Miniteca Xenón

Even though they were considered among the favorites, their participation suffered an episode remembered as sabotage: cables were disconnected from the main console of the sound system that fed the venue, at that time “Audiorama.” The audience asked for the set to be repeated at the end of all the performances, but that was not enough to make the top places. Even so, they received a plaque for their participation, and the decision was clear: not to give up.

For the second guerra (December 1979) a new cabinet is created with a name and an identity of its own: “LA MINITECA XENON.” Although it did not take part in that edition, the project already had a direction, an aesthetic and a vision.

The name: a direct reference to New York

The name Xenón was taken from the XENON (Night Club) discotheque in New York City, remembered as one of the most popular on the nightlife circuit at the end of the 70s and the beginning of the 80s, in competition with venues of the stature of Studio 54. That international reference connected perfectly with the imaginary of modernity, fashion and avant-garde that the miniteca movement sought to project in Venezuela.

Equipment, sound and identity

Over time, Xenón consolidated a technical standard that placed it among the favorites: Technics 1800MK2 turntables, a Numark DM 1500 mixer, monitors, amplification and processing (including SAE and dbx), as well as controllers and “homemade” solutions. One iconic element was its two Robot-type speakers, built by Mr. Santos Alcalá (workshop in the east of Caracas, Los Dos Caminos sector).

An 8-pointed star was also made (by hand, in aluminum), with 96 light bulbs and approximately 3 meters in diameter. It was used only a few times at events, but it is preserved as a historical piece of the show.

Poliedro de Caracas: the night of first place

Known affectionately as “La Xenón,” on February 15, 1980 it took first place at the Poliedro de Caracas at an event sponsored by Caracas 750. The competition was intense, against minitecas such as White Point, The Bunching, Yumbo, Erotic Soul, Master West, Oxígeno and Jungle.

That same year, on May 21, 1980, Xenón shared the stage at a Poliedro festival with minitecas such as Savannah, Birdward and Explosion, reinforcing its presence at the biggest events in the country.

In July 1980 they were invited to the so-called 4th guerra de minitecas (or first capital guerra) at the Poliedro, alongside The Fog, Rithm Disco, The Lechuga's People, Music Factory, Betelgeuse and Explosion. However, Xenón and Explosion decided, by mutual agreement, not to take part and placed themselves as judges among the audience. In that arrangement, victory was determined for Betelgeuse, whose owner was Jhonny Cabrera.

Performances and remembered moments

Xenón took part in numerous parties across the capital. Among the most remembered performances the Hotel Caracas Hilton is mentioned, as well as events and circuits associated with caravans and festivals. It remained active until the mid-1980s. The last remembered performance was alongside Billo Frómeta and his orchestra.

A sensitive chapter of the story was that of José Lentini, one of the lead discjockeys (now DJ), who traveled to the United States to study (on a Gran Mariscal de Ayacucho scholarship). In that period Ricardo Granados joins the discjockey staff. Lentini later returned to Venezuela with health problems, which prevented him from continuing in the activity, and his death left an important void within the group.

Preserved heritage

Today, Xenón keeps equipment, cabinets and speakers from the 80s in good working order. Unlike other minitecas that were assembled with equipment belonging to their members, Xenón describes itself as a miniteca made up entirely of family equipment.

Members

Today, all the historical members mentioned remain linked to the Xenón group:

• · José Gregorio González (El Gordo)
• · José Lentini
• · Rafael Osuna (Rafi)
• · Alejandro Areinamo (Guacharaco)
• · Alejandro Borregales (El Borrego)
• · Gonzalo González (Zalo)
• · Ricardo Granados

What the photographic batch confirmed

A set of photographs from those nights, contributed to the CMTK Archive, finally makes it possible to see Xenón on stage with clarity: the crew in uniform white shirt and trousers beside the booth, the full rig on the red skirting and —the image of the victory— the first-place trophy resting on the crew's own sign.

That night it shared the stage with The Bunching, Jungle, Oxígeno and Erotic Soul, among others: the competitors rigged their booths on the stage at the same time and performed in turns, in full view of one another.

The two booths of Bird Award also appear, the crew this article mentions as “Birdward” at the Poliedro festival of May 1980. About that date there is a discrepancy worth putting on record: the account places it on May 21, while the poster for the festival itself announces the event for May 23 at 7:30 p.m., with tickets at Bs. 30 on sale at La Cueva del Gato, Electro Shop, Carnaby de Chacaíto and Su Disco on Avenida Roosevelt.

It was, it is and it will be

The story of Xenón and of the guerras de minitecas at the Poliedro left a legacy, a lesson and a unique, unrepeatable style that marked a generation. Xenón, as always, “was, is and will be a pastime”: a way of traveling in time with the most powerful fuel of all… music.

Credits and sources

• · La Revista de las Minitecas (DJ Vladimir Medina) and testimony from the miniteca community.
• · Migrated from the original article at culturaminiteka.com/minitecas-poder-movil/miniteca-xenon (accessed July 9, 2026).
• · Photographic batch of the Guerras del Poliedro contributed to the CMTK Archive: the crew in uniform beside the booth, the rig on stage, the first-place trophy and the booths of four rivals from the Tercera Guerra.
• · Documented date discrepancy: the account in this entry places the Poliedro festival on May 21, 1980; the poster for the event itself announces May 23. Both are put on record.