By José Gandue @spinning zone

Florencia Franceschetti, better known as Flor Frances, She is an Argentine journalist and radio host with over 15 years of experience in the music scene. Based in Miami, He has collaborated with media outlets such as Miami New Times, Bandcamp Daily, Miami Herald, and Artburst., always with a focus on alternative music and art.

In addition to her work as a journalist, Flor is the mind behind Too Much Love Magazine y Raygun Agency, projects that seek to amplify the voice of independent artists. Her commitment to the scene earned her the Cultural Leader Award 2024, awarded by the Doral Museum of Contemporary Art.

Now, take it a step further with The Making Of, A podcast that takes us behind the scenes of some of the most influential albums of recent decades. With 15-minute episodes, the show is a perfect capsule of musical history, available on all streaming platforms. And for those who want to experience it live, The Making Of He will also have in-person interviews at Technique Records, one of Miami's most iconic independent record stores.

Regarding her career and projects, here is our interview:

What's the music scene like in Miami?

Well, there's a lot going on. Here in Miami, there's a lot that many people don't know about. Besides all the standard stuff, like the presence of the major record labels and their Latin divisions (Sony, Warner, and other big labels), there's a super interesting local scene. There's a lot of metal, a lot of post-punk, and, of course, a lot of electronic music. What I've always loved about Miami is that cultural diversity, which allows you to experience a lot of different styles with Caribbean influences, hip-hop, rock—basically everything.

Is there a contemporary fusion between all these styles, or does each one function independently?

I'm seeing more and more collaboration and fusion, especially among newer bands and young musicians. Many songs have a reggaeton base, but also incorporate post-punk or hardcore influences. There's a real fluidity between genres among the younger generation.

And does the general public accept this merger?

Younger audiences do. Older people are more purist, but I see that there's increasing openness. I also see a lot of rock influence in hip-hop, not only musically, but also aesthetically.

And how does what is happening in Latin America really look from Miami?

There's a lot of interest. I was recently at the Premios Lo Nuestro awards as a publicist with five artists, and there you can see the richness of the music coming from Latin America. There's a huge demand, especially because there are many generations of immigrants who grew up with Latin American music or its influences.

There's a recent phenomenon in Latin music made in the US. For years, musicians playing here for Latino audiences complained that they were trapped within traditional boundaries. But in recent years that has changed, and now there are much more contemporary offerings. Do we agree?

Yes, I think there are two key factors here. First, musicians who grew up in Latin America and are looking to combine their native sounds with contemporary elements. A good example is Blond, From Chile, who blends Andean influences with electronic and avant-garde sounds. Then there are the producers, who often add layers of more contemporary sound or with a more pop-oriented approach, especially on the major labels. I think people got tired of hearing the same thing, and now there's more appreciation for musicians who integrate their roots into their music.

How open is the non-Latino public to these new Latin American trends?

It depends on the audience. There are scenes, like Burning Man, with many people open to different sounds. In fact, I know Americans who are very interested in Latin American music. Rubio is one example: a couple of years ago I worked as a publicist promoting his album. Black Mango And I sent it to a festival organizer in Miami. He loved it and ended up inviting her to play. So there's more and more support.

What is your job like as a publicist? At what point do you draw the line between journalist and publicist?

It's a bit like playing devil's advocate. To be a good publicist, I think you need a strong foundation in journalism, because ultimately you're telling stories. When I write press releases, I structure them like articles. However, I never mix the two roles. If I'm writing for a publication, I'm not writing about my clients.

Now let's talk about your podcast. Why did you decide to address this topic?

As a journalist, most of my work has been written. However, I had many interview recordings, and friends kept asking to hear them. So I thought about finding a common thread to turn those conversations into a podcast. I focused the first season on post-punk because it's what I enjoy covering most and what seemed easiest to start with. Many artists talked endlessly about their albums when they were released, but now, decades later, they can reflect on them with a different perspective.

The idea is entirely appropriate at a time when, thanks to digital platforms and vinyl reissues, there is a rediscovery of music from the past.

Yes, there is a sense of nostalgia.

But more than nostalgia, it's almost nostalgic fiction. A twenty-year-old who has never listened to a 40-year-old record now has the opportunity to do so without spending money and understand where their most immediate influences come from.

Exactly, the accessibility of more albums generates curiosity in new listeners.

What moments excited you while editing your episodes?

There are many. One of my favorites is the conversation with Robbie Grey from Modern English. He told me about his life in England when they recorded their first album: they had no money, they squatted in houses and stole microphones from clubs to be able to make music. Today their songs are played in commercials, but learning about their reality back then was incredible.

Who would you have liked to interview but didn't manage to?

My dream was to speak with Patti Smith, and I did it. But I'm not sure yet if I'll be able to use the audio in the podcast because it was for a written piece. I hope I can include it in season two. I'd also love to interview Martin Gore from Depeche Mode.

Finally, how do you see music today and how do you think it will be in the future?

It's complicated. Talking to people at record labels, there's a concern about how to find an audience in a world with so many artists and without such clearly defined gender barriers. I think the artists' cultural identity will be key to their promotional strategy. Bad Bunny, for example, is successful not only because of his music, but also because of the values he represents.