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ME
My Magical World of Freedom
My Journey
My artistic journey began when I was just 7 or 8 years old, singing and dancing along to Los Parchís and ABBA. By the time I turned 11, discovering Cyndi Lauper and later Madonna, I knew with absolute certainty that singing, music, and dance would be my life's purpose. The iconic sounds of the '80s—from international pop-rock to the pulse of dance and house music—became my ultimate blueprint. My absolute favorite band, Depeche Mode, along with the finest domestic and international pop of that time, shaped my musical DNA. That fantastic decade was, and still is, my greatest influence and endless source of inspiration.
In the '90s, FM100 Radio and Bernardo Bergeret’s Abraxas Producciones—the powerhouse label behind Viuda e Hijas de Roque Enroll, BRAVO, Cae, The Sacados, and Jazzy Mel, among others—organized a singing contest. The grand prize was recording your own album and performing "Te Recuerdo" live with BRAVO at the Teatro Ópera. I entered by sending a super-homemade, low-quality demo tape. Since I didn't have a solo photo of myself, I included a group picture where I literally drew a circle around my entire self with a black Sharpie, drew an arrow to the side, and wrote: “This is me.”
I also enclosed a letter. Unfortunately, I didn't keep a copy, but it said something like: “I know this demo is low-quality, but if I’m meant to win, I’ll win even if I sing 'Arroz con Leche'.” I also added, “All I care about is recording my album; I’m not interested in the part of the prize where I sing with BRAVO/Cae at the Ópera,” and finished with, “I won't stop until I fill River Plate Stadium.” At the time, virtually no active Argentinian pop or rock artists had sold out River Plate on their own—it was a milestone reserved almost exclusively for international stars.
Against all odds, I made the shortlist. After singing live in the second round of auditions at the FM100 radio building, they called to tell me I had won the contest! They invited me to the Teatro Ópera for my official introduction. I finally decided to go to celebrate my victory and enjoy that part of the prize, but the wildest thing was that even though Cae’s song was a massive hit, I barely knew it! I had no idea what the lyrics to "Te Recuerdo" were, so I had to call the station in a panic. Back then, the radio hosts actually answered the phone directly! I privately explained that I was the contest winner and begged them to play the song so I could record it on my tape player and learn the lyrics. The host burst out laughing, but he did me the ultimate favor and played it.
The big night at the Ópera arrived. They introduced us on stage: me as the female winner and the guy who won (whose name I can't recall) as the male winner. We sang backing vocals on "Te Recuerdo" right alongside his backup singers. Just before walking out, Bernardo Bergeret himself approached me and said, “I wasn't sure if you were going to show up after what you wrote... I loved your letter, I’m keeping it right here,” as he pointed to his shirt pocket.
A few days later, it was time to sign the contract at his office, Abraxas Producciones—a contract I still keep unsigned as a souvenir. It was a 15-year deal, among other clauses I completely disagreed with. Naturally, I chose my freedom over corporate traps; fifteen years of my life and creativity were not to be given away to anyone! I said no and started making my own path.
Shortly after I refused to sign that abusive contract, Twiggy suddenly stepped into the spotlight on TV alongside the male winner who had shared the stage with me at the theater. What if I had signed? Can you imagine hearing me singing “Bajo la luz de la luna”? Haha, no, I don't think so—that's definitely not my style. But it’s a wild, unforgettable fragment of how the music industry moved back then!
For years, I suspected she had been the runner-up in the contest. But recently, I watched an interview with Twiggy and learned the real story: Bergeret clearly already had the whole blueprint ready to launch a female pop star, a spot meant for the contest winner (me). When I walked away, he found Twiggy, and I suspect he took that entire ready-made corporate machine and handed it to her. Today, after watching that interview and seeing everything they put her through and how much she suffered, I thank God I never signed that paper.
Following my own independent path during that great period, I worked as a professional fitness instructor and performed singing and dancing shows at international events. My artistic training was intense: from a solid foundation in contemporary dance under a teacher from the prestigious Teatro San Martín ballet, to years of training in hip-hop and urban dance styles. By 1998, I left the fitness classes behind—since shouting and singing do not match!—and fully dedicated myself to performing pop and disco shows at major Buenos Aires nightclubs like Buenos Aires News, Belgrano New Millenium, and top venues like Showcenter (Haedo), among others. I also made appearances on popular TV shows like Gasoleros, Carola Casini, Verdad Consecuencia, and the fitness show Gym Up (TyC Sports), in addition to working as an extra in a Renault Mégane commercial.
While performing on TV and presenting my shows across all these venues, I kept pitching my music and projects straight to the top—sending demos to the biggest labels in the market like Warner Music, EMI, BMG, and Sony, among others. I even sent them to several companies in the United States; even though they didn't accept demos from foreigners, I sent them anyway! At the same time, one of the key venues where I showcased my work was the television network Canal de la Música, who signed me as an official artist. I recorded three of my tracks at Alejandro Lerner's legendary El Pie Recording Studios and filmed the music video for one of them, split between his TV studio near Callao Avenue and a stunning castle-like venue. The video was directed by Jose Luis Telecher, though the idea, the vision, and the script were entirely mine. I also personally co-directed every single shot in the final edit alongside Jose Luis; I always demanded complete creative control over my music and my visual identity. Teamwork was essential to me, but allowing outside entities to make executive decisions over my art, invalidating my vision in MY music, MY projects, and MY life, was never an option. Ultimately, I realized Canal de la Música was merely acting as an idle intermediary, looking to package and "sell" me to a major label while collecting a paycheck without lifting a finger. For six months, they completely stalled, expecting me to handle every single heavy lift as if I had no backing at all. I was fueled by pure drive, fully charged and ready to conquer, but they just stood by, feeding me broken promises. It was like wading through concrete; we were never a team. So, at the six-month mark, I drew the line, walked away, and tore up the contract.
Looking back, I see clearly that I was too far ahead of my time during those years in my own country, and perhaps I was one of the few who helped clear a path for the generation that followed. It might sound minor now, but as early as 1992 and 1993, I was strutting down the street with absolute confidence, rocking oversized pants and tiny crop tops—pure hip-hop avant-garde. I also designed my own distinctive hairstyles, wearing my hair long or tied up with clips, with the strands spiked upward, always drawing inspiration from the '80s and twisting it to my own taste. People would stare at me like I was from another planet, and I found it deeply amusing. My musical style and aesthetic were completely at odds with what was traditionally expected of an Argentine artist. This was long before Popstars, Bandana, or Miranda changed the local scene—and it was even before global icons like Gwen Stefani with No Doubt, the Spice Girls, Britney Spears, and Christina Aguilera ever burst onto the international stage! Both in the domestic and international scenes regarding Argentina, because my signature style was (and is) Pop, Dance-Pop, New Wave, Disco, and Electropop, the major record labels didn't quite open their doors to me, even though they truly liked what I did. In the '90s, that international sound was only "authorized" for foreign stars; local labels would only hire local artists who played domestic rock with a massive following, or cumbia—never a solo female singer performing a musical style considered international.
A defining moment for me of that era was a massive casting call in 1999 by DreamWorks, the legendary studio co-founded by Steven Spielberg, in Palermo, Buenos Aires. Out of countless hopefuls, I was the only singer selected in the entire country by the legendary Hollywood casting director Matt Casella—the visionary who discovered global icons like Britney Spears, Christina Aguilera, Justin Timberlake, and Ryan Gosling for Disney's Mickey Mouse Club. The other chosen talents from Argentina were actors and actresses (about 7 people in total). Although DreamWorks ultimately shelved that specific project, it was the ultimate validation of my international potential.
Unfortunately, back then, music corporations exclusively controlled the tools, but today the world has changed. With the power of the internet, YouTube, and global digital distribution, I finally have everything I need to release my music exactly the way I always wanted.
Why didn't I do it sooner? Because I spent years building my own music group, Kryon Records Company®, to create specialized fitness music, later launching Wow! Fitness Music® to distribute it globally. Back in the '90s, driven by a fierce desire for artistic freedom, I took matters into my own hands and became an intuitive, self-taught music producer to self-produce my work. When I later founded Kryon Records, I was simply channeling a craft I had already mastered. Throughout all these years, I never stopped writing and producing dozens of new songs. In 2013, following the birth of my son, I chose to put my career on hold to dedicate myself 100% to being a mother, devoting myself to that beautiful chapter fully. Today, with my son now a teenager, I am ready to focus on myself once again as well. After all those years of facing the industry's closed doors, I almost let my dream fade—but today, all those rigid old barriers are gone. Now, I am stepping back into the studio to produce and sing for myself, releasing my own original tracks and my own unique cover versions. It’s time to fulfill the dream of that 11-year-old girl, my little girl. She doesn't need to wait any longer because the moment has finally arrived. Today, I launch my music entirely on my own terms, with my own taste, and my own way—officially distributed on a global scale for mass consumption, ready to be enjoyed and heard across all major streaming services and digital stores, as well as available directly through my official website.
The music industry back then wanted to clip my wings, to bind them and chain them; they wanted to extinguish my fire—but they never held any real power over me. Today, I rise completely empowered; I have broken those now-insignificant chains and cast them forcefully away. I look around me with joy and peace, I spread my massive wings in full freedom, and I am taking off to fly straight to heaven, higher than ever before.
Remember my name! Remember, remember, remember!
Monna Moore®
My Journey
My artistic journey began when I was just 7 or 8 years old, singing and dancing along to Los Parchís and ABBA. By the time I turned 11, discovering Cyndi Lauper and later Madonna, I knew with absolute certainty that singing, music, and dance would be my life's purpose. The iconic sounds of the '80s—from international pop-rock to the pulse of dance and house music—became my ultimate blueprint. My absolute favorite band, Depeche Mode, along with the finest domestic and international pop of that time, shaped my musical DNA. That fantastic decade was, and still is, my greatest influence and endless source of inspiration.
In the '90s, FM100 Radio and Bernardo Bergeret’s Abraxas Producciones—the powerhouse label behind Viuda e Hijas de Roque Enroll, BRAVO, Cae, The Sacados, and Jazzy Mel, among others—organized a singing contest. The grand prize was recording your own album and performing "Te Recuerdo" live with BRAVO at the Teatro Ópera. I entered by sending a super-homemade, low-quality demo tape. Since I didn't have a solo photo of myself, I included a group picture where I literally drew a circle around my entire self with a black Sharpie, drew an arrow to the side, and wrote: “This is me.”
I also enclosed a letter. Unfortunately, I didn't keep a copy, but it said something like: “I know this demo is low-quality, but if I’m meant to win, I’ll win even if I sing 'Arroz con Leche'.” I also added, “All I care about is recording my album; I’m not interested in the part of the prize where I sing with BRAVO/Cae at the Ópera,” and finished with, “I won't stop until I fill River Plate Stadium.” At the time, virtually no active Argentinian pop or rock artists had sold out River Plate on their own—it was a milestone reserved almost exclusively for international stars.
Against all odds, I made the shortlist. After singing live in the second round of auditions at the FM100 radio building, they called to tell me I had won the contest! They invited me to the Teatro Ópera for my official introduction. I finally decided to go to celebrate my victory and enjoy that part of the prize, but the wildest thing was that even though Cae’s song was a massive hit, I barely knew it! I had no idea what the lyrics to "Te Recuerdo" were, so I had to call the station in a panic. Back then, the radio hosts actually answered the phone directly! I privately explained that I was the contest winner and begged them to play the song so I could record it on my tape player and learn the lyrics. The host burst out laughing, but he did me the ultimate favor and played it.
The big night at the Ópera arrived. They introduced us on stage: me as the female winner and the guy who won (whose name I can't recall) as the male winner. We sang backing vocals on "Te Recuerdo" right alongside his backup singers. Just before walking out, Bernardo Bergeret himself approached me and said, “I wasn't sure if you were going to show up after what you wrote... I loved your letter, I’m keeping it right here,” as he pointed to his shirt pocket.
A few days later, it was time to sign the contract at his office, Abraxas Producciones—a contract I still keep unsigned as a souvenir. It was a 15-year deal, among other clauses I completely disagreed with. Naturally, I chose my freedom over corporate traps; fifteen years of my life and creativity were not to be given away to anyone! I said no and started making my own path.
Shortly after I refused to sign that abusive contract, Twiggy suddenly stepped into the spotlight on TV alongside the male winner who had shared the stage with me at the theater. What if I had signed? Can you imagine hearing me singing “Bajo la luz de la luna”? Haha, no, I don't think so—that's definitely not my style. But it’s a wild, unforgettable fragment of how the music industry moved back then!
For years, I suspected she had been the runner-up in the contest. But recently, I watched an interview with Twiggy and learned the real story: Bergeret clearly already had the whole blueprint ready to launch a female pop star, a spot meant for the contest winner (me). When I walked away, he found Twiggy, and I suspect he took that entire ready-made corporate machine and handed it to her. Today, after watching that interview and seeing everything they put her through and how much she suffered, I thank God I never signed that paper.
Following my own independent path during that great period, I worked as a professional fitness instructor and performed singing and dancing shows at international events. My artistic training was intense: from a solid foundation in contemporary dance under a teacher from the prestigious Teatro San Martín ballet, to years of training in hip-hop and urban dance styles. By 1998, I left the fitness classes behind—since shouting and singing do not match!—and fully dedicated myself to performing pop and disco shows at major Buenos Aires nightclubs like Buenos Aires News, Belgrano New Millenium, and top venues like Showcenter (Haedo), among others. I also made appearances on popular TV shows like Gasoleros, Carola Casini, Verdad Consecuencia, and the fitness show Gym Up (TyC Sports), in addition to working as an extra in a Renault Mégane commercial.
While performing on TV and presenting my shows across all these venues, I kept pitching my music and projects straight to the top—sending demos to the biggest labels in the market like Warner Music, EMI, BMG, and Sony, among others. I even sent them to several companies in the United States; even though they didn't accept demos from foreigners, I sent them anyway! At the same time, one of the key venues where I showcased my work was the television network Canal de la Música, who signed me as an official artist. I recorded three of my tracks at Alejandro Lerner's legendary El Pie Recording Studios and filmed the music video for one of them, split between his TV studio near Callao Avenue and a stunning castle-like venue. The video was directed by Jose Luis Telecher, though the idea, the vision, and the script were entirely mine. I also personally co-directed every single shot in the final edit alongside Jose Luis; I always demanded complete creative control over my music and my visual identity. Teamwork was essential to me, but allowing outside entities to make executive decisions over my art, invalidating my vision in MY music, MY projects, and MY life, was never an option. Ultimately, I realized Canal de la Música was merely acting as an idle intermediary, looking to package and "sell" me to a major label while collecting a paycheck without lifting a finger. For six months, they completely stalled, expecting me to handle every single heavy lift as if I had no backing at all. I was fueled by pure drive, fully charged and ready to conquer, but they just stood by, feeding me broken promises. It was like wading through concrete; we were never a team. So, at the six-month mark, I drew the line, walked away, and tore up the contract.
Looking back, I see clearly that I was too far ahead of my time during those years in my own country, and perhaps I was one of the few who helped clear a path for the generation that followed. It might sound minor now, but as early as 1992 and 1993, I was strutting down the street with absolute confidence, rocking oversized pants and tiny crop tops—pure hip-hop avant-garde. I also designed my own distinctive hairstyles, wearing my hair long or tied up with clips, with the strands spiked upward, always drawing inspiration from the '80s and twisting it to my own taste. People would stare at me like I was from another planet, and I found it deeply amusing. My musical style and aesthetic were completely at odds with what was traditionally expected of an Argentine artist. This was long before Popstars, Bandana, or Miranda changed the local scene—and it was even before global icons like Gwen Stefani with No Doubt, the Spice Girls, Britney Spears, and Christina Aguilera ever burst onto the international stage! Both in the domestic and international scenes regarding Argentina, because my signature style was (and is) Pop, Dance-Pop, New Wave, Disco, and Electropop, the major record labels didn't quite open their doors to me, even though they truly liked what I did. In the '90s, that international sound was only "authorized" for foreign stars; local labels would only hire local artists who played domestic rock with a massive following, or cumbia—never a solo female singer performing a musical style considered international.
A defining moment for me of that era was a massive casting call in 1999 by DreamWorks, the legendary studio co-founded by Steven Spielberg, in Palermo, Buenos Aires. Out of countless hopefuls, I was the only singer selected in the entire country by the legendary Hollywood casting director Matt Casella—the visionary who discovered global icons like Britney Spears, Christina Aguilera, Justin Timberlake, and Ryan Gosling for Disney's Mickey Mouse Club. The other chosen talents from Argentina were actors and actresses (about 7 people in total). Although DreamWorks ultimately shelved that specific project, it was the ultimate validation of my international potential.
Unfortunately, back then, music corporations exclusively controlled the tools, but today the world has changed. With the power of the internet, YouTube, and global digital distribution, I finally have everything I need to release my music exactly the way I always wanted.
Why didn't I do it sooner? Because I spent years building my own music group, Kryon Records Company®, to create specialized fitness music, later launching Wow! Fitness Music® to distribute it globally. Back in the '90s, driven by a fierce desire for artistic freedom, I took matters into my own hands and became an intuitive, self-taught music producer to self-produce my work. When I later founded Kryon Records, I was simply channeling a craft I had already mastered. Throughout all these years, I never stopped writing and producing dozens of new songs. In 2013, following the birth of my son, I chose to put my career on hold to dedicate myself 100% to being a mother, devoting myself to that beautiful chapter fully. Today, with my son now a teenager, I am ready to focus on myself once again as well. After all those years of facing the industry's closed doors, I almost let my dream fade—but today, all those rigid old barriers are gone. Now, I am stepping back into the studio to produce and sing for myself, releasing my own original tracks and my own unique cover versions. It’s time to fulfill the dream of that 11-year-old girl, my little girl. She doesn't need to wait any longer because the moment has finally arrived. Today, I launch my music entirely on my own terms, with my own taste, and my own way—officially distributed on a global scale for mass consumption, ready to be enjoyed and heard across all major streaming services and digital stores, as well as available directly through my official website.
The music industry back then wanted to clip my wings, to bind them and chain them; they wanted to extinguish my fire—but they never held any real power over me. Today, I rise completely empowered; I have broken those now-insignificant chains and cast them forcefully away. I look around me with joy and peace, I spread my massive wings in full freedom, and I am taking off to fly straight to heaven, higher than ever before.
Remember my name! Remember, remember, remember!
Monna Moore®
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