079 --> 01:06:11,210
Raulín: Dominican Republic!

1072
01:06:11,230 --> 01:06:14,030
[music]

1073
01:06:15,219 --> 01:06:24,019
[music]

1074
01:06:25,150 --> 01:06:27,079
[music]

1075
01:06:28,170 --> 01:06:33,219
[music]

1076
01:06:37,119 --> 01:06:39,079
[music]

1077
01:06:39,099 --> 01:06:41,010
Raulín: For Romeo,
I did it for you.

1078
01:06:41,030 --> 01:06:44,219
[music]

1079
01:06:45,010 --> 01:06:46,139
Romeo: Everyone that's a legend

1080
01:06:46,159 --> 01:06:52,059
is because they
brought something different.

1081
01:06:52,079 --> 01:06:56,019
And I would love to see bachata
10 years from now

1082
01:06:56,039 --> 01:07:00,000
where a bunch of, like,
you know, new blood,

1083
01:07:00,019 --> 01:07:02,099
you know, guys that
when I listen to them like,

1084
01:07:02,119 --> 01:07:06,219
"Whoa, I never imagined
this shit in bachata."

1085
01:07:11,119 --> 01:07:16,179
[music]

1086
01:07:16,199 --> 01:07:18,099
Mero: Utopia
is a celebration

1087
01:07:18,119 --> 01:07:21,019
of the past and
present of bachata.

1088
01:07:21,039 --> 01:07:23,059
For my final day
in the Dominican Republic,

1089
01:07:23,079 --> 01:07:25,000
I traveled to the town
of Cabarete

1090
01:07:25,019 --> 01:07:27,110
in search of the
genre's future.

1091
01:07:27,130 --> 01:07:33,219
[music]

1092
01:07:43,050 --> 01:07:49,199
[students singing]

1093
01:07:55,050 --> 01:07:59,090
[students singing]

1094
01:07:59,110 --> 01:08:01,039
Mero: Pay special
attention to shorty in the back

1095
01:08:01,059 --> 01:08:04,059
with the bandana
just playing the güira

1096
01:08:04,079 --> 01:08:05,059
and the bass drum.

1097
01:08:05,079 --> 01:08:07,150
And she's freaking it, bro.

1098
01:08:07,170 --> 01:08:15,000
[students singing]

1099
01:08:17,020 --> 01:08:18,119
Mero: Killing it.

1100
01:08:18,140 --> 01:08:19,140
Skills, bro.

1101
01:08:24,189 --> 01:08:28,039
[music]

1102
01:08:28,060 --> 01:08:30,119
Romeo: We need guys to be
in a basement right now

1103
01:08:30,140 --> 01:08:32,010
trying to be better than me.

1104
01:08:32,029 --> 01:08:35,170
Dudes that are like, "Shit,
I want to be the new king."

1105
01:08:35,189 --> 01:08:36,100
Mero: Right.

1106
01:08:36,119 --> 01:08:37,159
Romeo: You need that ambition.

1107
01:08:37,180 --> 01:08:38,109
You need to...

1108
01:08:38,130 --> 01:08:39,170
And I actually embrace that.

1109
01:08:39,189 --> 01:08:42,199
I don't take offense when I hear
a new guy talking about like,

1110
01:08:42,220 --> 01:08:44,039
"Yo, I want to be
the new king," you know,

1111
01:08:44,060 --> 01:08:45,039
because it's not disrespectful.

1112
01:08:45,060 --> 01:08:46,050
You need that.

1113
01:08:46,069 --> 01:08:51,090
I wanted to also be
better than everyone else,

1114
01:08:51,109 --> 01:08:55,079
you know, and that's
what I would love to see.

1115
01:08:55,100 --> 01:08:59,050
It's what's really
going to keep the genre alive.

1116
01:09:00,050 --> 01:09:01,210
Mero: Bachata has
now come full circle,

1117
01:09:01,229 --> 01:09:03,039
reaching global status.

1118
01:09:03,060 --> 01:09:05,170
And in turn, returning
to its roots in the countryside

1119
01:09:05,189 --> 01:09:08,199
to cultivate a new
generation of talent.

1120
01:09:08,220 --> 01:09:11,020
It's been incredible
to see bachata's past,

1121
01:09:11,039 --> 01:09:14,199
present, and future
here in the DR and feel it too.

1122
01:09:15,189 --> 01:09:19,060
♪ Quizás no lo puedas
comprender ♪

1123
01:09:19,079 --> 01:09:23,050
♪ Quizás no entiendas
la narrativa ♪

1124
01:09:23,069 --> 01:09:26,079
♪ Pero algo que
te puedo prometer ♪

1125
01:09:26,100 --> 01:09:31,109
♪ No quiero
hacerle daño a tu vida ♪

1126
01:09:31,130 --> 01:09:33,180
[music]

1127
01:09:33,199 --> 01:09:35,029
♪ De ese amor que ayer ♪

1128
01:09:35,050 --> 01:09:41,220
♪ Fue lumbre ni se
encuentran las cenizas ♪

1129
01:09:42,000 --> 01:09:45,109
♪ Eran épicos los besos ♪

1130
01:09:45,130 --> 01:09:49,020
♪ Hoy solo es juntar saliva ♪

1131
01:09:49,039 --> 01:09:53,060
♪ Llevo dos años pensando,
estresando qué le hago ♪

1132
01:09:53,079 --> 01:09:56,060
♪ Ay, pa volverte a querer ♪

1133
01:09:56,079 --> 01:10:00,180
♪ Puse mis fuerzas,
mas todo fue en vano ♪

1134
01:10:00,199 --> 01:10:04,180
♪ Amor enterrado
no vuelve a renacer ♪

1135
01:10:04,199 --> 01:10:08,159
♪ Intenté exigirle al alma
que te amara ♪

1136
01:10:08,180 --> 01:10:12,140
♪ Amenazando el corazón
con un puñal ♪

1137
01:10:12,159 --> 01:10:16,149
♪ Como un zombie
cuando tú me acariciabas ♪

1138
01:10:16,170 --> 01:10:20,180
♪ Ni mi carne has
podido provocar ♪

1139
01:10:25,050 --> 01:10:35,229
[music]

1140
01:10:36,010 --> 01:10:38,060
Mero: Being Dominican
but being born in the Bronx

1141
01:10:38,079 --> 01:10:40,189
and being first generation,

1142
01:10:40,210 --> 01:10:44,229
you took on that responsibility
of pushing that culture forward

1143
01:10:45,010 --> 01:10:47,069
because bachata is really
hard core Dominican music

1144
01:10:47,090 --> 01:10:51,199
and you took it
to like, a worldwide stage.

1145
01:10:52,199 --> 01:10:53,100
Romeo: I appreciate that,
you know,

1146
01:10:53,119 --> 01:10:56,210
because I want to be great.

1147
01:10:56,229 --> 01:11:00,119
And I want people
to speak about my music,

1148
01:11:00,140 --> 01:11:03,130
you know, 30, 50 years from now
and say like,

1149
01:11:03,149 --> 01:11:08,119
"Yo, that dude in bachata was
like, fucking Michael Jackson."

1150
01:11:08,140 --> 01:11:09,140
That's what I work for.

1151
01:11:09,159 --> 01:11:13,119
That's why I create music
to connect with people

1152
01:11:13,140 --> 01:11:16,029
and for people to have
these type of conversations

1153
01:11:16,050 --> 01:11:17,189
in barbershops and salons.

1154
01:11:46,029 --> 01:11:49,029
[music]

1155
01:11:53,220 --> 01:11:56,170
[music]

1156
01:11:57,189 --> 01:12:01,039
[music]

1157
01:12:01,060 --> 01:12:01,210
Mero: That wasn't that...

1158
01:12:01,229 --> 01:12:03,229
That wasn't the
whip music, bro.

1159
01:12:05,100 --> 01:12:08,029
[laughter]

1160
01:12:08,050 --> 01:12:15,180
[music]

1161
01:12:17,109 --> 01:12:18,090
Man: He made bachata cool.

1162
01:12:18,109 --> 01:12:21,029
[music]

1163
01:12:25,199 --> 01:12:27,210
[music]

1164
01:12:43,079 --> 01:12:44,029
Gangster!

1165
01:12:44,050 --> 01:12:48,229
[crowd cheers]

1166
01:13:40,210 --> 01:13:42,170
[laughing]

1167
01:13:42,189 --> 01:13:44,159
Mero: Since so many residents
of the Bronx

1168
01:13:44,180 --> 01:13:45,100
originate from
the Dominican Republic

1169
01:13:45,119 --> 01:13:47,130
and Puerto Rico,

1170
01:13:47,149 --> 01:13:51,029
everyone here has a
deep connection to the music.

1171
01:13:59,130 --> 01:14:04,050
[laughter]

1172
01:14:15,229 --> 01:14:17,090
[laughing]

1173
01:14:29,220 --> 01:14:31,109
[music]

1174
01:14:34,109 --> 01:14:36,010
[music]

1175
01:14:36,029 --> 01:14:38,119
Sergio George: Romeo brings an
energy to the live show

1176
01:14:38,140 --> 01:14:40,180
that's hard to explain.

1177
01:14:42,050 --> 01:14:47,100
It's not like he runs around
the stage and dances and...

1178
01:14:48,170 --> 01:14:50,220
It reminds me a lot when I
saw Prince perform in a show.

1179
01:14:52,149 --> 01:14:54,029
He commands attention.

1180
01:14:54,050 --> 01:14:56,199
And around him, they got
all these things going on

1181
01:14:56,220 --> 01:14:59,170
but yet you're transfixed
on him.

1182
01:14:59,189 --> 01:15:02,210
[music]

1183
01:15:02,229 --> 01:15:05,100
Thalía: Sometimes
the artist and the audience,

1184
01:15:05,119 --> 01:15:05,210
they have a love affair.

1185
01:15:05,229 --> 01:15:07,149
[crowd cheers]

1186
01:15:07,170 --> 01:15:08,140
Romeo: I see you, baby.

1187
01:15:08,159 --> 01:15:09,140
She's like, "What the fuck
is he gonna do?

1188
01:15:09,159 --> 01:15:10,130
What the fuck?"

1189
01:15:10,149 --> 01:15:13,140
Thalía: His audience
love him, trust him,

1190
01:15:13,159 --> 01:15:14,100
and believe him.

1191
01:15:14,119 --> 01:15:15,220
Romeo: I'ma do
whatever you want, baby.

1192
01:15:16,000 --> 01:15:18,020
[crowd cheers]

1193
01:15:18,039 --> 01:15:21,109
Artie Pabon: I will die
asking people,

1194
01:15:21,130 --> 01:15:23,140
"You have to go see Romeo
at least once,

1195
01:15:23,159 --> 01:15:25,170
even if you don't like
his music."

1196
01:15:25,189 --> 01:15:28,189
Rest assured
you will become a fan.

1197
01:15:32,170 --> 01:15:34,060
It's a transformation.

1198
01:15:34,079 --> 01:15:35,210
It's something else.

1199
01:15:35,229 --> 01:15:40,170
I can't tell you the number
of people that have gone

1200
01:15:40,189 --> 01:15:43,220
to a Romeo show
who have confessed,

1201
01:15:44,000 --> 01:15:46,170
"I've never been a fan
of his music.

1202
01:15:46,189 --> 01:15:49,189
You know, I don't
listen to bachata."

1203
01:15:49,210 --> 01:15:52,140
But once they go once,
it's like crack, man.

1204
01:15:52,159 --> 01:15:53,189
You're hooked.

1205
01:15:53,210 --> 01:15:57,140
And you're gonna go again
and again and again and again.

1206
01:15:57,159 --> 01:16:01,100
And I can't describe
that high to you.

1207
01:16:01,119 --> 01:16:03,069
Romeo: I got that
shit right.

1208
01:16:03,090 --> 01:16:04,189
[crowd cheers]

1209
01:16:04,210 --> 01:16:05,199
Artie Pabon: I've never
done crack,

1210
01:16:05,220 --> 01:16:07,210
but I have gone
to a Romeo show.

1211
01:16:07,229 --> 01:16:09,050
I don't get tired of watching.

1212
01:16:09,069 --> 01:16:10,149
I could watch him every night
for three hours

1213
01:16:10,170 --> 01:16:13,189
and I'm looking forward
to the next night.

1214
01:16:13,210 --> 01:16:15,010
And that's what happens,
you know.

1215
01:16:15,029 --> 01:16:20,180
People become addicted to what
this man can do in this stage

1216
01:16:20,199 --> 01:16:22,189
because it's not just...

1217
01:16:22,210 --> 01:16:26,109
he just doesn't sing a song
like you're playing a CD.

1218
01:16:26,130 --> 01:16:27,149
It's an experience.

1219
01:16:27,170 --> 01:16:29,140
It's just phenomenal.

1220
01:16:35,180 --> 01:16:37,159
Mero: Bodegas are
a New York City staple.

1221
01:16:37,180 --> 01:16:40,149
They first arrived in the city
in the 1940s and 50s

1222
01:16:40,170 --> 01:16:41,189
as Puerto Ricans
settled downtown.

1223
01:16:41,210 --> 01:16:43,159
Here Uptown in the Bronx though,

1224
01:16:43,180 --> 01:16:45,170
Dominicans opened
their own bodegas

1225
01:16:45,189 --> 01:16:48,229
similar to the colmados
from back home

1226
01:16:49,010 --> 01:16:49,189
where people not only shop
for necessities

1227
01:16:49,210 --> 01:16:52,170
but gather socially
as a community.

1228
01:16:53,189 --> 01:16:56,050
Of course, bachata
was usually the soundtrack

1229
01:16:56,069 --> 01:16:57,170
inside and out.

1230
01:17:19,140 --> 01:17:22,010
[music]

1231
01:17:39,149 --> 01:17:41,090
[music]

1232
01:17:41,109 --> 01:17:44,210
♪ La he visto desde niño
y no me he atrevido a hablar ♪

1233
01:17:44,229 --> 01:17:48,159
♪ Porque su mundo es fino,
muy selecto ♪

1234
01:17:48,180 --> 01:17:52,060
♪ Yo soy un vagabundo
para su clase social ♪

1235
01:17:52,079 --> 01:17:55,229
♪ Y en su familia
odian bachateros ♪

1236
01:17:56,010 --> 01:17:58,189
♪ Tengo un plan
pa llegarle necesito dinero ♪

1237
01:17:58,210 --> 01:18:03,010
♪ Es un mito que con
solo amor serás feliz ♪

1238
01:18:03,029 --> 01:18:06,229
♪ Yo no tengo ni un chele,
solo buenos sentimientos ♪

1239
01:18:07,010 --> 01:18:11,039
♪ Y mi amor no tiene
fondos para llevarte a París ♪

1240
01:18:12,220 --> 01:18:15,109
♪ Voy a hacer un asalto ♪

1241
01:18:15,130 --> 01:18:20,100
♪ Voy a robar un banco
para ser millonario ♪

1242
01:18:20,119 --> 01:18:23,180
♪ O ser un tumba polvo
de un gran diputado ♪

1243
01:18:23,199 --> 01:18:25,210
♪ Y que me den un cargo ♪

1244
01:18:25,229 --> 01:18:28,199
[music]

1245
01:18:31,050 --> 01:18:34,050
[music]

1246
01:18:39,199 --> 01:18:43,229
Romeo: I don't feel like
I've ever done something

1247
01:18:44,010 --> 01:18:47,000
that I'm completely
satisfied with,

1248
01:18:47,020 --> 01:18:49,140
with the exception of Utopia.

1249
01:18:49,159 --> 01:18:53,229
And the reason why I feel that
Utopia is the perfect project

1250
01:18:54,010 --> 01:18:58,079
is because there's
more of them than myself.

1251
01:18:58,100 --> 01:19:04,079
I was able to go into
different styles within bachata.

1252
01:19:04,100 --> 01:19:05,100
And it was very organic.

1253
01:19:05,119 --> 01:19:08,180
I didn't have to go listen
to each of their albums,

1254
01:19:08,199 --> 01:19:09,220
study them again.

1255
01:19:10,000 --> 01:19:13,079
No, it was just
something that...

1256
01:19:13,100 --> 01:19:14,170
It was my school.

1257
01:19:15,229 --> 01:19:16,199
Sergio George: He's so
well-loved by all these artists

1258
01:19:16,220 --> 01:19:17,170
from back in the day

1259
01:19:17,189 --> 01:19:20,109
because he shows them
a lot of respect

1260
01:19:20,130 --> 01:19:22,159
doing things that
he doesn't have to do.

1261
01:19:22,180 --> 01:19:26,039
Or he can just go by himself and
people are going to go anyway.

1262
01:19:26,060 --> 01:19:30,010
It's paying homage to all
these legends from before,

1263
01:19:30,029 --> 01:19:32,170
it's a testament
to him as a person,

1264
01:19:32,189 --> 01:19:36,079
that his responsibility
is to leave that legacy

1265
01:19:36,100 --> 01:19:38,210
for future generations
for them to not only say,

1266
01:19:38,229 --> 01:19:40,159
"Hey, look at me,
but look at the guys

1267
01:19:40,180 --> 01:19:41,159
that came before me.

1268
01:19:41,180 --> 01:19:44,079
These are the guys
I got my inspiration from,"

1269
01:19:44,100 --> 01:19:47,210
which is important
for someone like him

1270
01:19:47,229 --> 01:19:49,229
who cares about the health

1271
01:19:50,010 --> 01:19:52,039
of not only
the market of bachata

1272
01:19:52,060 --> 01:19:54,029
but also his people,
Dominican people.

1273
01:19:55,100 --> 01:19:57,039
Marc Anthony: And as to how
he wakes up in the morning,

1274
01:19:57,060 --> 01:19:59,170
"What didn't I do today,
you know,

1275
01:19:59,189 --> 01:20:01,090
to represent my people better

1276
01:20:01,109 --> 01:20:05,170
or put this music
that has changed my life

1277
01:20:05,189 --> 01:20:06,220
in the best position possible?"

1278
01:20:07,000 --> 01:20:09,140
That's just the way he is
and not everybody's like that.

1279
01:20:22,000 --> 01:20:29,100
[music]

1280
01:20:31,140 --> 01:20:44,020
[music]

1281
01:20:44,039 --> 01:20:51,050
♪ Nos hizo daño
y no veo le remordió ♪

1282
01:20:51,069 --> 01:20:59,020
♪ Pues la secuela de su engaño
la hace sentirse superior ♪

1283
01:20:59,039 --> 01:21:06,220
♪ Hasta quedamos enemigos
en discordia por su amor ♪

1284
01:21:07,000 --> 01:21:10,069
♪ Caímos feos en sus garras ♪

1285
01:21:10,090 --> 01:21:13,180
♪ No sabemos quién
fue más idiota ♪

1286
01:21:13,199 --> 01:21:14,210
♪ Entre tú y yo ♪

1287
01:21:14,229 --> 01:21:19,109
♪ Los últimos tontos,
una canción ♪

1288
01:21:19,130 --> 01:21:22,029
♪ Tráiganos tequila,
whiskey y un litro de ron ♪

1289
01:21:22,050 --> 01:21:22,229
Lenny Santos: You know what's a
good thing about bachata?

1290
01:21:23,010 --> 01:21:26,149
A song comes out now,
you like it.

1291
01:21:26,170 --> 01:21:31,159
But then 15 years later on,
when you hear it,

1292
01:21:31,180 --> 01:21:32,039
your heart melts.

1293
01:21:32,060 --> 01:21:34,020
You're like, "Wow.

1294
01:21:34,039 --> 01:21:35,220
I remember that song."

1295
01:21:36,000 --> 01:21:39,069
So, bachata leaves that print.

1296
01:21:39,090 --> 01:21:40,189
It's not like some
other music like,

1297
01:21:40,210 --> 01:21:42,079
"Are you still
playing that shit?"

1298
01:21:42,100 --> 01:21:45,010
But bachata is like,
it goes on forever.

1299
01:21:45,029 --> 01:21:47,060
The older it gets, the better.

1300
01:21:47,079 --> 01:21:54,229
[music]

1301
01:21:55,010 --> 01:21:56,229
Lenny Santos: We had people
bury their loved ones

1302
01:21:57,010 --> 01:21:58,039
to Aventura music.

1303
01:21:59,119 --> 01:22:02,039
We had people get married
to Aventura music.

1304
01:22:02,060 --> 01:22:05,210
Do good things, bad things,
okay things to Aventura music.

1305
01:22:05,229 --> 01:22:07,220
I won't get into details
but a lot of stories.

1306
01:22:08,170 --> 01:22:10,199
♪ It's five in the morning ♪

1307
01:22:10,220 --> 01:22:12,199
♪ I'm feeling kind of lonely ♪

1308
01:22:12,220 --> 01:22:14,159
♪ Son las cinco en la mañana ♪

1309
01:22:14,180 --> 01:22:16,029
♪ Y no he dormido nada ♪

1310
01:22:16,050 --> 01:22:19,199
♪ Pensando en tu belleza,
loco voy a parar ♪

1311
01:22:19,220 --> 01:22:23,000
♪ El insomnio es mi castigo,
tu amor será mi alivio ♪

1312
01:22:23,020 --> 01:22:26,130
♪ Y hasta que no seas
mía no viviré en paz ♪

1313
01:22:26,149 --> 01:22:28,210
♪ Hoy conocí tu novio,
pequeño y no buen mozo ♪

1314
01:22:28,229 --> 01:22:33,079
♪ Y sé que él no te quiere
por su forma de hablar ♪

1315
01:22:33,100 --> 01:22:36,000
♪ Además, tú no lo amas
porque él no da la talla ♪

1316
01:22:36,020 --> 01:22:40,039
♪ No sabe complacerte
como lo haría yo ♪

1317
01:22:40,060 --> 01:22:43,189
♪ Pero tendré paciencia
porque él no es competencia ♪

1318
01:22:43,210 --> 01:22:45,189
♪ Por eso no hay motivos ♪

1319
01:22:47,149 --> 01:22:53,170
♪ No, no es amor ♪

1320
01:22:53,189 --> 01:22:56,010
♪ Lo que tú sientes ♪

1321
01:22:56,029 --> 01:22:57,159
Romeo: Cardi B.

1322
01:22:57,180 --> 01:23:01,010
♪ Se llama obsesión ♪

1323
01:23:01,029 --> 01:23:08,189
♪ Una ilusión
en tu pensamiento ♪

1324
01:23:08,210 --> 01:23:11,220
♪ Que te hace hacer cosas ♪

1325
01:23:12,000 --> 01:23:14,010
♪ Así funciona el corazón ♪

1326
01:23:14,029 --> 01:23:16,199
Romeo: Let's go!

1327
01:23:16,220 --> 01:23:20,079
♪ Hice cita para el psiquiatra
a ver si me ayudaba ♪

1328
01:23:20,100 --> 01:23:23,199
♪ Pues ya no tengo amigos
por solo hablar de ti ♪

1329
01:23:23,220 --> 01:23:27,060
♪ Lo que quiero es hablarte
para intentar besarte ♪

1330
01:23:27,079 --> 01:23:30,220
♪ Será posible que de una
obsesión yo pueda morir ♪

1331
01:23:31,000 --> 01:23:32,189
♪ Y quizás pienses
que soy tonto ♪

1332
01:23:32,210 --> 01:23:34,020
♪ Bribón y también loco ♪

1333
01:23:34,039 --> 01:23:37,130
♪ Pero es que en el amor
soy muy original ♪

1334
01:23:37,149 --> 01:23:41,029
♪ No enamoro como otros,
conquisto a mi modo ♪

1335
01:23:41,050 --> 01:23:42,039
♪ Amar es mi talento... ♪

1336
01:23:42,060 --> 01:23:44,170
Romeo: Henry, this is tradition.

1337
01:23:44,189 --> 01:23:47,029
♪ Disculpa si te ofendo,
pero es que soy honesto ♪

1338
01:23:47,050 --> 01:23:51,069
♪ Con lujo de detalles
escucha mi versión ♪

1339
01:23:51,090 --> 01:23:54,229
♪ Pura crema de chocolate,
juntarte ♪

1340
01:23:55,010 --> 01:23:57,170
♪ Llevarte... ♪

1341
01:24:08,090 --> 01:24:09,180
[music]

1342
01:24:09,199 --> 01:24:10,069
Romeo: Ooh.

1343
01:24:10,090 --> 01:24:11,079
Y'all never thought

1344
01:24:11,100 --> 01:24:14,140
y'all was going to see
this shit together, right?

1345
01:24:14,159 --> 01:24:17,039
[crowd cheers]

1346
01:24:20,079 --> 01:24:24,149
[crowd cheers]

1347
01:24:24,170 --> 01:24:28,029
And we are Aventura.

1348
01:24:28,050 --> 01:24:29,229
[crowd cheers]

1349
01:24:30,010 --> 01:24:31,119
Should we do one more song?

1350
01:24:31,140 --> 01:24:32,229
[music]

1351
01:24:33,010 --> 01:24:34,020
J. M. Calderón: Okay.

1352
01:24:35,029 --> 01:24:38,109
[music]

1353
01:25:12,020 --> 01:25:13,130
♪ Luna ♪

1354
01:25:13,149 --> 01:25:14,180
Romeo: Come on,
give me some light.

1355
01:25:14,199 --> 01:25:19,159
♪ Dime tú si ya me quieres
como yo la quiero a ella ♪

1356
01:25:19,180 --> 01:25:26,010
♪ Como tan solo se quiere
una sola vez ♪

1357
01:25:29,090 --> 01:25:31,010
♪ Luna ♪

1358
01:25:37,149 --> 01:25:40,090
♪ Que de noche nos alumbra ♪

1359
01:25:40,109 --> 01:25:44,010
♪ Juntito con las estrellas
escuchando mi canción ♪

1360
01:26:03,039 --> 01:26:04,189
Romeo: Come on.

1361
01:26:06,189 --> 01:26:07,199
Beautiful.

1362
01:26:15,039 --> 01:26:16,060
Come on.

1363
01:26:24,079 --> 01:26:26,079
Joaquín Díaz: It represents
the Dominican Republic.

1364
01:26:26,100 --> 01:26:29,210
And for that to be taken
out of the country

1365
01:26:29,229 --> 01:26:34,140
and brought now to the States,
South America, Europe,

1366
01:26:34,159 --> 01:26:37,220
you can hear bachata
all over the world right now.

1367
01:26:38,000 --> 01:26:39,199
So, it's come a long way.

1368
01:26:39,220 --> 01:26:42,210
I mean, Romeo's taken it
to the next level.

1369
01:26:42,229 --> 01:26:44,020
[music]

1370
01:27:03,050 --> 01:27:09,100
[music]

1371
01:27:20,000 --> 01:27:24,069
[music]

1372
01:27:37,220 --> 01:27:40,149
[crowd cheers]

1373
01:27:40,170 --> 01:27:41,039
Venezuela!

1374
01:27:45,180 --> 01:27:50,229
Romeo: Costa Rica,
Ecuador, Colombia.

1375
01:27:58,020 --> 01:28:01,029
Romeo: Nicaragua, Brazil.

1376
01:28:01,050 --> 01:28:01,149
Thalía: He's a poet.

1377
01:28:01,170 --> 01:28:03,199
He's a visionary.

1378
01:28:03,220 --> 01:28:04,229
Romeo: Chile, Bolivia.

1379
01:28:06,189 --> 01:28:08,159
Romeo: Mexico.

1380
01:28:08,180 --> 01:28:10,170
Marc Anthony: You're just
dealing with a tour de force.

1381
01:28:10,189 --> 01:28:11,199
That's it.

1382
01:28:11,220 --> 01:28:13,060
Romeo: Puerto Rico.

1383
01:28:13,079 --> 01:28:15,119
[crowd cheers]

1384
01:28:15,140 --> 01:28:17,109
Tommy Mottola: This guy is...
He's the king.

1385
01:28:23,229 --> 01:28:25,020
[crowd cheers]

1386
01:28:25,039 --> 01:28:29,029
[music]

1387
01:28:31,109 --> 01:28:34,100
[music]

1388
01:28:36,020 --> 01:28:39,060
[music]

1389
01:28:39,079 --> 01:28:42,159
♪ Nadie entiende cómo
este amor funciona ♪

1390
01:28:42,180 --> 01:28:46,170
♪ No se quiebra, no se dobla,
nada lo destroza ♪

1391
01:28:46,189 --> 01:28:49,170
♪ Les presto mi cerebro
que examinen ♪

1392
01:28:49,189 --> 01:28:53,090
♪ Anularte de mi mente,
ni quemando mis neuronas ♪

1393
01:28:53,109 --> 01:28:54,050
♪ Mami ♪

1394
01:28:54,069 --> 01:28:57,010
♪ Yo te amo hasta
lo infinito ♪

1395
01:28:57,029 --> 01:28:58,140
♪ Sólido como un meteorito ♪

1396
01:28:58,159 --> 01:29:00,109
♪ Lo que siento jamás
lo van a entender ♪

1397
01:29:00,130 --> 01:29:01,180
♪ Dudan ♪

1398
01:29:01,199 --> 01:29:05,220
♪ Los expertos buscan la cura
porque te quiero con locura ♪

1399
01:29:06,000 --> 01:29:08,220
♪ Desconfían que
sea humano, mujer ♪

1400
01:29:09,000 --> 01:29:13,069
[music]

1401
01:29:13,090 --> 01:29:15,140
Romeo: The kings.

1402
01:29:15,159 --> 01:29:17,020
[music]

1403
01:29:17,039 --> 01:29:17,100
You want this jacket?

1404
01:29:17,119 --> 01:29:23,010
[music]

1405
01:29:38,109 --> 01:29:44,000
♪ Yo te amo ♪

1406
01:29:44,020 --> 01:29:50,100
♪ Yo te amo ♪

1407
01:29:50,119 --> 01:29:58,229
♪ Yo te amo ♪

1408
01:29:59,010 --> 01:30:00,109
♪ Yo te amo ♪

1409
01:30:00,130 --> 01:30:06,220
Romeo: The king stays king.

1410
01:30:07,000 --> 01:30:12,100
♪ Yo te amo ♪

1411
01:30:12,119 --> 01:30:20,109
♪ Yo te amo ♪

1412
01:30:20,130 --> 01:30:28,029
♪ Yo te amo ♪

1413
01:30:28,050 --> 01:30:38,050
♪ Yo te amo ♪

1414
01:30:38,069 --> 01:30:42,069
[music]

1415
01:30:42,090 --> 01:30:47,069
[fireworks]

1416
01:30:47,090 --> 01:30:56,130
[drum solo]

1417
01:30:56,149 --> 01:31:09,039
[drum solo]

1418
01:31:09,060 --> 01:31:16,039
[music]

1419
01:31:16,060 --> 01:31:16,199
[crowd cheering]

1420
01:31:16,220 --> 01:31:18,010
Romeo: I tried to tell them.

1421
01:31:18,029 --> 01:31:27,119
[crowd cheering]