Blon: “I think many of the things that happen to me are not to be dealing with a professional”


Blon: “In the freestyle there are people who do things that do not represent me” . Pablo pérez wheel (barcelona, 1991,) better known as blon, is one of the Spanish benchmarks of the freestyle. Improvised rap discipline has millions of adepts worldwide and few are as aware of that impact as Catalan.

Began the careers of hispanic philology and art history, but he left it to wager for the battles of roosters. A few years later, already with a name in the indotria, he made the top degree of marketing and advertising seeking to “know the entresijos of the business.” “I think at the end I am a product, an image that needs to be exploited, and I have to know the niche and how to handle myself,” he says.

Today, pamper the battles with the launch of music, writing or so newly released channels on twitch and youtube. Although he recognizes that he still has problems in assimilating success and continued scrutiny. This weekend competes for keeping the category in the fms, the professional freestyle league.

The freestyle goes of characters, each has a role that somehow interprets. To what extent do you believe that character or is he the one who finds you? I don’t think anyone’s going to start fighting semi-professionally and then jump into the elite knowing what character he’s going to have.

The theme of ‘the crownless king’, which is my nickname because I have always been in the end of major battles and have never won, I think it is very romantic. Apart is to be the poet, the person who draws books, and of course I get my character to be that, that of a culte person. See, there’s bad things, too.

Also my character is a rapper who writes all the rhymes when he’s going to make a battle, which has no flow, which is a loser who never wins. To me what makes me angry is that they tell me things that are lies, that I know they are not true. If they say ‘you don’t have flow’, ‘you got this muletilla’, ‘sweet double tempo shit’ or ‘you don’t have metrics, ‘I know.

I’m here for constructive criticism in a way, and I understand and fit it. P. Don’t the sprouts in the battles get stuck? At the end you all agree on different events, you live.

I respect each one, respect for acts, but there are people who do things or say things that do not represent me. But I don’t want to create a bad environment either. I also tell you that that’s 1% of all the freestylers I’ve ever met, which doesn’t mean they’re fms people.

I think there are people who write amazing and never have the chance, and we’re so much easier than we have. I was lucky that when the editorial called me, I already had texts on my instagram. You may get more or less what I do, but I think I’m a kid who’s read enough, I can have a baggage and I can write more or less some quality.

I got this opportunity, it was a dream I had, and I took advantage of what they were offering me to materialize something that I’ve ever wanted. P. Have you ever thought of betting on literature instead of freestyle? I’ve often thought of quitting and competing, but I know that if that were my decision I would back down and be a repentance.

They are many nerves, but it is a little natural evolution and it depends on us to roam or fit into that evolution. I think we’re trying to avoid that ourselves. We’ve all fallen at some point in a machista cliché, in some racist cliché, in some cliché.

That right now all this is evolving and in people who rape at the professional level there is no longer that? Because in the end we can control what we say. But I think that’s changing, too.

P. But in the freestyle you always disqualify each other, where do you put the limit of this is worth and not? R. I think it’s a topic in which we don’t have to fall in the middle of the xxith century. You don’t have to fall into that or in homophobic rhymes or in racist rhymes.

But I also consider that a girl with 20 boys, for example, in a co-existence maybe doesn’t feel so comfortable. I know, we got together to eat 20 rappers and the comments that come out of there sometimes are crazy. P. Why do you now decide to enter the world of youtube and twitch?

R. sincerely because right now with the covid everything is very complicated at the level of events. It drops us what we do, but it’s also an important part of our bucket. I’m going super well both twitch and youtube and I’m discovering a world that at first also generated a lot of anxiety but today I’m already catching it a bit and we’re creating a very cool community.

R. Because I didn’t know how I was going to go and in the end I think the uncertainty to us all weighs negatively. Maybe I was looking at the people who were watching me, I saw that they were leaving 20 and I was already banging. P. I’m surprised that for so many years in the public eye you still have these insecurities.

I’m almost 30, actually this year I’m 30, and I’ve been practically like this for 10 years. I’m running into a world where I get you or not what I do is very subjective. I’m not an ebanist and I have to make a piece and if it’s perfect, it’s perfect.

Then I obviously want people to get what I do, because if I get what I do they’re going to follow me, I’m going to create a feeling, a engagement, and that’s going to help me for other things and so I can continue my career many years. P. But being continually thinking about what they’ll say and what’s going to go wrong is a difficult thing to manage. The artist’s ego makes us want everyone to say we’re the fucking masters.

R. is difficult to manage because normally a negative comment weighs more than 100 positives. That’s where the artist’s ego is reflected, that we want everything to be super nice and everyone to say that we are the fucking masters. When, obviously, there are many people who say we’re not worth anything.

Our ego prevents it, but it is that in the end it is often not so much to think about the future but in the present. That I want to be the best and in the eyes of people I want to be the fucking master. Then if you are fed your ego you say: bua, it’s all right, this kid says I am Christ, the other I don’t know what.

But suddenly you see a bad comment and you say uhm. R. Right now: to disappear from the world of battles, to descend from the fms. That there will be no more battles, that I will go fatal next year and that people will forget me.

That’s what worries me most at the artistic level without any doubt. P. Psychologically how do you prepare to face defeats on stage or the continued scrutiny? P. It’s true that I went to the psychologist a long time ago.

I don’t know why because I think mental health is super important and essential, and more in our mundillo. I think a lot of things happen to me is not to be dealing with a professional. I mean, I know that the pressure, not knowing how to manage my emotions, to turn around a future that is not yet here.

I’ve been putting on the worst four years of fms. And in red bull I know that I have lost battles for going thinking ‘I’m going to lose.’ I go with that negativity, thinking: I’m going to do it right but this is going to win me.

So I think I haven’t managed emotionally, that I’m going to start dealing with professionals from now on because I know it’s going to go super well and I call on everyone to do it. P. Do you see yourself in the future leaving the battles and betting on twitch and youtube? R. I think not.

I don’t think I get as much as to have it as my way of life and I think the free and the rap are always going to be there. See, if tomorrow morning I became a clutter of fools on twitch and on youtube, then maybe I would have to make a thought. But I want to keep fighting for many years, I want to keep writing for many years and I want to try and balance it.