Misplaced Pages

Reggaeton: Difference between revisions

Article snapshot taken from Wikipedia with creative commons attribution-sharealike license. Give it a read and then ask your questions in the chat. We can research this topic together.
Browse history interactively← Previous editContent deleted Content addedVisualWikitext
Revision as of 02:22, 25 February 2012 view source71.235.90.74 (talk)No edit summaryTag: references removed← Previous edit Latest revision as of 19:02, 13 December 2024 view source FromCzech (talk | contribs)Extended confirmed users, Page movers119,070 editsm MOS:GEO 
Line 1: Line 1:
{{Short description|Music genre}}
{{Distinguish|Reggae|Reggae en Español}}
{{pp|small=yes}}
{{Use dmy dates|date=February 2020}}
{{Infobox music genre {{Infobox music genre
|name=Reggaeton | name = Reggaeton
| cultural_origins = Late 1980s in ]<ref name=Origin3>{{Cite web|last=Castillo|first=Pamela|date=6 July 2016|title=El reggaetón: cuatro décadas de historia con fusiones latinas|url=https://www.elcomercio.com/tendencias/entretenimiento/reggaeton-historia-panama-puertorico-musicaurbana.html|access-date=10 June 2023 |website=El Comercio|location=Quito, Ecuador|language=es-EC}}</ref><ref name="wpost">{{cite news|url=https://www.washingtonpost.com/arts-entertainment/2021/08/19/ivy-queen-reggaeton-loud-podcast/|newspaper=Washington Post|title=Reggaeton's true origins have long been overlooked. An important new podcast sets the record straight.|access-date=2022-05-18}}</ref> Early 1990s in ]<ref name="shonda">{{cite web |url=https://www.shondaland.com/live/a27892003/history-of-reggaeton/ |title=You Love Reggaeton, But Do You Know Where it Came From? |date=12 June 2019 |publisher=Shondaland |access-date=2022-05-18}}</ref><ref name="latina">{{cite web |url=https://latina.com/vibra-urbana-festival-spotlighted-reggaeton-around-the-world-get-to-know-15-artists/ |publisher=Latina.com |title=Vibra Urbana Festival Spotlighted Reggaeton Around the World: Get to Know 15 Artists |date=9 May 2022 |access-date=2022-05-18}}</ref>
|bgcolor=#DC0000
| stylistic_origins = {{flatlist|
|color=white
*]
|stylistic_origins= ] - ] - ] - ] - ] - ]
*]
| cultural_origins= {{flag|Puerto Rico}}
*]
|instruments= Dem Bow (rhythm) - ] - ] - ] (mostly ], sometimes ])
*]
|derivatives=
*]
|subgenrelist=
|subgenres=
|subgenres=] - ] - ] - ] - ] - ] - ] - ] - ]
|regional_scenes=] - ] - ] - ] - ] - ] - ] - ] - ]
|other_topics= "]" - "]" - ] - ] - ] - ]
}} }}
| instruments = {{flatlist|
'''Reggaeton''' is an urban style of Music from Puerto Rico which has its roots in ].<ref>Español: Seeing History The genre was created in ] where it also was named'''Reggaeton'''.
*]
*]
*]
*]
*]
*]
}}
| subgenres = {{flatlist|
*]
*]
*]
*]
*malianteo
*]
*pop-reggaetón
*romantic reggaetón
}}
| subgenrelist =
| fusiongenres = {{flatlist|
*cumbiatón
*]
*]
}}
| regional_scenes = {{flatlist|
*]
*]
*]
*] (in general)
*]
*]
*]
*]
}}
| local_scenes =
| other_topics =
}}
] in San Juan, rapping at a club on the beach in ]]]


'''Reggaeton''' ({{IPAc-en|UK|ˈ|r|ɛ|ɡ|eɪ|t|oʊ|n|,_|ˌ|r|ɛ|ɡ|eɪ|ˈ|t|ɒ|n}},<ref>{{cite web |url=https://www.collinsdictionary.com/dictionary/english/reggaeton |title=Reggaeton |work=] |publisher=] |access-date=3 July 2019 |archive-url=https://web.archive.org/web/20190703091134/https://www.collinsdictionary.com/dictionary/english/reggaeton |archive-date=3 July 2019 |url-status=live}}</ref><ref>{{Cite encyclopedia |url=http://www.lexico.com/definition/reggaeton |archive-url=https://web.archive.org/web/20200322182642/https://www.lexico.com/definition/reggaeton |url-status=dead |archive-date=2020-03-22 |title=reggaeton |dictionary=] UK English Dictionary |publisher=]}}</ref> {{IPAc-en|US|ˌ|r|ɛ|ɡ|eɪ|ˈ|t|oʊ|n|,_|ˌ|r|eɪ|ɡ|-}})<ref name=":0">{{Cite American Heritage Dictionary |reggaeton |access-date=3 July 2019}}</ref><ref>{{Cite Merriam-Webster|reggaeton|access-date=3 July 2019}}</ref> is a modern style of ] and ] that originated in ] during the late 1980s, and which rose to prominence in the late 1990s and early 2000s through a plethora of ] musicians.<ref>{{cite web |url= https://www.diariovasco.com/20080715/gente/reggaeton-nacio-panama-20080715.html |title= El Reggaetón nació en Panamá |first=María |last=Cabrera |website=El Diario Vasco |location=Donostia–San Sebastián, Spain |date= 15 July 2008 |access-date=10 June 2023}}</ref><ref name="Origin2">{{Cite web|title=Reggaetón nació en Panamá y no en Puerto Rico |url=https://www.abc.com.py/espectaculos/el-reggaeton-nacio-en-panama-y-no-en-puerto-rico-479294.html |agency=EFE |website=ABC Color |location=Asunción, Paraguay |date=18 November 2012 |access-date=10 June 2023 |language=es}}</ref><ref name="nyt">{{cite news|url=https://www.nytimes.com/2021/08/11/arts/music/reggaeton-loud-podcast.html|work=]|title=Reggaeton's History Is Complex. A New Podcast Helps Us Listen That Way|date=11 August 2021 |access-date=2022-06-21|last1=Herrera |first1=Isabelia }}</ref> It has evolved from ], with elements of ], ], and ]. Vocals include ]/] and ], typically in Spanish.
Reggaeton blends ]n musical influences of ], with those of Latin America, such as ], Latin rap, and ]. However, reggaeton is also combined with ] or ] in Spanish. ] is also popular in Puerto Rico and is often mixed with reggaeton there.<!-- Add any more references to the reggaeton around the world section --> The influence of this genre has spread to the wider Latino communities in the United States, as well as the Latin American audience.


Reggaetón, today, is regarded as one of the most popular music genres worldwide;{{Citation needed|reason=please provide evidence of worldwide popularity outside of Latin America|date=August 2024}} it is the top music genre among the ] nations and one of the primary modern genres within the Spanish-language music industry. Seemingly endless artists from the Caribbean have risen to fame (], ], ], ], ]). ] has seen a modern surge in young artists inspired by the reggaetón style, fusing their music with Spanish rap verses, ] and R&B-style vocals (such as the "Los Del Espacio", including ], ], ], ], and ], as well as Argentine pop star ]).
While it takes influences from ] and Jamaican dancehall, reggaeton is not just the ] or ] version of either of these genres; reggaeton has its own specific beat and rhythm, whereas ] is simply hip hop recorded by artists of Latino descent. The specific "]" that characterizes reggaeton is referred to as "'''Dem Bow'''".<ref name="villagevoice">{{cite news | url=http://www.villagevoice.com/2006-01-10/music/grow-dem-bow/ | publisher=Village Voice | title=Grow Dem Bow | accessdate=2006-07-24}}</ref><ref name="phoenix">{{cite news | url=http://thephoenix.com/Boston/Music/1595-rise-of-reggaeton/ | publisher=The Phoenix | title=Rise of Reggaetón | date=2006-01-19 | accessdate=2006-07-24 | author=Wayne Marshall }}</ref> The name is a reference to the title of the dancehall song by ] that first popularized the beat in the early 1990s.


Several established, world-famous performers—notably Puerto Rican-American ] and ] from Colombia—have embraced the style, recording numerous duets and collaborations with top ''reggaetoneros''. Several other emerging international artists are seeing success in the genre as well, including ]-] singer ] (from ]) and ] Brazilian star ] (from ]). Mexican-American singer ] (from ]) has experienced huge success in recent years, as a ] artist in the reggaetón genre.<ref>{{Cite news |url=https://www.stanforddaily.com/2018/04/27/the-rise-of-reggaeton/ |title=The rise of reggaeton |date=27 April 2018 |newspaper=] |access-date=17 November 2018 |language=en-US |archive-url=https://web.archive.org/web/20181118035238/https://www.stanforddaily.com/2018/04/27/the-rise-of-reggaeton/ |archive-date=18 November 2018 |url-status=live}}</ref> In 2004, ] released his smash single “]”, regarded by many as the first globally-successful reggaetón song; Daddy Yankee is credited with bringing the style to western pop music listeners. By the 2010s, the genre had seen increased popularity across ], as well as modern acceptance within ]; during the 2010s, several new award categories (focusing on reggaetón and Latin music) were unveiled at various American music awards shows, notably the English-language ], ], ], and ].<ref>{{Cite news |url=https://www.nbcnews.com/news/latino/reggaeton-revolution-here-nicky-jam-saw-it-coming-n863371 |title=The reggaeton revolution is here, and Nicky Jam saw it coming |work=] |access-date=17 November 2018 |language=en-US |archive-url=https://web.archive.org/web/20181117160901/https://www.nbcnews.com/news/latino/reggaeton-revolution-here-nicky-jam-saw-it-coming-n863371 |archive-date=17 November 2018|url-status=live}}</ref>
Reggaeton's origins represents a hybrid of many different musical genres and influences from various countries in the ], ] and the ]. The genre of reggaeton, however, is most closely associated with ], as this is where the musical style was created and became most famous, and where the vast majority of its current stars originated.<ref></ref><ref></ref><ref></ref>


== Etymology ==
Reggaeton lyrics tend to be derived more from hip hop than dancehall. Like hip hop, reggaeton has caused some controversy, albeit less, due to alleged exploitation of women,<ref name="BBC"></ref> and to a lesser extent, explicit and violent lyrics. Further controversy surrounds ], a dance with explicit sexual overtones which is performed to reggaeton music. Perreo was the subject of a national controversy in Puerto Rico as reggaeton music, and the predominantly lower class culture it derived from, became more popular and widely available.
There are several versions about the origin of the word reggaeton. ]'s representative Michael Ellis is said to have originated the term, adding the -ton suffix to "make the word big."<ref name="pioneer">{{cite web|url=https://remezcla.com/features/music/tu-pum-pum-2/|publisher=Remezcla|title=Tu Pum Pum: Panamanian Artists Helped Birth Reggaeton, Then the Industry Left Them Behind|access-date=2024-04-14}}</ref><ref name=Origin3/> One of them states that the word reggaeton emerged in 1994 when Daddy Yankee mentioned it for the first time while ''freestyling'' on the mixtape "Playero 34."<ref>{{cite web | url=https://www.hola.com/us/celebrities/20231206353353/daddy-yankee-changed-his-name-after-retiring-from-reggaeton/ | title=Daddy Yankee changed his name after retiring from reggaeton | date=6 December 2023 }}</ref> Another version suggests that it appeared the following year when DJ Erick released the album titled "Reggaetón Live Vol.1," abbreviating the words reggae and maratón (marathon).<ref>{{cite web | url=https://www.informador.mx/Entretenimiento/Festival-de-reggae-servira-para-destacar-su-influencia-en-el-regueton-20090430-0123.html | title=Festival de reggae servirá para destacar su influencia en el reguetón | date=30 April 2009 }}</ref>


The spellings ''reggaeton'' and ''reggaetón'' are common, although ] sources such as the ] and the '']'' recommend the spelling ''reguetón'', as it conforms more closely with traditional ].<ref name="fundeu">{{Cite web|date=24 November 2010 |title=reguetón |url=https://www.fundeu.es/consulta/regueton-2623/ |access-date=10 June 2023 |website=FundéuRAE |language=es}}</ref><ref name="elmundo">{{Cite web |title=Ya no sería "reggaetón" sino "reguetón" |url=http://www.elmundo.com/portal/resultados/detalles/?idx=37007&anterior=1&paramdsdia=5&paramdsmes=06&paramdsanio=&cantidad=25&pag=5686 |agency=EFE |date=12 November 2006 |access-date=10 June 2023 |website=El Mundo |location=Medellín, Colombia |language=es |archive-url=https://web.archive.org/web/20121017035437/http://www.elmundo.com/portal/resultados/detalles/?idx=37007&anterior=1&paramdsdia=5&paramdsmes=06&paramdsanio=&cantidad=25&pag=5686 |archive-date=17 October 2012}}</ref>
==History==
"Before the music was given its name as reggaeton, it was considered as “Spanish Reggae” or Reggae en Español.<ref name="phoenix"/> Traveling along mass media circuits as well as diasporic networks, Jamaican popular music spread around the world in the 1960s and 70s. Reggae arrived in places like Panama and Puerto Rico as quickly as it reached more traditional centers of migration, such as London and New York. In the case of Panama, which claims reggaeton as its own. Panama was the first country to introduce Reggae en Español.<ref name="phoenix"/> The music eventually made its way through Central America and continued evolving and coming to prominence in ] where it became reggaeton.<ref name="phoenix"/> Reggaeton started as an adaptation of Jamaican ] to the Spanish language and overall culture in Panama and Puerto Rico.<ref name="phoenix"/>
Since the early 20th century when Jamaican laborers were used to help build the ].<ref name="phoenix"/> Afro-Panamanians had been performing and recording Spanish-language reggae since the 1970s. Artists such as ], Chichoman, ], ], and Black Apache are considered the first Spanish reggae ]s from Panama. El General is often considered the father of reggae en español, blending Jamaican reggae into a Latinised version.<ref></ref><ref></ref> It was common practice to translate the lyrics of Jamaican reggae song into Spanish and sing them over the original melodies, a form termed "Spanish reggae" or "Reggae en español". Meanwhile, during the 1980s the Puerto Rican rapper and reggaeton artist Vico C released Spanish-language hip hop and reggaeton records in his native island. His production of cassettes throughout the 1980s, mixing reggae and hip hop, also helped spread the early reggaeton sound, and he is widely credited with this achievement.<ref></ref> The widespread movement of "Spanish reggae" in the Latin-American communities of the Caribbean and the urban centres of the United States help increase its popularity.<ref name="phoenix"/>


== History ==
Meanwhile hip hop and reggae in Puerto Rico were on the rise due to the increased popularity of Jamaican ] imports. Towards the middle of the decade, Puerto Ricans were producing their own "]s" with clear influences from hip hop and other styles. These are considered the first proper reggaeton tracks, initially called "under", a short form of "Underground". As Caribbean and African-American music gained this momentum in Puerto Rico, Reggae Rap in Spanish marked the beginning of ] underground rap and served as an expression for millions of young people. This created an entire invisible, yet prominent underground youth culture that sought to express themselves through Reggae Rap in Spanish. As a youth culture that exists on the fringes of society and criminal illegality, it has often been publicly criticized. The Puerto Rican police launched a raid against underground rap by confiscating cassette tapes from music stores under Penal codes of obscenity, issuing fines, and the demoralization of rappers through radio, television, and newspaper media.<ref name = "PRU"/>
] (left) and ] (right) are both referred to as the "]".<ref>Don Omar as King of Reggaeton:
* {{cite web|url=https://www.billboard.com/music/music-news/don-omar-gerardo-ortiz-to-perform-at-billboard-latin-music-awards-1552550/amp/ |title=Don Omar, Gerardo Ortiz to Perform at Billboard Latin Music Awards |author=Justino Aguila |date=March 19, 2013 |publisher=Billboard |access-date=August 28, 2022 |url-status=dead |archive-url=https://web.archive.org/web/20220407014049/https://www.billboard.com/music/music-news/don-omar-gerardo-ortiz-to-perform-at-billboard-latin-music-awards-1552550/amp/ |archive-date=April 7, 2022}}
* {{cite web |last1=Moser |first1=John J. |title=Don Omar, one of Latin music's biggest stars, to play Sands Bethlehem Event Center |url=https://www.chicagotribune.com/mc-ent-don-omar-sands-bethlehem-20180622-story.html |website=Chicago Tribune |access-date=24 August 2023 |date=22 June 2018}}
* {{cite web |title=Soulfrito Festival returns with Nas and Don Omar |url=https://www.miamiherald.com/miami-com/nightlife/article225709395.html |website=Miami Herald |access-date=24 August 2023 |date=2019-02-07 |quote=Omar, the Puerto Rican 'King of Reggaeton'}}</ref><ref>Daddy Yankee as King of Reggaeton:
* {{cite news|url=https://www.nytimes.com/2006/02/05/magazine/the-king-of-reggaeton.html|title=The King of Reggeatón|newspaper=]|date=5 February 2006|access-date=30 March 2016|author=Corbett, Sara|archive-url=https://web.archive.org/web/20180612200112/https://www.nytimes.com/2006/02/05/magazine/the-king-of-reggaeton.html|archive-date=12 June 2018|url-status=live}}
* {{cite web|url=http://colombiareports.com/events-nightlife/bogota/10970-reggaeton-king-daddy-yankee-to-play-bogota-.html |title=Reggaeton king Daddy Yankee to play Bogota |author=Pandora Pugsley |date=July 23, 2010 |publisher=Colombia Reports |access-date=February 1, 2011 |url-status=dead |archive-url=https://web.archive.org/web/20101202005539/http://colombiareports.com/events-nightlife/bogota/10970-reggaeton-king-daddy-yankee-to-play-bogota-.html |archive-date=December 2, 2010}}</ref>]]


=== 1980s–2000s: Emergence ===
The term "underground", coming out of hip hop discourse, associates underground artists as asserting a self-identification that rejects the commercialization of music. In San Juan "underground", however, it was not just about authenticity or ideology, but was literally about position in the market. "Underground" music was circulated via informal networks, copied from cassette to cassette, until the mid 1990s.
Often mistaken for ] or {{lang|es|reggae en Español}}, reggaeton is a younger genre that originated in the late 1980s in Panama and was later popularized in Puerto Rico.<ref name="Origin2"/><ref>{{Cite web |title=El reguetón nació en Puerto Rico |url=https://hablacultura.com/cultura-textos-aprender-espanol/musica-en-espanol/regueton/ |access-date=2023-01-29 |website=HABLACULTURA |language=es}}</ref><ref name=":0" /><ref>{{Cite news |last=Herrera |first=Isabelia |date=2021-08-11 |title=Reggaeton's History Is Complex. A New Podcast Helps Us Listen That Way. |language=en-US |work=The New York Times |url=https://www.nytimes.com/2021/08/11/arts/music/reggaeton-loud-podcast.html |access-date=2023-01-29 |issn=0362-4331}}</ref><ref>{{Cite web |title=Culture Spotlight: Reggaeton Music |url=https://kid-museum.org/maker-playground/culture-spotlight-reggaeton-music/ |access-date=2023-01-29 |website=KID Museum |language=en-US}}</ref> It had its origins in what was known as {{lang|es|rap y reggae}} "underground" music, due to its circulation through informal networks and performances at unofficial venues. ] and ] were inspired by hip hop and ] to produce "]s", the first reggaeton tracks. As Caribbean and African-American music gained momentum in Puerto Rico, reggae rap in Spanish marked the beginning of the ] underground and was a creative outlet for many young people. This created an inconspicuous-yet-prominent underground youth culture which sought to express itself. As a youth culture existing on the fringes of society and the law, it has often been criticized. The Puerto Rican police launched a campaign against underground music by confiscating cassette tapes from music stores under penal obscenity codes, levying fines and demonizing rappers in the media.<ref name="PRU" /> Bootleg recordings and word of mouth became the primary means of distribution for this music until 1998, when it coalesced into modern reggaeton. The genre's popularity increased when it was discovered by international audiences during the early 2000s.<ref name="phoenix">{{cite news |url=http://thephoenix.com/Boston/Music/1595-rise-of-reggaeton/ |title=Rise of Reggaetón |date=19 January 2006 |publisher=The Phoenix |access-date=24 July 2006 |author=Wayne Marshall |archive-url=https://web.archive.org/web/20081002100115/http://thephoenix.com/Boston/Music/1595-rise-of-reggaeton/ |archive-date=2 October 2008 |url-status=live}}</ref>
]
The new genre, simply called "underground" and later "{{lang|es|perreo}}", had explicit lyrics about drugs, violence, poverty, friendship, love and sex. These themes, depicting the troubles of inner-city life, can still be found in reggaeton. "Underground" music was recorded in {{lang|es|marquesinas}} (or ])<ref name="ENDI 2022" /> and at public housing complexes such as Villa Kennedy, and Jurutungo,<ref>{{cite web | title=Portraits of Daddy Yankee in Villa Kennedy Puerto Rico| website=Alamy | date=July 23, 2022 | url=https://www.alamy.com/stock-photo-portrait-of-daddy-yankee-in-villa-kennedy-puerto-rico-79634660.html | access-date=July 23, 2022}}</ref><ref name="PRU" /> often by creators using second-hand recording equipment.<ref name="ENDI 2022">{{cite web | title=Crónica: Las guardianas del reguetón | website=El Nuevo Día | date=July 24, 2022 | url=https://www.elnuevodia.com/entretenimiento/musica/notas/cronica-las-guardianas-del-regueton/ | language=es | access-date=July 25, 2022}}</ref> Despite that, the quality of the cassettes was good enough to help increase their popularity among Puerto Rican youth. The cassettes were sold or distributed on the streets from the trunks of cars.<ref name="ENDI 2022" /><ref name="PRU">Mayra Santos, "Puerto Rican Underground", ''Centro vol. 8 1 & 2'' (1996), p. 219-231.</ref> The availability and quality of the cassettes led to reggaeton's popularity, which crossed socioeconomic barriers in the ] scene. The most popular cassettes in the early 1990s were DJ Negro's ''The Noise I'' and ''II'' and DJ Playero's 37 and 38. Gerardo Cruet, who created the recordings, spread the genre from the marginalized residential areas into other sectors of society, particularly private schools.


By the mid-1990s, "underground" cassettes were being sold in music stores. The genre caught on with middle-class youth, then found its way into the media. By this time, Puerto Rico had several clubs dedicated to the underground scene; Club Rappers in Carolina and PlayMakers in Puerto Nuevo were the most notable. ]'s "]" production was played in clubs. Underground music was not originally intended to be club music. In South Florida, DJ Laz and Hugo Diaz of the Diaz Brothers were popularizing the genre from Palm Beach to Miami.
] was one of the most famous producers of "Underground" at the time, releasing several underground cassettes that featured early performances of some soon-to-be-famous artists like ].


Underground music in Puerto Rico was harshly criticized. In February 1995, there was a government-sponsored campaign against underground music and its cultural influence. Puerto Rican police raided six record stores in San Juan,<ref>{{cite news |author=Sara Corbett |url=https://www.nytimes.com/2006/02/05/magazine/05reggaeton.html?pagewanted=print |title=The King of Reggaetón |access-date=30 January 2008 |newspaper=] |date=5 February 2006 |archive-url=https://web.archive.org/web/20110612053940/http://www.nytimes.com/2006/02/05/magazine/05reggaeton.html?pagewanted=print |archive-date=12 June 2011 |url-status=live }}</ref> hundreds of cassettes were confiscated and fines imposed in accordance with Laws 112 and 117 against obscenity.<ref name="PRU" /> The Department of Education banned baggy clothing and underground music from schools.<ref name="news.nacla.org">{{cite web| author=Frances Negrón-Muntaner and Raquel Z. Rivera |url=http://news.nacla.org/2007/12/17/reggaeton-nation/| title= Reggaeton Nation |access-date=17 December 2007 |archive-url = https://web.archive.org/web/20071221230347/http://news.nacla.org/2007/12/17/reggaeton-nation/ <!-- Bot retrieved archive --> |archive-date = 21 December 2007}}</ref> For months after the raids local media demonized rappers, calling them "irresponsible corrupters of the public order."<ref name="PRU" />
The basis for reggaeton was laid in Puerto Rico at this time, with the melding of Spanish reggae, with influences from fast dancehalls, hip hop and various other Latin American musical genres.<ref name="phoenix"/>


In 1995, DJ Negro released ''The Noise 3'' with a ] label reading, "Non-explicit lyrics". The album had no cursing until the last song. It was a hit, and underground music continued to seep into the mainstream. Senator ] of the ] and the media continued to view the movement as a social nuisance.<ref>{{cite web| author=Hilda Garcia and Gonzalo Salvador |url=http://ecolatino.com/en/stories/120104/new_120104032.shtml |archive-url=https://web.archive.org/web/20050115084320/http://ecolatino.com/en/stories/120104/new_120104032.shtml |archive-date=15 January 2005| title=Reggaeton: The Emergence of a New Rhythm| access-date=23 June 2007}}</ref>
The genre morphed through the years, at various points being termed "Melaza", "música underground", and "Dem Bow". This last name originated from reggaeton's distinguishing rhythmic feature: the ''Dem Bow'' (alternately spelled ''dembow'') beat, relying heavily on the ], which is used in nearly all reggaeton songs today.<ref name="villagevoice"/><ref name="phoenix"/> This beat, or riddim, was produced under the direction of Jamaican record producer ] and performed by ]. It first became popular in the song "Dem Bow" (They Bow) performed by Jamaican dancehall artist ] in 1991.<ref></ref> The song and beat achieved greater popularity among Spanish-speaking Latin Americans when Panamanian artist ] released the song "Son Bow" in 1991, a Spanish language cover of "Dem Bow" using the same musical track.<ref></ref> It should be pointed out that neither Shabba or El General sang reggaeton as neither the genre nor its title were as yet formed. Additionally "Dem Bow" was just a single song in Shabba's catalog, with Ranks not singing another significant song using the "Dem Bow" beat. However the influence of the original Bobby Digital beat is undeniable, and modern reggaeton often still reflects the original instrumentation, as well as the original rhythmic structure.


During the mid-1990s, the Puerto Rican police and National Guard confiscated reggaeton tapes and CDs to get "obscene" lyrics out of the hands of consumers.<ref>John Marino, "Police Seize Recordings, Say Content Is Obscene", San Juan Star, 3 February 1995; Raquel Z. Rivera, "Policing Morality, Mano Dura Style: The Case of Underground Rap and Reggae in Puerto Rico in the Mid-1990s", in Reading Reggaeton.</ref> Schools banned hip hop clothing and music to quell reggaeton's influence. In 2002, Senator González led public hearings to regulate the sexual "slackness" of reggaeton lyrics. Although the effort did not seem to negatively affect public opinion about reggaeton, it reflected the unease of the government and the upper social classes with what the music represented. Because of its often sexually-charged content and its roots in poor, urban communities, many middle- and upper-class Puerto Ricans found reggaeton threatening, "immoral, as well as artistically deficient, a threat to the social order, apolitical".<ref name="news.nacla.org" />
===Materialization, Solidifcation and rise to popularity===
This new genre was simply called "underground". It contained very explicit lyrics about drugs, violence, poverty, homophobia, friendship, love, and sex. These common themes, which in many cases depict the troubles of an inner-city life, can still be found in reggaeton today. "Underground" music was recorded in "marquesinas" (or Puerto Rican open garages) and distributed in the streets via cassettes. These marquesinas were crucial to the development of Puerto Rico's underground scene due to the state's "fear of losing the ability to manipulate 'taste'".<ref name="PRU">Mayra Santos, "Puerto Rican Underground", ''Centro vol. 8 1 & 2'' (1996), p. 219-231.</ref> Marquesinas were often in "housing complexes such as Villa Kennedy and Jurutungo."<ref name="PRU"/> Despite being recorded in the projects of Puerto Rico, the majority of the recordings made in marquesinas were of high quality, which helped in increasing their popularity to the Puerto Rican youths of not only the projects but those of the middle and upper class as well. The availability and quality of these cassettes led to the genre's popularity, crossing over socio-economic barriers in the ] scene. The most popular cassettes in the early 1990s were DJ Negro's The Noise I and II, and DJ Playero's #37 and #38.Gerardo Cruet Created these recordings spread out the genre from the marginalized residential areas into other sectors of society, particularly into private schools. By the mid '90s "underground" cassettes were being sold in commercial music stores. The genre caught up with the middle class youth and inevitably found its way to the media.


Despite the controversy, reggaeton slowly gained acceptance as part of Puerto Rican culture — helped, in part, by politicians including González who began to use reggaeton in election campaigns to appeal to younger voters in 2003.<ref name="news.nacla.org" /> Puerto Rican mainstream acceptance of reggaeton has grown and the genre has become part of popular culture, including a 2006 ] commercial with ]<ref>{{cite web| author=Matt Caputo |url=http://www.ballerstatus.com/article/features/2006/01/2133/ |archive-url=https://web.archive.org/web/20080302021446/http://www.ballerstatus.com/article/features/2006/01/2133/ |archive-date=2 March 2008| title= Daddy Yankee: The Voice of His People |access-date=29 January 2008}}</ref> and PepsiCo's choice of ] as musical spokesperson for Mountain Dew.<ref>{{cite web| url=https://www.amazon.com/Sentimiento-Ivy-Queen/dp/B000NJL0D4| title=Amazon.com: Sentimiento: Music: Editorial Reviews| website=Amazon.com| access-date=3 December 2012| archive-url=https://web.archive.org/web/20130108051342/http://www.amazon.com/Sentimiento-Ivy-Queen/dp/B000NJL0D4| archive-date=8 January 2013| url-status=live}}</ref>{{unreliable source?|date=December 2018}} Other examples of greater acceptance in Puerto Rico are religiously- and educationally-influenced lyrics; ''Reggae School'' is a rap album produced to teach math skills to children, similar to '']''.<ref>{{cite book| first= Jorge L. |last= Giovannetti |title="Popular Music and Culture in Puerto Rico: Jamaican and Rap Music as Cross-Cultural Symbols" Musical Migrations: Transnationalism and Cultural Hybridity in the Americas |editor= Frances R. Aparicio and Cándida F. Jáquez |place= New York |publisher= Palgrave |year= 2003}}</ref> Reggaeton expanded when other producers, such as ] and DJ Eric, followed ]. During the 1990s, ]'s 1996 album '']'', ]'s ''Playero 37'' (introducing Daddy Yankee) and ''The Noise: Underground'', ''The Noise 5'' and ''The Noise 6'' were popular in Puerto Rico and the ]. ], ], ], ] and ] were also popular.
By this time Puerto Rico had a few clubs dedicated to the underground scene. Club Rappers in Carolina, and club PlayMakers in Puerto Nuevo were the most notable. ]'s dembow track was exploited in order to appeal in the context of the club. Underground music wasn't intended originally to be club music.


The name "reggaeton" became prominent during the early 2000s, characterized by the dembow beat. It was coined in Puerto Rico to describe a unique fusion of Puerto Rican music.<ref name="phoenix" /> Reggaeton is currently popular throughout Latin America. It increased in popularity with Latino youth in the United States when DJ Joe and DJ Blass worked with ] and ]<ref name="RhythmTravels.com">{{cite web |url=http://rhythmtravels.com/qa/qa-with-dj-blass |title=Q&A with DJ Blass |date=3 July 2014 |website=Rhythmtravels.com|access-date=10 September 2016|archive-url=https://web.archive.org/web/20150506163454/http://rhythmtravels.com/qa/qa-with-dj-blass|archive-date=6 May 2015 |url-status=live}}</ref> on ''Reggaeton Sex'', ''Sandunguero'' and ''Fatal Fantasy''.
Underground rap music in Puerto Rico faced harsh criticism. In February 1995, there was a government-sponsored campaign against underground music and its cultural influences. Puerto Rican police launched six raids at records stores in San Juan,<ref>{{cite news| author=Sara Corbett | url=http://www.nytimes.com/2006/02/05/magazine/05reggaeton.html?pagewanted=print | title = The King of Reggaetón | accessdate=2008-01-30 | work=The New York Times | date=2006-02-05}}</ref> in which hundreds of cassettes were confiscated from record stores and fines were imposed (in accordance with Laws 112 and 117 against obscenity.)<ref name="PRU"/> The Department of Education banned baggy clothing and underground rap music from the school systems.<ref name="news.nacla.org">{{cite web| author=Frances Negrón-Muntaner and Raquel Z. Rivera | url=http://news.nacla.org/2007/12/17/reggaeton-nation/| title= Reggaeton Nation | accessdate=2007-12-17 |archiveurl = http://web.archive.org/web/20071221230347/http://news.nacla.org/2007/12/17/reggaeton-nation/ <!-- Bot retrieved archive --> |archivedate = 2007-12-21}}</ref> In the following months after the raids, local media demonized rappers, claiming they were "irresponsible corrupters of the public order."<ref name = "PRU"/>


=== {{Anchor|2004: The cross-over year}}2004: Crossover ===
By 1995 DJ Negro released The Noise 3 with a mock up label that read Non-Explicit Lyrics. The album contained no cursing until the last song. The album was a hit and underground music further crept into the mainstream. Senator ] of the ] and the media continued to view the movement as a social nuisance.<ref>{{cite web| author=Hilda Garcia and Gonzalo Salvador | url=http://ecolatino.com/en/stories/120104/new_120104032.shtml | archiveurl=http://web.archive.org/web/20050115084320/http://ecolatino.com/en/stories/120104/new_120104032.shtml | archivedate=2005-01-15| title=Reggaeton: The Emergence of a New Rhythm| accessdate=2007-06-23}}</ref>
In 2004, reggaeton became popular throughout the United States and Europe. ] was receiving airplay in the U.S., and the music was popular among youth. Daddy Yankee's '']'' became popular that year in the country, as did ]. ] and ]'s '']'', ]'s '']'', Tego Calderón's '']'', Ivy Queen's '']'', ]'s '']'' and the '']'' compilation were also well received. Rapper ] released a hit single, "]". Daddy Yankee released '']'' and a hit single, "]", opening the door for reggaeton globally.<ref>{{cite news |last1=Corbett |first1=Sara |title=The King of Reggaetón |url=https://www.nytimes.com/2006/02/05/magazine/the-king-of-reggaeton.html |access-date=19 October 2021 |work=The New York Times |date=5 February 2006}}</ref> Tego Calderón recorded the singles "Pa' Que Retozen" and "Guasa Guasa". ] was popular, particularly in Europe, with "]" and "]".<ref name="auto1">{{cite web|url=http://ocio.ya.com/musica/2005/01/254555.html|title=El Reggaeton|date=8 February 2007|access-date=10 September 2016 |archive-url=https://web.archive.org/web/20070208201504/http://ocio.ya.com/musica/2005/01/254555.html|archive-date=8 February 2007}}</ref> Other popular reggaeton artists include ], ], ], ], ], ], ], ], ] and ]. In late 2004 and early 2005, inspired by the success of "Gasolina", ] collaborated with ] to record "]" and "La Tortura – Shaketon Remix" for her album, '']'', further popularizing reggaeton.<ref>{{cite web |url=http://www.mtv.com/news/3131801/daddy-yankee-gasolina-barrio-fino-15-anniversary/ |archive-url=https://web.archive.org/web/20190718224816/http://www.mtv.com/news/3131801/daddy-yankee-gasolina-barrio-fino-15-anniversary/ |url-status=dead |archive-date=18 July 2019 |title=15 Years Ago, Daddy Yankee's Barrio Fino Set The Template For Reggaeton's Big Rise |date=July 18, 2019 |author=Staff |website=] |access-date=June 22, 2021}}</ref> Four reggaeton songs were sung at the ]: by ] ("]"), Tego Calderón, Daddy Yankee, and Shakira with Sanz&nbsp;– the first time any reggaeton song was performed on that stage.


Musicians began to incorporate ] into reggaeton,<ref name="ReggaetonBook">{{Cite book|last1=Rivera|first1=Raquel Z.|url=https://books.google.com/books?id=koaINmF8l5kC&q=La%2520Mala%2520Ivy%2520Queen&pg=PA143|title=Reggaeton|last2=Marshall|first2=Wayne|last3=Hernandez|first3=Deborah Pacini|date=2009-04-24|publisher=Duke University Press|isbn=978-0-8223-9232-3|language=en}}</ref> with Ivy Queen releasing singles ("]" and "La Mala") featuring bachata's signature guitar sound, slower, romantic rhythms and emotive singing style.<ref name="ReggaetonBook" /> Daddy Yankee's "]" and Don Omar's "Dile" are also bachata-influenced. In 2005 producers began to remix existing reggaeton music with bachata, marketing it as '']'': "bachata, Puerto Rican style".<ref name="ReggaetonBook" />
In the mid 1990s, the Puerto Rican Police and National Guard even went as far as to confiscate reggaeton tapes and CDs in an effort to get the "obscene" lyrics out of the hands of consumers.<ref>John Marino, "Police Seize Recordings, Say Content Is Obscene", San Juan Star, February 3, 1995; Raquel Z. Rivera, "Policing Morality, Mano Dura Style: The Case of Underground Rap and Reggae in Puerto Rico in the Mid-1990s", in Reading Reggaeton.</ref> Schools also banned hip hop style clothing and music in an effort to quell the influence of reggaeton in the educational environment. In 2002, Senator Velda González led public hearings in an attempt to regulate the sexual "slackness" of reggaeton's lyrics and the perrero style of dance associated with the genre. While the effort did not seem to negatively affect the general public's opinion about reggaeton, it did reflect the unease of the government and upper social classes with what the music represented. Due to its often sexually charged content and because of its roots in poor, urban communities, many middle and upper class Puerto Ricans found reggaeton to be threatening, "immoral, as well as artistically deficient, a threat to the social order, apolitical, misogynist."<ref name="news.nacla.org"/>


=== 2006–2017: Topping the charts ===
Despite earlier controversy, reggaeton slowly began gaining acceptance as an important part of Puerto Rican culture, helped in part by politicians, including Velda González, who used reggaeton in election campaigns to appeal to younger voters, starting in Puerto Rico's 2003 elections.<ref name="news.nacla.org"/> Currently, Puerto Rican mainstream acceptance of reggaeton has grown increasing more visible with reggaeton's appearance in popular culture, including a 2006 ] commercial featuring ].<ref>{{cite web| author=Matt Caputo | url=http://www.ballerstatus.com/article/features/2006/01/2133/ | archiveurl=http://web.archive.org/web/20080302021446/http://www.ballerstatus.com/article/features/2006/01/2133/ | archivedate=2008-03-02| title= Daddy Yankee: The Voice of His People | accessdate=2008-01-29}}</ref> Other examples of a change in sentiment within the greater population of Puerto Rico can be seen in some religiously and educationally influenced lyrics. "Reggae School" for example is a rap album produced for the sole purpose of teaching math skills to children, reminiscent of ].<ref>{{Cite book| first= Jorge L. | last= Giovannetti | title= "Popular Music and Culture in Puerto Rico: Jamaican and Rap Music as Cross-Cultural Symbols" Musical Migrations: Transnationalism and Cultural Hybridity in the Americas | editor= Frances R. Aparicio and Cándida F. Jáquez | place= New York | publisher= Palgrave | year= 2003| postscript= <!--None-->}}</ref>
In May 2006, Don Omar's '']'' was the highest-ranking reggaeton LP to date on the U.S. charts, debuting atop the ] chart and peaking at number seven on the ] chart. Omar's single, "Angelito", topped the '']'' Latin Rhythm Radio Chart.<ref name="LR">{{cite web|url=http://www.latinrapper.com/reggaeton.html|title=Reggaeton Music News - Lyrics & Noticias de Musica Urbana|website=Latinrapper.com|access-date=10 June 2024|archive-url=https://web.archive.org/web/20160827070239/http://www.latinrapper.com/reggaeton.html|archive-date=27 August 2016|url-status=dead}}</ref> He broke ]' in-store-appearance sales record at Downtown Disney's Virgin music store.
Reggaeton expanded and became known when other producers followed the steps of ], like ] and DJ Eric. In the early '90s albums like ]'s ''Playero 37'' (in which ] became known) and The Noise: Underground, ''The Noise 5'' and ''The Noise 6'' were very popular in Puerto Rico and the ]. Singers like ], ], ], ], and ] among others were very popular.


That same year, ]'s "]", featuring ] of the ], became "the most popular song in the genre's history", with "the dembow beat in the background, the trumpet sample of Jerry Rivera's "Amores como el nuestro" in the chorus, the obvious salsa influence."<ref>, NPR, July 30, 2018, "Song 67" by Maria Sherman.</ref>
The name ''reggaeton'' only gained prominence in the mid-2001 (from the 2001 to 2002 period), with the Dem Bow beat characterizing the genre; this is in contrast to the more reggae, dancehall and hip hop-derived tracks previously created. The name was created in Puerto Rico to signify the unique fusion of Puerto Rican sounds and distinguish it from the previous ''Spanish reggae'', created from the years of mixing the different genres.<ref name="phoenix"/> Today, the music flourishes throughout Latin America. In Puerto Rico reggae en español is also dominated very well and often fusilier together with their reggaeton.


In June 2007, Daddy Yankee's '']'' set a first-week sales record for a reggaeton album, with 88,000 copies sold.<ref>{{Cite magazine|last1=Hasty|first1=Katie|date=2007-06-13|title=T-Pain Soars To No. 1 Ahead Of Rihanna, McCartney|url=https://www.billboard.com/music/music-news/t-pain-soars-to-no-1-ahead-of-rihanna-mccartney-1051559/|access-date=2023-01-01|magazine=Billboard|language=en-US}}</ref> It topped the Top Latin Albums and Top Rap Albums charts, the first reggaeton album to do so on the latter. The album peaked at number nine on the ''Billboard'' 200, the second-highest reggaeton album on the mainstream chart.<ref name="Artist Chart History – Daddy Yankee"> – Billboard.com – Accessed 10 November 2008</ref>
Reggaeton soon increased in popularity with Latino youth in the United States when DJ Blass worked with artists such as ] and Speedy in albums such as ''Reggaeton Sex''.


]
====2004: the cross-over year====
2004 was the year that reggaeton gained widespread popularity in the United States and non-Hispanic Europe. ] was already getting some airplay in the U.S. and it was very popular in the youth market. Daddy Yankee's "El Cangri.com" became popular that year in the U.S., as did Hector Y Tito. Luny Tunes y Noriega's Mas Flow was well received and Kilates, La Mision, Yaga y Mackie with Sonando Differente, Tego Calderón with El Abayarde, Los Homerunes De Yankee, Desafio, Motivando a La Yal By Zion y Lennox, La Conspiracion, and others were popular as well. Then in 2004 rapper ] released his hit single "]" which seemingly broke cultural and language barriers, which featured the likes of ] & ]. Soon after Daddy Yankee came out with his album '']'' and his hit single "]" which spread around the world becoming a mega-hit and with it introducing reggaeton to the rest of the world. Tego Calderón also increased the reggaeton genre with singles like "Pa Que Retozen" and "Guasa Guasa". Another important artist who contributed to reggaeton's increasing popularity, especially in Europe, is ], with singles like "Pobre Diabla" and "Dale Don Dale."<ref></ref> Other very popular reggaeton artists include ], ], ], ], ], ], ], ], ], ], ], ], and ]. In late 2004 and early 2005, ] recorded "La Tortura" and "La Tortura - Shaketon Remix" in her album ''Fijación Oral vol.1'' (Oral Fixation vol.1) popularizing reggaeton in North America, Europe and Asia.


The third-highest-ranking reggaeton album was ]'s '']'', which debuted at number 14 on the ''Billboard'' 200 and number one on the Top Latin Albums chart later in 2007.<ref name="auto"></ref> In 2008 Daddy Yankee soundtrack to his film, '']'', debuted at number 13 on the ''Billboard'' 200 chart. It peaked at number one on the Top Latin Albums chart, number three on ''Billboard's'' ] and number six on the Top Rap Albums chart.<ref name="Artist Chart History – Daddy Yankee" /> In 2009, Wisin & Yandel's '']'' debuted at number seven on the ''Billboard'' 200, number one on the ] and number three on the Top Rap Albums charts.
====2006-present: topping the charts====
{{outdated|date=February 2012}}
In May 2006 Don Omar's album, '']'', became the highest ranking reggaeton LP to date in the US charts, with its debut at #1 on the ] chart and its peak at #7 on the ] albums. It also gained the #1 spot on the ] Latin Rhythm Radio Chart with the single "Angelito."<ref name="LR"></ref> Don Omar was also able to beat the in-store appearance sales record at Downtown Disney's Virgin music store previously set by pop star ], further demonstrating reggaeton's rise to popularity in the United States. 2007 also saw new records set with Daddy Yankee's June release of '']'' setting a new record for highest first week selling reggaeton album with 88,000 copies sold.<ref>Katie Hasty, , Billboard.com, June 13, 2007.</ref> It peaked at #1 on both the Top Latin Albums and Top Rap Albums charts being the first reggaeton album to peak at #1 on the rap charts. It also peaked at #9 on the ''Billboard'' 200 making it the second highest ranking reggaeton album on the mainstream chart.<ref name="Artist Chart History - Daddy Yankee"> - Billboard.com - Accessed November 10, 2008</ref> The third highest ranking reggaeton album came later that year in the form of ]'s album '']'' debuting at #14 on the ''Billboard'' 200 and #1 on the Top Latin Albums chart.<ref></ref> In 2008 a new 3rd highest ranking album came with the release of Daddy Yankee soundtrack to his movie of the same name '']'' debuting at #13 on the ''Billboard 200'' knocking ''Wisin vs. Yandel: Los Extraterrestres'' down a spot. It also peaked at #1 on the Top Latin Albums chart, #3 on ''Billboard's'' ] and #6 on the Top Rap Albums chart.<ref name="Artist Chart History - Daddy Yankee"/> 2009 saw the release of Wisin & Yandel's album '']'' debuting at #7 on the Billboard Hot 100 making it equal 1st as the highest charting reggaeton album along with ''King of Kings''. It also debuted at #1 on the ] and #3 on the Top Rap Albums, demonstrating a crossover appeal for reggaeton in mainstream "English-speaking" markets.


By 2008, Reggaeton was the "biggest-selling genre of Latin music" and one of its artists, Tego Calderon, was using it to describe and encourage ].<ref name="NPR2008">{{cite web |title=Tego Calderon: Reggaeton On Black Pride |website=NPR.org |date=September 3, 2008 |url=https://www.npr.org/2008/09/03/94243997/tego-calderon-reggaeton-on-black-pride |access-date=May 9, 2022|quote=I started to do music from a black beat, so that blacks can feel proud being black.}}</ref>
==Musical characteristics==
===Dem Bow===
The '''Dem Bow''' or '''dembow''' ] itself was first discovered and produced by Jamaican ] ]s in the late 1980s and early 1990s. However, the original idea of Dem Bow's percussion pattern cannot be traced to any individual producer, because the riddim itself was partly influenced by ]'s one drop, but also by other ] music such as ] and ], which in turn gives the Dem Bow a pan-Caribbean nature. ], creators of the Poco riddim are usually credited with the creation of the original Dem Bow.<ref> Dem Bow,Dembow Translation in Reggaeton</ref>


=== Since 2017: "Despacito" effect ===
The Dem Bow riddim was first highlighted in the song "Dem Bow" by ]. Dem Bow's drum and percussion pattern is created through a ]. The creation of the ] in the late 1970s revolutionized ] music, and many dancehall producers used these drum machines to create different dancehall riddims.
] in 2017]]
Dem Bow's role in reggaeton is to be the basic building block, and the skeletal sketch in percussion. The Dem Bow used in reggaeton also incorporates other different riddims such as the Bam Bam Riddim, the Hot This Year Riddim, the Poco Man Jam Riddim, the Fever Pitch Riddim, the Red Alert Riddim, Trailer Reloaded Riddim, and the Big Up Riddim, ex. Rayvon - Could You Be Love ft. Shaggy. (This riddim is to not get confused with another riddim by the same name). As a result, different samples are often used to create Dem Bow in reggaeton.


In 2017, the music video for "]" by ] featuring ] reached one billion views in less than three months. From January 2018 to November 2020, the music video was the most viewed YouTube video of all-time. With its 3.3 million certified sales plus track-equivalent streams, "Despacito" became one of the ]. The success of the song and its remix version led Daddy Yankee to become the most listened-to artist worldwide on the streaming service ] on 9 July 2017, being the first Latin artist to do so.<ref>{{cite news|url=https://www.washingtonpost.com/national/daddy-yankee-is-1-on-spotify-1st-latin-artist-to-do-so/2017/07/09/42a78bb2-64da-11e7-94ab-5b1f0ff459df_story.html|title=Daddy Yankee is #1 on Spotify; 1st Latin artist to do so|newspaper=]|last=Ratner-Arias|first=Sigal|date=9 July 2017|access-date=9 July 2017|url-status=dead|archive-url=https://web.archive.org/web/20170709221642/https://www.washingtonpost.com/national/daddy-yankee-is-1-on-spotify-1st-latin-artist-to-do-so/2017/07/09/42a78bb2-64da-11e7-94ab-5b1f0ff459df_story.html|archive-date=9 July 2017}}</ref><ref>{{cite web|url=http://www.hoylosangeles.com/espectaculos/musica/hoyla-mus-hace-historia-daddy-yankee-y-es-ahora-oficialmente-el-mas-escuchado-del-mundo-en-spotify-20170709-story.html|title=Hace historia Daddy Yankee y es ahora oficialmente el primer latino número uno del mundo en Spotify |publisher=hoylosangeles.com |last=Calle |first=Tommy |language=es |date=9 July 2017 |access-date=10 July 2017 |archive-url=https://web.archive.org/web/20170713065539/http://www.hoylosangeles.com/espectaculos/musica/hoyla-mus-hace-historia-daddy-yankee-y-es-ahora-oficialmente-el-mas-escuchado-del-mundo-en-spotify-20170709-story.html|archive-date=13 July 2017|url-status=live}}</ref><ref>{{cite news|url=http://www.vibe.com/2017/07/daddy-yankee-number-1-spotify/|title=Daddy Yankee Breaks Barriers Becoming Top Streamed Artist On Spotify|work=]|last=Pickens|first=Ashley|date=10 July 2017|access-date=10 July 2017|archive-url=https://web.archive.org/web/20170711032033/http://www.vibe.com/2017/07/daddy-yankee-number-1-spotify/|archive-date=11 July 2017|url-status=live}}</ref> He later became the fifth most listened-to male artist and the sixth overall of 2017 on Spotify.<ref>{{cite news|url=https://www.wmagazine.com/story/spotify-most-streamed-artists-2017|title=Rihanna and Ed Sheeran Were the Most-Streamed Artists on Spotify in 2017|work=]|last=Wang|first=Evelyn|date=5 December 2017|access-date=7 December 2017|archive-url=https://web.archive.org/web/20171205211404/https://www.wmagazine.com/story/spotify-most-streamed-artists-2017|archive-date=5 December 2017|url-status=live}}</ref> In June 2017, "Despacito" was cited by ''Billboard''{{'}}s Leila Cobo as the song that renewed interest in the ] market from recording labels in the United States.<ref>{{cite magazine|url=http://www.billboard.com/articles/news/magazine-feature/7832991/despacito-success-record-labels-looking-latin|title=The Success of 'Despacito' Has Labels Looking to Latin|magazine=Billboard|last=Cobo|first=Leila|date=15 June 2017|access-date=21 June 2017|archive-url=https://web.archive.org/web/20170619025308/http://www.billboard.com/articles/news/magazine-feature/7832991/despacito-success-record-labels-looking-latin|archive-date=19 June 2017|url-status=live}}</ref> Julyssa Lopez of ''The Washington Post'' stated that the successes of "Despacito" and J Balvin's "]" is "the beginning of a new Latin crossover era."<ref>{{cite news|url=https://www.washingtonpost.com/entertainment/music/whats-next-for-latin-music-after-the-summer-of-despacito/2017/08/24/703ba7de-8816-11e7-961d-2f373b3977ee_story.html|title=What's next for Latin music after the summer of 'Despacito'?|newspaper=The Washington Post|last=Lopez|first=Julyssa|date=24 August 2017|access-date=24 August 2017|archive-url=https://web.archive.org/web/20170826194217/https://www.washingtonpost.com/entertainment/music/whats-next-for-latin-music-after-the-summer-of-despacito/2017/08/24/703ba7de-8816-11e7-961d-2f373b3977ee_story.html|archive-date=26 August 2017|url-status=live}}</ref> Stephanie Ho of ] website wrote that "the successes of 'Despacito' and 'Mi Gente' could point to the beginning of a successful wave for Spanish-language music in the US."<ref name="genius ho">{{cite news|url=https://genius.com/a/no-translation-necessary-beyond-despacito-the-latin-music-scene-is-booming|title=No Translation Necessary: Beyond "Despacito," The Latin Music Scene Is Booming|publisher=]|last=Ho|first=Stephanie|date=12 September 2017|access-date=19 September 2017|archive-url=https://web.archive.org/web/20170920093320/https://genius.com/a/no-translation-necessary-beyond-despacito-the-latin-music-scene-is-booming|archive-date=20 September 2017|url-status=live}}</ref> Ho also stated that "as 'Despacito' proves, fans don't need to understand the language in order to enjoy the music", referring to the worldwide success of the song, including various non-Spanish-speaking countries.<ref name="genius ho"/>
As reggaeton continues to evolve, so does the Dem Bow riddim, and many of the newer reggaeton hits incorporate a much lighter and electrified offspring of the riddim. Examples can be heard in songs such as "Permitame" and "]".<ref> Raquel Z, Rivera. 2009. "Reggaeton" Part I. Mapping Reggaeton

From Música Negra to Reggaeton Latino & Narrative: Editor's Notes / Wayne Marshall also by Wayne Marshall, Duke University Press, Duke University, Durham, North Carolina</ref>
==== "Te Boté" and the minimalist dembow ====
In April 2018, "Te Boté" was released by Nio Garcia, Casper Magico, ], ], ] and ]. It reached number one on the ''Billboard'' Hot Latin Songs chart. It currently has over 1.8 billion views on YouTube.<ref>{{cite magazine|url=https://www.rollingstone.com/music/music-latin/te-bote-remix-youtube-imitators-783492/|title='Te Boté' Was a Massive Hit — Now It's Spawned Imitators|magazine=]|last=Leight|first=Elias|date=January 26, 2019|access-date=April 8, 2019}}</ref> Many artists began to mark strong commercial trends in a market dominated by mixing Latin trap and reggaeton followed by a new minimalist dembow rhythm. For example, songs such as "Adictiva" by Daddy Yankee and Anuel AA, "Asesina" by Brytiago and Darell, "Cuando Te Besé" by Becky G and Paulo Londra, "No Te Veo" by Casper Magico and many other songs have been made in this style.<ref>{{cite web|url=https://heabbi.com/las-4-mejores-canciones-influenciadas-por-te-bote|title=Las 4 mejores canciones influenciadas por "Te Boté"|work=Heabbi|last=Leight|first=Elias|date=January 8, 2019|access-date=2 November 2020|archive-date=4 April 2019|archive-url=https://web.archive.org/web/20190404031725/https://heabbi.com/las-4-mejores-canciones-influenciadas-por-te-bote|url-status=dead}}</ref>
<ref>{{cite web|url=https://wearemitu.com/entertainment/the-evolution-of-reggaeton-in-the-2010s-from-despacito-to-te-bote-this-is-how-latinx-music-turned-into-a-global-phenomenon/|title=The Evolution of Reggaeton From Despacito to Te Bote|work=]}}</ref>

== {{Anchor|Musical characteristics}}Characteristics ==

=== Rhythm ===
The ] ] was created by Jamaican ] ] during the late 1980s and early 1990s. Dembow consists of a kick drum, kickdown drum, palito, snare drum, timbal, timballroll and (sometimes) a high-hat cymbal. Dembow's percussion pattern was influenced by dancehall and other ] music (], ] and ]); this gives dembow a pan-Caribbean flavor. ], creators of the Poco Man Jam riddim, are usually credited with the creation of dembow.<ref>{{cite web|url=http://wayneandwax.com/pdfs/dembow-paper-proofs.pdf|title=Marshall, "Dem Bow, Dembow, Dembo: Translation and Transnation in Reggaeton." Lied und populäre Kultur / Song and Popular Culture: Jahrbuch des Deutschen Volksliedarchivs 53 (2008): 131-51.|website=Wayneandwax.com|access-date=13 February 2019|archive-url=https://web.archive.org/web/20180820124641/http://wayneandwax.com/pdfs/dembow-paper-proofs.pdf|archive-date=20 August 2018|url-status=live}}</ref> At its heart is the 3+3+2 (]) rhythm, complemented by a bass drum in 4/4 time.<ref>''Reggaeton''. Rivera, Raquel Z., Wayne Marshall, and Deborah Pacini Hernandez, eds. Durham NC: Duke University Press, 2009 and {{Webarchive|url=https://web.archive.org/web/20101129133322/http://wayneandwax.com/pdfs/dembow-paper-proofs.pdf |date=29 November 2010 }}</ref>
{{listen
|filename=Dembow Perreo, Classic Dembow, and Rich Dembow Beats.ogg
|title="Dem Bow riddim"
|description= Three dembow rhythms
|format=]
|pos = right
}}
{{listen
|filename=Perreo Wiki.wav
|title="A basic example of Reggaeton"
|description= A basic sketch example, 118 bpm key of Am
|format=]
|pos = right
}}
The riddim was first highlighted by ] in "]", from his 1991 album '']''. To this day, elements of the song's accompaniment track are found in over 80% of all reggaeton productions.<ref>{{cite journal |last1=Marshall |first1=Wayne |title=Dem Bow, Dembow, Dembo: Translation and Transnation in Reggaeton |journal=Lied und Populäre Kultur / Song and Popular Culture |date=2008 |volume=53 |pages=131–151 |jstor=20685604 }}</ref> During the mid-1980s, dancehall music was revolutionized by the electronic keyboard and drum machine; subsequently, many dancehall producers used them to create different dancehall riddims. Dembow's role in reggaeton is a basic building block, a skeletal sketch in percussion.

In Reggaeton 'dembow' also incorporates identical Jamaican riddims such as Bam Bam, Hot This Year, Poco Man Jam, Fever Pitch, Red Alert, Trailer Reloaded and Big Up riddims, and several samples are often used. Some reggaeton hits incorporate a lighter, electrified version of the riddim. Examples are "]" and "{{Lang|es|]|italic=no}}", which uses the Liquid riddim.<ref>Marshall, Wayne. "The Rise and Fall of Reggaeton: From Daddy Yankee to Tego Calderón and Beyond" in Jiménez Román, Miriam, and Juan Flores, eds. ''The Afro-Latin@ reader: history and culture in the United States''. Durham NC: Duke University Press, 2010, p. 401.</ref>
<!-- Deleted file: {{multi-listen start|Audio sample of:}} <!-- Deleted file: {{multi-listen start|Audio sample of:}}
{{multi-listen item|filename=|title="Dem Bow (rhythm)"|description=Produced by ], performed by ], 1990.|format=]}} {{multi-listen item|filename=|title="Dem Bow (rhythm)"|description=Produced by ], performed by ], 1990.|format=]}}
{{multi-listen end}} --> {{multi-listen end}} -->
Since 2018 a new variation of the Dembow rhythm has emerged; Starting with ], a sharper minimalist Dembow has become a stable of Reggaeton production which has allowed for more syncopated rhythmic experiments.<ref>{{cite magazine|url=https://www.rollingstone.com/music/music-latin-lists/20-best-latin-singles-of-2018-772998/te-bote-remix-song-nio-garcia-casper-magico-773020|title='20 Best Latin Singles of 2018'|magazine=]|date=28 December 2018 }}</ref>
<ref>{{cite web|url=https://trace.tennessee.edu/cgi/viewcontent.cgi?article=6871&context=utk_gradthes|title='Puerto Rican Environment, Reggaeton and Boricuaness'|work=]}}</ref>


===Lyrics and themes=== === Lyrics and themes ===
Reggaeton lyrical structure resembles hip hop lyrics. Like hip hop, most reggaeton artists recite their lyrics rap-fashion rather than sing it melodically. Unlike hip hop music, however, a significant percent of reggaeton artists are also singers, may blend rapping and singing, and may also have a "street" image, similar to ]. Like hip hop music, reggaeton songs have hooks that are repeated throughout the song. Reggaeton lyrical structure resembles that of ]. Although most reggaeton artists recite their lyrics ] (or resembling rapping) rather than ], many alternate rapping and singing. Reggaeton uses traditional verse-chorus-bridge hip hop structure. Like hip hop, reggaeton songs have a ] which is repeated throughout the song. ] ethnic identity is a common musical, lyrical and visual theme.


Unlike hip-hop CDs, reggaeton discs generally do not have ]. An exception is Daddy Yankee's '']'' (''Barrio Fino Live''), whose live material (and with ] in "]") were labeled explicit. Snoop Dogg and Daddy Yankee filmed the video for "Gangsta Zone" in Torres Sabana housing projects in Carolina, Puerto Rico on January 27, 2006. Shot in ],<ref>{{cite web | last=Watkins | first=Grouchy Greg | title=Snoop Shoots Video With Daddy Yankee In Puerto Rico | website=AllHipHop | date=January 28, 2006 | url=https://allhiphop.com/news/snoop-shoots-video-with-daddy-yankee-in-puerto-rico/ | access-date=July 23, 2022 | archive-date=July 23, 2022 | archive-url=https://web.archive.org/web/20220723035955/https://allhiphop.com/news/snoop-shoots-video-with-daddy-yankee-in-puerto-rico/ | url-status=live }}</ref> Daddy Yankee said the video depicts "the real way we live on the island".<ref name="MTV">{{cite web |last1=Tecson |first1=Brandee J. |title=Daddy Yankee Sticks To His Roots, Won't Lean On Snoop |url=https://www.mtv.com/news/3ius7p/daddy-yankee-sticks-to-his-roots-wont-lean-on-snoop |website=mtv |access-date=23 July 2022 |archive-date=23 July 2022 |archive-url=https://web.archive.org/web/20220723035954/https://www.mtv.com/news/3ius7p/daddy-yankee-sticks-to-his-roots-wont-lean-on-snoop |url-status=dead }}</ref>
Reggaeton started as a genre composed of mostly male artists, with a slowly increasing number of female artists debuting over the years. Notable female reggaeton artists include ], ], ], ] and ].


Artists such as ] circumvent radio and television censorship by sexual innuendo and lyrics with ]s. Some songs have raised concerns about their depiction of women.<ref>{{cite web|url=http://www.gobcan.es/icmujer/011obs_2005.htm|title=ICM: Instituto Canario de la Mujer|date=17 January 2007|access-date=10 September 2016 |archive-url=https://web.archive.org/web/20070117001651/http://www.gobcan.es/icmujer/011obs_2005.htm|archive-date=17 January 2007}}</ref> Although reggaeton began as a mostly-male genre, the number of women artists has been a slowly increasing and include the "]", ],<ref>{{cite magazine|url=https://books.google.com/books?id=eRMEAAAAMBAJ&q=Ivy+Queen+Quiero+Bailar&pg=PA47|title=Reggaetón Royalty – Ivy Queen Earns Her Crown As A Very Male Subgenre's Only Female Star|last=Ben-Yehuda|first=Ayala|magazine=]|volume=119|issue=13|issn=0006-2510|date=31 March 2007|access-date=29 November 2012}}</ref> ], ], ], ] and ].
Latino ethnic identity has been a common theme in reggaeton, articulated musically, lyrically, and visually.


== Dance ==
Usually, reggaeton CDs are not labeled "]" like many hip hop CDs are. One exception is that ]'s '']'' (''Barrio Fino Live'') was labeled explicit for objectionable content in the live concerts (and for explicit language by ] in the song "Gangsta Zone"), even though the regular studio version of '']'' was not labeled explicit. Some reggaeton artists, such as Alexis & Fido, are able to circumvent radio and television censorship by using sexual innuendo and lyrics with ]s in their music.
{{Main|Sandungueo}}
Some songs have also raised concerns about women's depiction on their lyrics.<ref></ref>


''Sandungueo'', or ''perreo'', is a dance associated with reggaeton which emerged during the early 1990s in Puerto Rico. It focuses on ], with one partner facing the back of the other (usually male behind female).<ref>{{cite web |title=Reggaeton Nation |date=19 December 2007 |website=Upsidedownworld.com |url=http://upsidedownworld.org/main/caribbean-archives-45/1049-reggaeton-nation |access-date=10 September 2016 |archive-url=https://web.archive.org/web/20160221013845/http://upsidedownworld.org/main/caribbean-archives-45/1049-reggaeton-nation |archive-date=21 February 2016 |url-status=live }}</ref> Another way of describing this dance is "back-to-front", where the woman presses her rear into the pelvis of her partner to create sexual stimulation. Since traditional couple dancing is face-to-face (such as square dancing and the waltz), reggaeton dancing initially shocked observers with its sensuality but was featured in several music videos.<ref>{{Cite encyclopedia |last=Fairley |first=Jan |date=2009 |title=How To Make Love With Your Clothes On: Dancing Regeton, Gender, and Sexuality in Cuba |editor1-last=Rivera |editor1-first=Raquel Z. |editor2-last=Marshall |editor2-first=Wayne |editor3-last=Hernandez |editor3-first=Deborah Pacini |encyclopedia=Reggaeton |pages=280–294 |publisher=Duke University Press |doi=10.1215/9780822392323-014|s2cid=192110981 }}</ref> It is also known as ], ] or juking in the English-speaking areas of the U.S.<ref>{{cite journal |last=Hidalgo |first=Andrea |website=Reggaetonline.net |title=Perreo causes Controversy for Reggaeton |date=2 June 2005 |url=http://www.reggaetonline.net/reggaeton-dancing-060205_news |access-date=30 March 2014 |archive-url=https://web.archive.org/web/20131219014042/http://www.reggaetonline.net/reggaeton-dancing-060205_news |archive-date=19 December 2013 |url-status=live }}</ref>
==Reggaeton around the world==
===Latin America===
Reggaeton is very popular in Latin American countries such as ], ], ], ], and ]. Reggaeton has become staple music in many parties and events, complementing the common mix of merengue, salsa and electronic music, and has paved a huge fan base.


== Popularity ==
In some Latin American countries such as Cuba, where ideas and language are an integral part of the appreciation of music, there is an alleged critical backlash against the increasing popularity of reggaeton. This rift supposedly exists often among members of the Cuban Hip Hop community. According to British music lecturer Geoff Baker, many critics claim that the music's lyrics do not explore any subjects past "sex, dancing, and the singer himself, in various combinations." Baker also believes that because reggaeton has an allegiance to so many Caribbean and Latin American countries, it overshadows distinctly Cuban forms and variations of music, such as Cuban Hip Hop, even though Hip Hop is ultimately a North American musical genre.<ref>Baker, Jeff. 2008. "The Politics of Dancing: Reggaetón and Rap in Havana, Cuba." Royal Holloway, University of London</ref>
=== Latin America ===
Over the past decade,{{when|date=November 2022}} reggaeton has received mainstream recognition in the Spanish-speaking Caribbean, where the genre originated from, including ], ], ], the ], ] and ], where it is now regarded as one of the most popular music genres. Reggaeton has also seen increased popularity in the wider Latin America region, including in ], ], ], ], ], ], ], ], ], ] and ].


In Cuba, reggaeton came to incorporate elements of traditional ], leading to the hybrid ]. Two bands credited with popularizing Cubaton are ] (founded in 1999) and ]. The former is notable for fusing Cubaton with other genres, such as ], ], ], ], ], and ], as well as styles and forms such as ] and ], whereas the latter's music is influenced more by Jamaican music.<ref>Sullivan, Al (16 October 2016). {{Webarchive |url=https://web.archive.org/web/20180322020639/http://hudsonreporter.com/view/full_story/27291234/article-Trash-truck-worker-competes-for-a-Latin-Grammy-Local-Cuban-exile-fulfills-dream-as-musician-?instance=union_city |url-status=dead|date=22 March 2018 }}. '']''.</ref><ref>van Boeckel, Rik (19 September 2006). {{Webarchive |url=https://web.archive.org/web/20180322081712/http://laritmo.com/mag/index.php3?id=1771 |url-status=dead|date=22 March 2018 }}. 'LA'Ritmo.com: Latin American Rhythm Magazine. Retrieved 21 March 2018.</ref> The government of Cuba imposed restrictions on reggaeton in public places in 2012. In March 2019, the government went a step further; they banned the "aggressive, sexually explicit and obscene messages of reggaeton" from radio and television, as well as performances by street musicians.<ref>Bellaco, Daniel (11 March 2019). {{Webarchive |url=https://web.archive.org/web/20190330055627/https://digitalsevilla.com/2019/03/11/cuba-prohibe-el-reggaeton-por-sexista-machista-y-violento/ |url-status=dead|date=30 March 2019 }}. Digital Sevilla.</ref>
====Panama====
Spanish reggae developed as a result of Jamaican immigration to Panama as a result of the Panama Canal. Eventually, many of these Jamaicans had intentions to go back to Jamaica, but many of them ended up staying, and eventually assimilated and became part of the culture.<ref name="archive1">] began taking reggae songs and beats and singing over them with Spanish lyrics.<ref name="archive1"/> They also sped up reggae beats, and added Hispanic and Latino elements to them. The music continued to grow throughout the 1980s, with many stars developing in Panama. El General has been widely regarded as the "Godfather of Reggae en espanol" due to many of his great songs.<ref></ref> El General stepped down in 2004 from the music industry, and since then has been working to help underprivileged Panamanian children.<ref></ref>


The first name of reggaeton in ] was the Señores Cafetões group, who became known in 2007 with the track "Piriguete" - which at the time was mistaken by Brazilians for ] and ] because reggaeton was still a genre almost unknown in the country.<ref>{{cite web|url=http://g1.globo.com/musica/noticia/reggaeton-como-a-batida-lenta-e-a-mistura-com-funk-e-sertanejo-fizeram-do-genero-um-fenomeno.ghtml|title=Reggaeton: como a batida certa e a mistura com funk e sertanejo fizeram do gênero um fenômeno|website=G1.globo.com|date=6 April 2017 |access-date=31 May 2017|archive-url=https://web.archive.org/web/20170527015642/http://g1.globo.com/musica/noticia/reggaeton-como-a-batida-lenta-e-a-mistura-com-funk-e-sertanejo-fizeram-do-genero-um-fenomeno.ghtml|archive-date=27 May 2017|url-status=live}}</ref> In Brazil, this musical genre only reached a reasonable popularity around the middle of the decade of 2010. The first great success of the genre in the country was the song "Yes or no" by ] with ]. One of the explanations for reggaeton has not reached the same level of popularity that exists in other Latin American countries is due to the fact that Brazil is a Portuguese-speaking country, which has historically led it to become more isolationist than other Latin American countries in the musical scene. The musical rhythm only became popular in the country when it reached other markets, like the American.{{clarify|date=November 2022}} The genre is now overcoming the obstacle of language. Some of the biggest names in the Brazilian music market have partnered with artists from other Latin American countries and explored the rhythm.
====Colombia====
In Colombia, local rhythms such as ] or ] from ] have influence in urban music. Reggaeton has raised popularity in local culture. The increase of local artists and local stations that play reggaeton had gained the acceptance of the Colombians. Although this music is recorded through all the country, the main hub is in ], ] and ], house of artist like ], ] ], ], ].


====Puerto Rico==== === United States ===
The New York–based rapper ], also known as Noreaga, produced ]'s 2004 hit "]", which featured ] and Daddy Yankee, and reggaeton became popular in the U.S.<ref name="Marshall, Wayne 2006">Marshall, Wayne. "The Rise of Reggaeton". , 19 January 2006.</ref> Daddy Yankee then caught the attention of many hip-hop artists with his song "]",<ref name="Marshall, Wayne 2006" /> and that year ] introduced its reggaeton channel, ]. Although XM Radio removed the channel in December 2007 from home and car receivers, it can still be streamed from the XM Satellite Radio website. Reggaeton is the foundation of a Latin-American commercial-radio term, ],<ref name="Marshall, Wayne 2006" /> a combination of "Hispanic" and "urban" used to evoke the musical influences of hip hop and Latin American music. Reggaeton, which evolved from dancehall and reggae, and with influences from hip hop has helped Latin-Americans contribute to urban American culture and keep many aspects of their Hispanic heritage. The music relates to American socioeconomic issues, including gender and race, in common with hip hop.<ref name="Marshall, Wayne 2006" />
Arguably but inevitably, reggaeton has become known through ] more than any other country, this has given Puerto Rico hegemonic status over reggaeton, even though a process of decentralization has opened ways for many artists in different caribbean and latin american countries to produce their own local reggaeton scenes <ref> Raquel Z, Rivera. 2009. "Reggaeton" Part I. Mapping Reggaeton
From Música Negra to Reggaeton Latino & Narrative: Editor's Notes / Wayne Marshall also by Wayne Marshall, Duke University Press, Duke University, Durham, North Carolina</ref>. Despite the growing popularity of reggaeton in Latin America many of the genre's artists and new talents still come from Puerto Rico; much in the same fashion that New York was considered Hip Hop's Mecca in the 1980's. Reggaeton derives from rhythms related to dancehall, soca and the tresillo clave from son and salsa: the post-salsa music youth generation of the '90s in Puerto Rico. Before reggaeton exploded in the mid-nineties, young street artists, heavily influenced by ] and turntablism, rapped over cassette tracks. Alongside this early hip hop influenced reggae-rap, evolved the Panamanian reggae style which eventually fused into reggaeton.
Despite Puerto Rico's struggling economy, reggaeton stars have been able to achieve success not only as global stars but as local entrepreneurs; this has been evidenced in industry labels such as DJ Nelson's Flow Music, Daddy Yankee's El Cartel Records, and Wisín and Yandel's WY Records. Through production models derived from U.S. hip hop artists and based in grassroots movements, reggaeton has been an artistic vehicle gaining worldwide popularity, a far cry from its previous reputation as an infamous underground product of urban youth.<ref>{{cite web| author=Frances Negrón-Muntaner and Raquel Z. Rivera | url=http://news.nacla.org/2007/12/17/reggaeton-nation/| title=Reggaeton Nation | accessdate=2008-01-31 |archiveurl = http://web.archive.org/web/20071221230347/http://news.nacla.org/2007/12/17/reggaeton-nation/ <!-- Bot retrieved archive --> |archivedate = 2007-12-21}}</ref>


===United States=== === Europe ===
As in Latin America, reggaeton is a fairly widespread genre within ]. For years it has topped the list as the most listened to musical genre in the Iberian country. Reggaeton arrived in Spain due to the large immigration flows of the 2000s and today it is a genre that is quite integrated into Spanish society, which also has its own exponents of the genre such as ], ], ], ] and ].<ref>{{cite web |last1=Zahumenszky |first1=Carlos |title=El Reggaeton es el género más escuchado en España (aunque todo el mundo diga que lo odia) |url=https://es.gizmodo.com/el-reggaeton-es-el-genero-mas-escuchado-en-espana-aunq-1754300784 |website=Gizmodo |date=21 January 2016 |access-date=18 January 2024}}</ref><ref>{{cite web |title=¿Dónde empezó el reguetón? ¿Cómo llegó a España?: de las calles a la radio |url=https://www.megastar.fm/artistas/noticias/donde-empezo-regueton-como-llego-espana-las-calles-radio-20230915_2874251 |website=MegaStarFM |date=15 September 2023 |access-date=18 January 2024}}</ref><ref>{{cite web |last1=Montero |first1=Natalia |title=El 'reggaeton' se corona: estas son las canciones más escuchadas en España este 2023 |url=https://www.epe.es/es/ocio/20231129/canciones-escuchadas-espana-2023-reggaeton-dv-95255016 |website=el Periodico de España |date=29 November 2023 |access-date=18 January 2024}}</ref><ref>{{cite web |title=España es país de reggaeton: es el género que más se escucha en Spotify |url=https://www.eleconomista.es/tecnologia/noticias/7295129/01/16/Espana-es-pais-de-reggaeton-es-el-genero-que-mas-se-escucha-en-Spotify.html |website=elEconomista |access-date=18 January 2024}}</ref>
With the help of ], a New York-based rapper, and his producing of ]'s 2004 hit "]", which featured prominent reggaeton artists ] and ], reggaeton quickly gained popularity in the US.<ref name="Marshall, Wayne 2006">Marshall, Wayne. "The Rise of Reggaeton". , 19 January 2006.</ref> Soon after, Daddy Yankee caught the attention of many big names in hip hop with his song "]", propelling the style across the country.<ref name="Marshall, Wayne 2006"/> Also in 2004, ] launched a channel called ], which played exclusively reggaeton music. However, XM Radio removed the channel in December 2007 from home and car receivers, but can still be streamed off the XM Satellite Radio Website. The genre has also provided the foundation and basis for a modern Latin-American commercial radio phenomenon known as ],<ref name="Marshall, Wayne 2006"/> a combination of the terms Hispanic and Urban that is used to evoke the musical influences of hip hop and Latin American music. Reggaeton formed from hip hop and reggae, and has helped Latin-Americans contribute to the urban American culture while still keeping many aspects of their Hispanic heritage. The music relates to many of the socio-economic issues happening in America including gender and race which highly connects to hip hop in America today.<ref name="Marshall, Wayne 2006"/>
In the rest of ], Reggaeton is less popular in Europe than in Latin America, however it attracts Latin American immigrants.<ref>{{cite web|url=http://www.reggaeton.co.uk/?option=com_content&task=view&id=111&Itemid=37|title=Home - Reggaeton.co.uk|website=Reggaeton.co.uk|access-date=13 February 2019|archive-url=https://web.archive.org/web/20190213183816/http://www.reggaeton.co.uk/?option=com_content&task=view&id=111&Itemid=37|archive-date=13 February 2019|url-status=live}}</ref> A Spanish media custom, ''"La Canción del Verano"'' ("The Song of the Summer"), in which one or two songs define the season's mood, was the basis of the popularity of reggaeton songs such as "Baila Morena" by ] and ]'s "Gasolina" in 2005.


=== Asia ===
Underground clubs, youths in the inner city, and huge hip hop moguls all participated in pushing the genre to the top of the charts.<ref name="Marshall, Wayne 2006"/>
In the ], reggaeton artists primarily use the ] instead of ] or ]. One example of a popular local reggaeton act is ] duo Dos Fuertes, who had a dance hit in 2007 with "Tarat Tat", and who primarily uses the ] in their songs.


In 2020, Malaysian rapper ] released the single and music video "China Reggaeton" featuring ]. It is the first time reggaeton was sung in the Chinese languages of Mandarin and Hakka and accompanied by traditional Chinese instruments like the ], ] and ], creating a fusion of reggaeton and traditional Chinese musical styles.<ref>{{Cite web|url=https://www.hk01.com/眾樂迷/426301/黃明志邀黃秋生合唱-中國痛-帶有華人色彩的-despacito|title=黃明志邀黃秋生合唱 《中國痛》 - 帶有華人色彩的《Despacito》|date=24 January 2020|website=香港01}}</ref>
===Europe===
Reggaeton has not become as popular in Europe as in Latin America. However, It has a great appeal to Latin American immigrants, especially in ]<ref></ref>, ] and ]. A Spanish concept called ''"La Canción del Verano"'' (''The Summer Song''), under which a particular song or two define the mood for the season and are regarded unofficially as such by Spanish media, served as the basis for the appearance popularity of reggaeton songs such as Panamanian rapper ]'s "]" in 2003, "Baila Morena" by ] and ]'s "]" in 2005. Puerto Rican and Panamanian reggaeton artists have toured Spain to give reggaeton concerts.<ref></ref>


== LGBTQ influence ==
==References==
Reggaeton has traditionally been male dominated and ], known to "reinforce the most unpleasant aspects of ]".<ref>Díez-Gutiérrez, Palomo-Cermeño, E., & Mallo-Rodríguez, B. (2023). Education and the reggaetón genre: does reggaetón socialize in traditional masculine stereotypes? Music Education Research, 25(2), 136–146. https://doi.org/10.1080/14613808.2023.2193209</ref> The genre began to accept queer and trans artists into the mainstream after ] publicly voiced his allyship to the queer community through challenging ] and homophobic notions.<ref>Díaz Fernández S. (2021). Subversión, postfeminismo y masculinidad en la música de Bad Bunny. Investigaciones Feministas, 12(2), 663-676. https://doi.org/10.5209/infe.74211</ref> New generation artists like ], ], La Cruz and others have been challenging the stereotypes and values traditionally associated with the genre.<ref>{{Cite web |last=Herrera |first=Isabelia |date=2023 |title=In Puerto Rico, Queer Femmes Are Dreaming Up Rap and Reggaeton's Future |url=https://pitchfork.com/features/article/in-puerto-rico-queer-femmes-are-dreaming-up-rap-and-reggaetons-future/ |website=Pitchfork.com}}</ref>
{{Portal box|Puerto Rico|Music}}
{{Reflist|colwidth=30em}}
{{Commons category}}


In 2022 Villano Antillano, a trans-femme rap/reggaeton artist from Puerto Rico, broke the record as "the first transwoman to hit number 50 on Spotify" with ] in collaboration with producer ].<ref>{{Cite web |last=Arellano |first=Susanne Ramírez de |date=2023 |title=Villano Antillano, First Transwoman in Spotify's Top 50 Talks Transition: 'I Always Knew It Would Antagonize' |url=https://wearemitu.com/fierce/villano-antillano-transition/ |access-date=2023-10-02 |website=we are Mitú. 100% American & Latino}}</ref> She began her music career as a male-presenting person under the artist name "Villano Antillano" and later decided to "step into femininity" and transition.<ref>{{Cite magazine |last=Eccleston |first=Katelina |date=2022 |title=Villano Antillano Is Making History: 'We Have to Be Proud and Stand Tall' |url=https://www.rollingstone.com/music/music-features/villano-antillano-1388154/ |access-date=2023-10-06 |magazine=Rolling Stone |language=en-US}}</ref> She has since kept her original artist name, but identifies as non-binary and is referred to as her legal name "Villana".<ref>{{Cite web |last=VoxPopuli |first=Redacción |date=2022 |title=La historia de Villano Antillano, la primera artista no binaria en sacar una canción con Bizarrap |url=https://www.voxpopuli.net.ar/show/la-historia-de-villano-antillano-la-primera-artista-no-binaria-en-sacar-una-cancion-con-bizarrap/ |access-date=2023-10-10 |website=www.voxpopuli.net.ar |language=es}}</ref> Villana has spoken on her experience confronting the barriers for queer and trans people in the reggaeton and urban industry; she says, "all of these cis male artists, who are very close, aren't going to collaborate with a trans woman. There are very few. We can count them on one hand."<ref>{{Cite web |last=Lopez |first=Quispe |date=2023 |title=Villano Antillano Is the Breakout Rebel of Latin Rap |url=https://www.them.us/story/villano-antillano-la-sustancia-x-now-awards-2023#:~:text=Often%20referred%20to%20as%20the,it%20as%20a%20collective%20victory. |website=Them.us}}</ref>
{{reggae}}

{{hiphop}}
In 2023 Young Miko, a queer trap and reggaeton artist from Puerto Rico, charted in the Billboard Hot 100 with her single "Classy 101". In the same year, she was featured on Spanish rapper Bad Gyal's "Chulo Pt2", along with ], a queer ] singer; as of October 2023, the song has over 100 million views on YouTube.<ref>{{Cite web |last=Villa |first=Lucas |date=2023 |title=WATCH: Tokischa & Young Miko Hop on Bad Gyal's 'Chulo Pt. 2' Remix |url=https://remezcla.com/music/watch-tokischa-young-miko-hop-on-bad-gyals-chulo-pt-2-remix/ |access-date=2023-10-06 |website=Remezcla |language=en-US}}</ref><ref>{{Citation |title=Bad Gyal, Young Miko, Tokischa - Chulo pt.2 - (Official Video) | date=21 June 2023 |url=https://www.youtube.com/watch?v=tnbpWZNAT_Y |access-date=2023-10-06 |language=en}}</ref> In the start of her career, Young Miko grew a local following in Puerto Rico releasing music independently on ], but gained national visibility after Bad Bunny invited her on stage during his ] tour.<ref>{{cite web |last=Raygoza |first=Isabela |date=2023 |title=Cómo Young Miko pasó de SoundCloud a ser una artista en ascenso en el Billboard Hot 100 |url=https://www.billboard.com/espanol/musica/young-miko-soundcloud-billboard-hot-100-artista-entrevista-1235364340/ |website=Billboard.com}}</ref>
{{Street dance}}

In June 2023, reggaeton artist, La Cruz, from Venezuela released a music video for his single "TE CONOCI BAILANDO", which featured several homoerotic images including several shirtless men, locker room interactions and guys twerking in front of urinals.<ref>{{Cite web |last=Sim |first=Bernardo |date=2023 |title=Meet La Cruz, the Gay Latino Stud Who's Making Queer Reggaeton Music |url=https://www.out.com/gay-music/la-cruz-gay-reggaeton |access-date=2023-10-02 |website=www.out.com |language=en}}</ref> He challenged what is expected from traditional reggaeton music visuals by having gay men be the object of desire rather than women.<ref>{{Cite web |last=Cepeda |first=Eduardo |date=2018 |title=Women Have Carried Reggaeton Since the Beginning. Now They're Its Future |url=https://remezcla.com/features/music/tu-pum-pum-3/ |access-date=2023-10-02 |website=Remezcla |language=en-US}}</ref> The music video has amounted 2 million views on YouTube as of October 2023.<ref>{{Citation |title=TE CONOCÍ BAILANDO - La Cruz (Official Video) | date=11 May 2023 |url=https://www.youtube.com/watch?v=KbCRYPdWK3o |access-date=2023-10-06 |language=en}}</ref>

== Criticism ==
Despite the popularity of the genre, reggaeton has also attracted criticism due to its constant references to sexual and violent themes, similar to those of hip-hop. Mexican singer-songwriter ] made a public post on social media complaining that such music was played at ] in the morning with children present.<ref>{{Citation|last=Yo Informativo|title=Aleks Syntek enojado arremete contra el reggaeton|url=https://www.youtube.com/watch?v=CrPzSoTqVBI&t=70s&app=desktop| archive-url=https://web.archive.org/web/20180523122708/https://www.youtube.com/watch?v=CrPzSoTqVBI| archive-date=2018-05-23|access-date=7 February 2019}}</ref> By 2019, other singers who expressed dismay over the genre included ] singer ] and ] singer ].<ref>{{Cite web|url=https://erizos.mx/musica/famosos-que-no-soportan-el-reggaeton-carlos-vives-alex-syntek/|title=Estos tíos también odian el reggaetón... perdón, estos artistas|last=Soria|first=César García|date=4 June 2018|website=Erizos.mx|language=es-ES|access-date=7 February 2019|archive-url=https://web.archive.org/web/20190209124044/https://erizos.mx/musica/famosos-que-no-soportan-el-reggaeton-carlos-vives-alex-syntek/|archive-date=9 February 2019|url-status=live}}</ref> That same year, some activists stated that reggaeton music gives way to misogynistic and sadistic messages.<ref>{{Cite web|url=https://www.thegazelle.org/issue/54/opinion/music-and-distinction-sebastian-rojas-cabal|title=Reggaeton Is Not The Problem, Misogyny Is|website=The Gazelle|access-date=7 February 2019|archive-url=https://web.archive.org/web/20190209124400/https://www.thegazelle.org/issue/54/opinion/music-and-distinction-sebastian-rojas-cabal|archive-date=9 February 2019|url-status=live}}</ref>

Some reggaeton singers have decided to counteract such accusations. One notable example is singer ], who in 2009 committed himself to singing songs with romance messages, a subgenre he dubbed "romantic style".<ref>{{Cite news |url=https://www.reuters.com/article/us-flex-idUSTRE5092CC20090110 |title=Latin singer Flex leads 'Romantic' evolution |date=10 January 2009 |publisher=] |access-date=7 February 2019 |language=en |archive-url=https://web.archive.org/web/20190209123919/https://www.reuters.com/article/us-flex-idUSTRE5092CC20090110 |archive-date=9 February 2019 |url-status=live}}</ref>

== See also ==
{{Portal|Music}}
* ]
* ]
* ]
* ]
* ]
* ]
* ]
* ]
* ]
{{Clear}}

== References ==
{{Reflist}}

== External links ==
* {{Commons category-inline}}
* {{Wiktionary-inline}}

{{Reggae}}
{{Reggaeton}}
{{Hiphop}}
{{Amerisalsa}}
{{Music in spanish}}


] ]
] ]
]
] ]
]

]
]
]
]
]
]
]
]
]
]
]
]
]
]
]
]
]
]
]
]
]
]
]
]
]
]
]
]
]
]
]
]
]
]
]
]
]
]
]

Latest revision as of 19:02, 13 December 2024

Music genre Not to be confused with Reggae or Reggae en Español.

Reggaeton
Stylistic origins
Cultural originsLate 1980s in Panama Early 1990s in Puerto Rico
Typical instruments
Subgenres
Fusion genres
Regional scenes
The scene in the summer of 1995; local duo from Residencial Luis Llorens Torres in San Juan, rapping at a club on the beach in Puerto Nuevo, Vega Baja

Reggaeton (UK: /ˈrɛɡeɪtoʊn, ˌrɛɡeɪˈtɒn/, US: /ˌrɛɡeɪˈtoʊn, ˌreɪɡ-/) is a modern style of popular and electronic music that originated in Panama during the late 1980s, and which rose to prominence in the late 1990s and early 2000s through a plethora of Puerto Rican musicians. It has evolved from dancehall, with elements of hip hop, Latin American, and Caribbean music. Vocals include toasting/rapping and singing, typically in Spanish.

Reggaetón, today, is regarded as one of the most popular music genres worldwide; it is the top music genre among the Spanish-speaking Caribbean nations and one of the primary modern genres within the Spanish-language music industry. Seemingly endless artists from the Caribbean have risen to fame (Puerto Rico, Panama, Dominican Republic, Cuba, Colombia). Argentina has seen a modern surge in young artists inspired by the reggaetón style, fusing their music with Spanish rap verses, trapetón and R&B-style vocals (such as the "Los Del Espacio", including LIT killah, Tiago PZK, Duki, Emilia, and María Becerra, as well as Argentine pop star Tini).

Several established, world-famous performers—notably Puerto Rican-American Jennifer Lopez and Shakira from Colombia—have embraced the style, recording numerous duets and collaborations with top reggaetoneros. Several other emerging international artists are seeing success in the genre as well, including Catalán-Spanish singer Bad Gyal (from Barcelona) and trilingual Brazilian star Anitta (from Rio de Janeiro). Mexican-American singer Becky G (from Los Angeles, California) has experienced huge success in recent years, as a Latino American artist in the reggaetón genre. In 2004, Daddy Yankee released his smash single “Gasolina”, regarded by many as the first globally-successful reggaetón song; Daddy Yankee is credited with bringing the style to western pop music listeners. By the 2010s, the genre had seen increased popularity across Latin America, as well as modern acceptance within mainstream Western music; during the 2010s, several new award categories (focusing on reggaetón and Latin music) were unveiled at various American music awards shows, notably the English-language American Music Awards, Billboard Music Awards, Grammy Awards, and MTV Video Music Awards.

Etymology

There are several versions about the origin of the word reggaeton. El General's representative Michael Ellis is said to have originated the term, adding the -ton suffix to "make the word big." One of them states that the word reggaeton emerged in 1994 when Daddy Yankee mentioned it for the first time while freestyling on the mixtape "Playero 34." Another version suggests that it appeared the following year when DJ Erick released the album titled "Reggaetón Live Vol.1," abbreviating the words reggae and maratón (marathon).

The spellings reggaeton and reggaetón are common, although prescriptivist sources such as the Fundéu BBVA and the Academia Puertorriqueña de la Lengua Española recommend the spelling reguetón, as it conforms more closely with traditional Spanish spelling rules.

History

Don Omar (left) and Daddy Yankee (right) are both referred to as the "King of Reggaeton".

1980s–2000s: Emergence

Often mistaken for reggae or reggae en Español, reggaeton is a younger genre that originated in the late 1980s in Panama and was later popularized in Puerto Rico. It had its origins in what was known as rap y reggae "underground" music, due to its circulation through informal networks and performances at unofficial venues. DJ Playero and DJ Nelson were inspired by hip hop and dancehall to produce "riddims", the first reggaeton tracks. As Caribbean and African-American music gained momentum in Puerto Rico, reggae rap in Spanish marked the beginning of the Boricua underground and was a creative outlet for many young people. This created an inconspicuous-yet-prominent underground youth culture which sought to express itself. As a youth culture existing on the fringes of society and the law, it has often been criticized. The Puerto Rican police launched a campaign against underground music by confiscating cassette tapes from music stores under penal obscenity codes, levying fines and demonizing rappers in the media. Bootleg recordings and word of mouth became the primary means of distribution for this music until 1998, when it coalesced into modern reggaeton. The genre's popularity increased when it was discovered by international audiences during the early 2000s.

Cassettes were made in carports (marquesinas) and then sold on the street, out of the trunk of a car.

The new genre, simply called "underground" and later "perreo", had explicit lyrics about drugs, violence, poverty, friendship, love and sex. These themes, depicting the troubles of inner-city life, can still be found in reggaeton. "Underground" music was recorded in marquesinas (or carports) and at public housing complexes such as Villa Kennedy, and Jurutungo, often by creators using second-hand recording equipment. Despite that, the quality of the cassettes was good enough to help increase their popularity among Puerto Rican youth. The cassettes were sold or distributed on the streets from the trunks of cars. The availability and quality of the cassettes led to reggaeton's popularity, which crossed socioeconomic barriers in the Puerto Rican music scene. The most popular cassettes in the early 1990s were DJ Negro's The Noise I and II and DJ Playero's 37 and 38. Gerardo Cruet, who created the recordings, spread the genre from the marginalized residential areas into other sectors of society, particularly private schools.

By the mid-1990s, "underground" cassettes were being sold in music stores. The genre caught on with middle-class youth, then found its way into the media. By this time, Puerto Rico had several clubs dedicated to the underground scene; Club Rappers in Carolina and PlayMakers in Puerto Nuevo were the most notable. Bobby "Digital" Dixon's "Dem Bow" production was played in clubs. Underground music was not originally intended to be club music. In South Florida, DJ Laz and Hugo Diaz of the Diaz Brothers were popularizing the genre from Palm Beach to Miami.

Underground music in Puerto Rico was harshly criticized. In February 1995, there was a government-sponsored campaign against underground music and its cultural influence. Puerto Rican police raided six record stores in San Juan, hundreds of cassettes were confiscated and fines imposed in accordance with Laws 112 and 117 against obscenity. The Department of Education banned baggy clothing and underground music from schools. For months after the raids local media demonized rappers, calling them "irresponsible corrupters of the public order."

In 1995, DJ Negro released The Noise 3 with a mockup label reading, "Non-explicit lyrics". The album had no cursing until the last song. It was a hit, and underground music continued to seep into the mainstream. Senator Velda González of the Popular Democratic Party and the media continued to view the movement as a social nuisance.

During the mid-1990s, the Puerto Rican police and National Guard confiscated reggaeton tapes and CDs to get "obscene" lyrics out of the hands of consumers. Schools banned hip hop clothing and music to quell reggaeton's influence. In 2002, Senator González led public hearings to regulate the sexual "slackness" of reggaeton lyrics. Although the effort did not seem to negatively affect public opinion about reggaeton, it reflected the unease of the government and the upper social classes with what the music represented. Because of its often sexually-charged content and its roots in poor, urban communities, many middle- and upper-class Puerto Ricans found reggaeton threatening, "immoral, as well as artistically deficient, a threat to the social order, apolitical".

Despite the controversy, reggaeton slowly gained acceptance as part of Puerto Rican culture — helped, in part, by politicians including González who began to use reggaeton in election campaigns to appeal to younger voters in 2003. Puerto Rican mainstream acceptance of reggaeton has grown and the genre has become part of popular culture, including a 2006 Pepsi commercial with Daddy Yankee and PepsiCo's choice of Ivy Queen as musical spokesperson for Mountain Dew. Other examples of greater acceptance in Puerto Rico are religiously- and educationally-influenced lyrics; Reggae School is a rap album produced to teach math skills to children, similar to School House Rock. Reggaeton expanded when other producers, such as DJ Nelson and DJ Eric, followed DJ Playero. During the 1990s, Ivy Queen's 1996 album En Mi Imperio, DJ Playero's Playero 37 (introducing Daddy Yankee) and The Noise: Underground, The Noise 5 and The Noise 6 were popular in Puerto Rico and the Dominican Republic. Don Chezina, Tempo, Eddie Dee, Baby Rasta & Gringo and Lito & Polaco were also popular.

The name "reggaeton" became prominent during the early 2000s, characterized by the dembow beat. It was coined in Puerto Rico to describe a unique fusion of Puerto Rican music. Reggaeton is currently popular throughout Latin America. It increased in popularity with Latino youth in the United States when DJ Joe and DJ Blass worked with Plan B and Sir Speedy on Reggaeton Sex, Sandunguero and Fatal Fantasy.

2004: Crossover

In 2004, reggaeton became popular throughout the United States and Europe. Tego Calderón was receiving airplay in the U.S., and the music was popular among youth. Daddy Yankee's El Cangri.com became popular that year in the country, as did Héctor & Tito. Luny Tunes and Noriega's Mas Flow, Yaga & Mackie's Sonando Diferente, Tego Calderón's El Abayarde, Ivy Queen's Diva, Zion & Lennox's Motivando a la Yal and the Desafío compilation were also well received. Rapper N.O.R.E. released a hit single, "Oye Mi Canto". Daddy Yankee released Barrio Fino and a hit single, "Gasolina", opening the door for reggaeton globally. Tego Calderón recorded the singles "Pa' Que Retozen" and "Guasa Guasa". Don Omar was popular, particularly in Europe, with "Pobre Diabla" and "Dale Don Dale". Other popular reggaeton artists include Tony Dize, Angel & Khriz, Nina Sky, Dyland & Lenny, RKM & Ken-Y, Julio Voltio, Calle 13, Héctor el Father, Wisin & Yandel and Tito El Bambino. In late 2004 and early 2005, inspired by the success of "Gasolina", Shakira collaborated with Alejandro Sanz to record "La Tortura" and "La Tortura – Shaketon Remix" for her album, Fijación Oral Vol. 1, further popularizing reggaeton. Four reggaeton songs were sung at the 2005 MTV Video Music Awards: by Don Omar ("Dile"), Tego Calderón, Daddy Yankee, and Shakira with Sanz – the first time any reggaeton song was performed on that stage.

Musicians began to incorporate bachata into reggaeton, with Ivy Queen releasing singles ("Te He Querido, Te He Llorado" and "La Mala") featuring bachata's signature guitar sound, slower, romantic rhythms and emotive singing style. Daddy Yankee's "Lo Que Paso, Paso" and Don Omar's "Dile" are also bachata-influenced. In 2005 producers began to remix existing reggaeton music with bachata, marketing it as bachaton: "bachata, Puerto Rican style".

2006–2017: Topping the charts

In May 2006, Don Omar's King of Kings was the highest-ranking reggaeton LP to date on the U.S. charts, debuting atop the Top Latin Albums chart and peaking at number seven on the Billboard 200 chart. Omar's single, "Angelito", topped the Billboard Latin Rhythm Radio Chart. He broke Britney Spears' in-store-appearance sales record at Downtown Disney's Virgin music store.

That same year, Shakira's "Hips Don't Lie", featuring Wyclef Jean of the Fugees, became "the most popular song in the genre's history", with "the dembow beat in the background, the trumpet sample of Jerry Rivera's "Amores como el nuestro" in the chorus, the obvious salsa influence."

In June 2007, Daddy Yankee's El Cartel III: The Big Boss set a first-week sales record for a reggaeton album, with 88,000 copies sold. It topped the Top Latin Albums and Top Rap Albums charts, the first reggaeton album to do so on the latter. The album peaked at number nine on the Billboard 200, the second-highest reggaeton album on the mainstream chart.

Wisin & Yandel, performing in front of a large sign with their names
Wisin & Yandel

The third-highest-ranking reggaeton album was Wisin & Yandel's Wisin vs. Yandel: Los Extraterrestres, which debuted at number 14 on the Billboard 200 and number one on the Top Latin Albums chart later in 2007. In 2008 Daddy Yankee soundtrack to his film, Talento de Barrio, debuted at number 13 on the Billboard 200 chart. It peaked at number one on the Top Latin Albums chart, number three on Billboard's Top Soundtracks and number six on the Top Rap Albums chart. In 2009, Wisin & Yandel's La Revolución debuted at number seven on the Billboard 200, number one on the Top Latin Albums and number three on the Top Rap Albums charts.

By 2008, Reggaeton was the "biggest-selling genre of Latin music" and one of its artists, Tego Calderon, was using it to describe and encourage black pride.

Since 2017: "Despacito" effect

J Balvin in 2017

In 2017, the music video for "Despacito" by Luis Fonsi featuring Daddy Yankee reached one billion views in less than three months. From January 2018 to November 2020, the music video was the most viewed YouTube video of all-time. With its 3.3 million certified sales plus track-equivalent streams, "Despacito" became one of the best-selling Latin singles in the United States. The success of the song and its remix version led Daddy Yankee to become the most listened-to artist worldwide on the streaming service Spotify on 9 July 2017, being the first Latin artist to do so. He later became the fifth most listened-to male artist and the sixth overall of 2017 on Spotify. In June 2017, "Despacito" was cited by Billboard's Leila Cobo as the song that renewed interest in the Latin music market from recording labels in the United States. Julyssa Lopez of The Washington Post stated that the successes of "Despacito" and J Balvin's "Mi Gente" is "the beginning of a new Latin crossover era." Stephanie Ho of Genius website wrote that "the successes of 'Despacito' and 'Mi Gente' could point to the beginning of a successful wave for Spanish-language music in the US." Ho also stated that "as 'Despacito' proves, fans don't need to understand the language in order to enjoy the music", referring to the worldwide success of the song, including various non-Spanish-speaking countries.

"Te Boté" and the minimalist dembow

In April 2018, "Te Boté" was released by Nio Garcia, Casper Magico, Darell, Ozuna, Bad Bunny and Nicky Jam. It reached number one on the Billboard Hot Latin Songs chart. It currently has over 1.8 billion views on YouTube. Many artists began to mark strong commercial trends in a market dominated by mixing Latin trap and reggaeton followed by a new minimalist dembow rhythm. For example, songs such as "Adictiva" by Daddy Yankee and Anuel AA, "Asesina" by Brytiago and Darell, "Cuando Te Besé" by Becky G and Paulo Londra, "No Te Veo" by Casper Magico and many other songs have been made in this style.

Characteristics

Rhythm

The dembow riddim was created by Jamaican dancehall producers during the late 1980s and early 1990s. Dembow consists of a kick drum, kickdown drum, palito, snare drum, timbal, timballroll and (sometimes) a high-hat cymbal. Dembow's percussion pattern was influenced by dancehall and other West Indian music (soca, calypso and cadence); this gives dembow a pan-Caribbean flavor. Steely & Clevie, creators of the Poco Man Jam riddim, are usually credited with the creation of dembow. At its heart is the 3+3+2 (tresillo) rhythm, complemented by a bass drum in 4/4 time.

"Dem Bow riddim" Three dembow rhythms
Problems playing this file? See media help.
"A basic example of Reggaeton" A basic sketch example, 118 bpm key of Am
Problems playing this file? See media help.

The riddim was first highlighted by Shabba Ranks in "Dem Bow", from his 1991 album Just Reality. To this day, elements of the song's accompaniment track are found in over 80% of all reggaeton productions. During the mid-1980s, dancehall music was revolutionized by the electronic keyboard and drum machine; subsequently, many dancehall producers used them to create different dancehall riddims. Dembow's role in reggaeton is a basic building block, a skeletal sketch in percussion.

In Reggaeton 'dembow' also incorporates identical Jamaican riddims such as Bam Bam, Hot This Year, Poco Man Jam, Fever Pitch, Red Alert, Trailer Reloaded and Big Up riddims, and several samples are often used. Some reggaeton hits incorporate a lighter, electrified version of the riddim. Examples are "Pa' Que la Pases Bien" and "Quiero Bailar", which uses the Liquid riddim. Since 2018 a new variation of the Dembow rhythm has emerged; Starting with Te Bote, a sharper minimalist Dembow has become a stable of Reggaeton production which has allowed for more syncopated rhythmic experiments.

Lyrics and themes

Reggaeton lyrical structure resembles that of hip hop. Although most reggaeton artists recite their lyrics rapping (or resembling rapping) rather than singing, many alternate rapping and singing. Reggaeton uses traditional verse-chorus-bridge hip hop structure. Like hip hop, reggaeton songs have a hook which is repeated throughout the song. Latino ethnic identity is a common musical, lyrical and visual theme.

Unlike hip-hop CDs, reggaeton discs generally do not have parental advisories. An exception is Daddy Yankee's Barrio Fino en Directo (Barrio Fino Live), whose live material (and with Snoop Dogg in "Gangsta Zone") were labeled explicit. Snoop Dogg and Daddy Yankee filmed the video for "Gangsta Zone" in Torres Sabana housing projects in Carolina, Puerto Rico on January 27, 2006. Shot in grayscale, Daddy Yankee said the video depicts "the real way we live on the island".

Artists such as Alexis & Fido circumvent radio and television censorship by sexual innuendo and lyrics with double meanings. Some songs have raised concerns about their depiction of women. Although reggaeton began as a mostly-male genre, the number of women artists has been a slowly increasing and include the "Queen of Reggaeton", Ivy Queen, Mey Vidal, K-Narias, Adassa, La Sista and Glory.

Dance

Main article: Sandungueo

Sandungueo, or perreo, is a dance associated with reggaeton which emerged during the early 1990s in Puerto Rico. It focuses on grinding, with one partner facing the back of the other (usually male behind female). Another way of describing this dance is "back-to-front", where the woman presses her rear into the pelvis of her partner to create sexual stimulation. Since traditional couple dancing is face-to-face (such as square dancing and the waltz), reggaeton dancing initially shocked observers with its sensuality but was featured in several music videos. It is also known as daggering, grinding or juking in the English-speaking areas of the U.S.

Popularity

Latin America

Over the past decade, reggaeton has received mainstream recognition in the Spanish-speaking Caribbean, where the genre originated from, including Puerto Rico, Cuba, Panama, the Dominican Republic, Colombia and Venezuela, where it is now regarded as one of the most popular music genres. Reggaeton has also seen increased popularity in the wider Latin America region, including in Mexico, Honduras, Guatemala, Nicaragua, Costa Rica, El Salvador, Argentina, Chile, Uruguay, Ecuador and Peru.

In Cuba, reggaeton came to incorporate elements of traditional Cuban music, leading to the hybrid Cubaton. Two bands credited with popularizing Cubaton are Máxima Alerta (founded in 1999) and Cubanito 20.02. The former is notable for fusing Cubaton with other genres, such as son Cubano, conga, cumbia, salsa, merengue, and Cuban rumba, as well as styles and forms such as rap and ballads, whereas the latter's music is influenced more by Jamaican music. The government of Cuba imposed restrictions on reggaeton in public places in 2012. In March 2019, the government went a step further; they banned the "aggressive, sexually explicit and obscene messages of reggaeton" from radio and television, as well as performances by street musicians.

The first name of reggaeton in Brazil was the Señores Cafetões group, who became known in 2007 with the track "Piriguete" - which at the time was mistaken by Brazilians for hip hop and Brazilian funk because reggaeton was still a genre almost unknown in the country. In Brazil, this musical genre only reached a reasonable popularity around the middle of the decade of 2010. The first great success of the genre in the country was the song "Yes or no" by Anitta with Maluma. One of the explanations for reggaeton has not reached the same level of popularity that exists in other Latin American countries is due to the fact that Brazil is a Portuguese-speaking country, which has historically led it to become more isolationist than other Latin American countries in the musical scene. The musical rhythm only became popular in the country when it reached other markets, like the American. The genre is now overcoming the obstacle of language. Some of the biggest names in the Brazilian music market have partnered with artists from other Latin American countries and explored the rhythm.

United States

The New York–based rapper N.O.R.E., also known as Noreaga, produced Nina Sky's 2004 hit "Oye Mi Canto", which featured Tego Calderón and Daddy Yankee, and reggaeton became popular in the U.S. Daddy Yankee then caught the attention of many hip-hop artists with his song "Gasolina", and that year XM Radio introduced its reggaeton channel, Fuego (XM). Although XM Radio removed the channel in December 2007 from home and car receivers, it can still be streamed from the XM Satellite Radio website. Reggaeton is the foundation of a Latin-American commercial-radio term, hurban, a combination of "Hispanic" and "urban" used to evoke the musical influences of hip hop and Latin American music. Reggaeton, which evolved from dancehall and reggae, and with influences from hip hop has helped Latin-Americans contribute to urban American culture and keep many aspects of their Hispanic heritage. The music relates to American socioeconomic issues, including gender and race, in common with hip hop.

Europe

As in Latin America, reggaeton is a fairly widespread genre within Spain. For years it has topped the list as the most listened to musical genre in the Iberian country. Reggaeton arrived in Spain due to the large immigration flows of the 2000s and today it is a genre that is quite integrated into Spanish society, which also has its own exponents of the genre such as Enrique Iglesias, Rosalía, Ana Mena, Lola Índigo and Juan Magán. In the rest of Europe, Reggaeton is less popular in Europe than in Latin America, however it attracts Latin American immigrants. A Spanish media custom, "La Canción del Verano" ("The Song of the Summer"), in which one or two songs define the season's mood, was the basis of the popularity of reggaeton songs such as "Baila Morena" by Héctor & Tito and Daddy Yankee's "Gasolina" in 2005.

Asia

In the Philippines, reggaeton artists primarily use the Filipino language instead of Spanish or English. One example of a popular local reggaeton act is Zamboangueño duo Dos Fuertes, who had a dance hit in 2007 with "Tarat Tat", and who primarily uses the Chavacano language in their songs.

In 2020, Malaysian rapper Namewee released the single and music video "China Reggaeton" featuring Anthony Wong. It is the first time reggaeton was sung in the Chinese languages of Mandarin and Hakka and accompanied by traditional Chinese instruments like the erhu, pipa and guzheng, creating a fusion of reggaeton and traditional Chinese musical styles.

LGBTQ influence

Reggaeton has traditionally been male dominated and heteronormative, known to "reinforce the most unpleasant aspects of machismo". The genre began to accept queer and trans artists into the mainstream after Bad Bunny publicly voiced his allyship to the queer community through challenging gender norms and homophobic notions. New generation artists like Villano Antillano, Young Miko, La Cruz and others have been challenging the stereotypes and values traditionally associated with the genre.

In 2022 Villano Antillano, a trans-femme rap/reggaeton artist from Puerto Rico, broke the record as "the first transwoman to hit number 50 on Spotify" with Villano Antillano: Bzrp Music Sessions, Vol. 51 in collaboration with producer Bizarrap. She began her music career as a male-presenting person under the artist name "Villano Antillano" and later decided to "step into femininity" and transition. She has since kept her original artist name, but identifies as non-binary and is referred to as her legal name "Villana". Villana has spoken on her experience confronting the barriers for queer and trans people in the reggaeton and urban industry; she says, "all of these cis male artists, who are very close, aren't going to collaborate with a trans woman. There are very few. We can count them on one hand."

In 2023 Young Miko, a queer trap and reggaeton artist from Puerto Rico, charted in the Billboard Hot 100 with her single "Classy 101". In the same year, she was featured on Spanish rapper Bad Gyal's "Chulo Pt2", along with Tokischa, a queer Dembow singer; as of October 2023, the song has over 100 million views on YouTube. In the start of her career, Young Miko grew a local following in Puerto Rico releasing music independently on SoundCloud, but gained national visibility after Bad Bunny invited her on stage during his Un Verano Sin Ti tour.

In June 2023, reggaeton artist, La Cruz, from Venezuela released a music video for his single "TE CONOCI BAILANDO", which featured several homoerotic images including several shirtless men, locker room interactions and guys twerking in front of urinals. He challenged what is expected from traditional reggaeton music visuals by having gay men be the object of desire rather than women. The music video has amounted 2 million views on YouTube as of October 2023.

Criticism

Despite the popularity of the genre, reggaeton has also attracted criticism due to its constant references to sexual and violent themes, similar to those of hip-hop. Mexican singer-songwriter Aleks Syntek made a public post on social media complaining that such music was played at Mexico City's airport in the morning with children present. By 2019, other singers who expressed dismay over the genre included vallenato singer Carlos Vives and Heroes Del Silencio singer Enrique Bunbury. That same year, some activists stated that reggaeton music gives way to misogynistic and sadistic messages.

Some reggaeton singers have decided to counteract such accusations. One notable example is singer Flex, who in 2009 committed himself to singing songs with romance messages, a subgenre he dubbed "romantic style".

See also

References

  1. ^ Castillo, Pamela (6 July 2016). "El reggaetón: cuatro décadas de historia con fusiones latinas". El Comercio (in Spanish). Quito, Ecuador. Retrieved 10 June 2023.
  2. "Reggaeton's true origins have long been overlooked. An important new podcast sets the record straight". Washington Post. Retrieved 18 May 2022.
  3. "You Love Reggaeton, But Do You Know Where it Came From?". Shondaland. 12 June 2019. Retrieved 18 May 2022.
  4. "Vibra Urbana Festival Spotlighted Reggaeton Around the World: Get to Know 15 Artists". Latina.com. 9 May 2022. Retrieved 18 May 2022.
  5. "Reggaeton". Collins English Dictionary. HarperCollins. Archived from the original on 3 July 2019. Retrieved 3 July 2019.
  6. "reggaeton". Lexico UK English Dictionary. Oxford University Press. Archived from the original on 22 March 2020.
  7. ^ "reggaeton". The American Heritage Dictionary of the English Language (5th ed.). HarperCollins. Retrieved 3 July 2019.
  8. "reggaeton". Merriam-Webster.com Dictionary. Merriam-Webster. Retrieved 3 July 2019.
  9. Cabrera, María (15 July 2008). "El Reggaetón nació en Panamá". El Diario Vasco. Donostia–San Sebastián, Spain. Retrieved 10 June 2023.
  10. ^ "Reggaetón nació en Panamá y no en Puerto Rico". ABC Color (in Spanish). Asunción, Paraguay. EFE. 18 November 2012. Retrieved 10 June 2023.
  11. Herrera, Isabelia (11 August 2021). "Reggaeton's History Is Complex. A New Podcast Helps Us Listen That Way". New York Times. Retrieved 21 June 2022.
  12. "The rise of reggaeton". The Stanford Daily. 27 April 2018. Archived from the original on 18 November 2018. Retrieved 17 November 2018.
  13. "The reggaeton revolution is here, and Nicky Jam saw it coming". NBC News. Archived from the original on 17 November 2018. Retrieved 17 November 2018.
  14. "Tu Pum Pum: Panamanian Artists Helped Birth Reggaeton, Then the Industry Left Them Behind". Remezcla. Retrieved 14 April 2024.
  15. "Daddy Yankee changed his name after retiring from reggaeton". 6 December 2023.
  16. "Festival de reggae servirá para destacar su influencia en el reguetón". 30 April 2009.
  17. "reguetón". FundéuRAE (in Spanish). 24 November 2010. Retrieved 10 June 2023.
  18. "Ya no sería "reggaetón" sino "reguetón"". El Mundo (in Spanish). Medellín, Colombia. EFE. 12 November 2006. Archived from the original on 17 October 2012. Retrieved 10 June 2023.
  19. Don Omar as King of Reggaeton:
  20. Daddy Yankee as King of Reggaeton:
  21. "El reguetón nació en Puerto Rico". HABLACULTURA (in Spanish). Retrieved 29 January 2023.
  22. Herrera, Isabelia (11 August 2021). "Reggaeton's History Is Complex. A New Podcast Helps Us Listen That Way". The New York Times. ISSN 0362-4331. Retrieved 29 January 2023.
  23. "Culture Spotlight: Reggaeton Music". KID Museum. Retrieved 29 January 2023.
  24. ^ Mayra Santos, "Puerto Rican Underground", Centro vol. 8 1 & 2 (1996), p. 219-231.
  25. ^ Wayne Marshall (19 January 2006). "Rise of Reggaetón". The Phoenix. Archived from the original on 2 October 2008. Retrieved 24 July 2006.
  26. ^ "Crónica: Las guardianas del reguetón". El Nuevo Día (in Spanish). 24 July 2022. Retrieved 25 July 2022.
  27. "Portraits of Daddy Yankee in Villa Kennedy Puerto Rico". Alamy. 23 July 2022. Retrieved 23 July 2022.
  28. Sara Corbett (5 February 2006). "The King of Reggaetón". The New York Times. Archived from the original on 12 June 2011. Retrieved 30 January 2008.
  29. ^ Frances Negrón-Muntaner and Raquel Z. Rivera. "Reggaeton Nation". Archived from the original on 21 December 2007. Retrieved 17 December 2007.
  30. Hilda Garcia and Gonzalo Salvador. "Reggaeton: The Emergence of a New Rhythm". Archived from the original on 15 January 2005. Retrieved 23 June 2007.
  31. John Marino, "Police Seize Recordings, Say Content Is Obscene", San Juan Star, 3 February 1995; Raquel Z. Rivera, "Policing Morality, Mano Dura Style: The Case of Underground Rap and Reggae in Puerto Rico in the Mid-1990s", in Reading Reggaeton.
  32. Matt Caputo. "Daddy Yankee: The Voice of His People". Archived from the original on 2 March 2008. Retrieved 29 January 2008.
  33. "Amazon.com: Sentimiento: Music: Editorial Reviews". Amazon.com. Archived from the original on 8 January 2013. Retrieved 3 December 2012.
  34. Giovannetti, Jorge L. (2003). Frances R. Aparicio and Cándida F. Jáquez (ed.). "Popular Music and Culture in Puerto Rico: Jamaican and Rap Music as Cross-Cultural Symbols" Musical Migrations: Transnationalism and Cultural Hybridity in the Americas. New York: Palgrave.
  35. "Q&A with DJ Blass". Rhythmtravels.com. 3 July 2014. Archived from the original on 6 May 2015. Retrieved 10 September 2016.
  36. Corbett, Sara (5 February 2006). "The King of Reggaetón". The New York Times. Retrieved 19 October 2021.
  37. "El Reggaeton". 8 February 2007. Archived from the original on 8 February 2007. Retrieved 10 September 2016.
  38. Staff (18 July 2019). "15 Years Ago, Daddy Yankee's Barrio Fino Set The Template For Reggaeton's Big Rise". MTV. Archived from the original on 18 July 2019. Retrieved 22 June 2021.
  39. ^ Rivera, Raquel Z.; Marshall, Wayne; Hernandez, Deborah Pacini (24 April 2009). Reggaeton. Duke University Press. ISBN 978-0-8223-9232-3.
  40. "Reggaeton Music News - Lyrics & Noticias de Musica Urbana". Latinrapper.com. Archived from the original on 27 August 2016. Retrieved 10 June 2024.
  41. "Turning the Tables: The 200 Greatest Songs by 21st Century Women", Part 7, NPR, July 30, 2018, "Song 67" by Maria Sherman.
  42. Hasty, Katie (13 June 2007). "T-Pain Soars To No. 1 Ahead Of Rihanna, McCartney". Billboard. Retrieved 1 January 2023.
  43. ^ Artist Chart History – Daddy Yankee – Billboard.com – Accessed 10 November 2008
  44. Billboard.com – Artist Chart History – Wisin & Yandel
  45. "Tego Calderon: Reggaeton On Black Pride". NPR.org. 3 September 2008. Retrieved 9 May 2022. I started to do music from a black beat, so that blacks can feel proud being black.
  46. Ratner-Arias, Sigal (9 July 2017). "Daddy Yankee is #1 on Spotify; 1st Latin artist to do so". The Washington Post. Archived from the original on 9 July 2017. Retrieved 9 July 2017.
  47. Calle, Tommy (9 July 2017). "Hace historia Daddy Yankee y es ahora oficialmente el primer latino número uno del mundo en Spotify" (in Spanish). hoylosangeles.com. Archived from the original on 13 July 2017. Retrieved 10 July 2017.
  48. Pickens, Ashley (10 July 2017). "Daddy Yankee Breaks Barriers Becoming Top Streamed Artist On Spotify". Vibe. Archived from the original on 11 July 2017. Retrieved 10 July 2017.
  49. Wang, Evelyn (5 December 2017). "Rihanna and Ed Sheeran Were the Most-Streamed Artists on Spotify in 2017". W. Archived from the original on 5 December 2017. Retrieved 7 December 2017.
  50. Cobo, Leila (15 June 2017). "The Success of 'Despacito' Has Labels Looking to Latin". Billboard. Archived from the original on 19 June 2017. Retrieved 21 June 2017.
  51. Lopez, Julyssa (24 August 2017). "What's next for Latin music after the summer of 'Despacito'?". The Washington Post. Archived from the original on 26 August 2017. Retrieved 24 August 2017.
  52. ^ Ho, Stephanie (12 September 2017). "No Translation Necessary: Beyond "Despacito," The Latin Music Scene Is Booming". Genius. Archived from the original on 20 September 2017. Retrieved 19 September 2017.
  53. Leight, Elias (26 January 2019). "'Te Boté' Was a Massive Hit — Now It's Spawned Imitators". Rolling Stone. Retrieved 8 April 2019.
  54. Leight, Elias (8 January 2019). "Las 4 mejores canciones influenciadas por "Te Boté"". Heabbi. Archived from the original on 4 April 2019. Retrieved 2 November 2020.
  55. "The Evolution of Reggaeton From Despacito to Te Bote". Mitu.
  56. "Marshall, "Dem Bow, Dembow, Dembo: Translation and Transnation in Reggaeton." Lied und populäre Kultur / Song and Popular Culture: Jahrbuch des Deutschen Volksliedarchivs 53 (2008): 131-51" (PDF). Wayneandwax.com. Archived (PDF) from the original on 20 August 2018. Retrieved 13 February 2019.
  57. Reggaeton. Rivera, Raquel Z., Wayne Marshall, and Deborah Pacini Hernandez, eds. Durham NC: Duke University Press, 2009 and Marshall, Dem Bow, Dembow, Dembo: Translation and Transnation in Reggaeton Archived 29 November 2010 at the Wayback Machine
  58. Marshall, Wayne (2008). "Dem Bow, Dembow, Dembo: Translation and Transnation in Reggaeton". Lied und Populäre Kultur / Song and Popular Culture. 53: 131–151. JSTOR 20685604.
  59. Marshall, Wayne. "The Rise and Fall of Reggaeton: From Daddy Yankee to Tego Calderón and Beyond" in Jiménez Román, Miriam, and Juan Flores, eds. The Afro-Latin@ reader: history and culture in the United States. Durham NC: Duke University Press, 2010, p. 401.
  60. "'20 Best Latin Singles of 2018'". Rolling Stone. 28 December 2018.
  61. "'Puerto Rican Environment, Reggaeton and Boricuaness'". University of Tennessee.
  62. Watkins, Grouchy Greg (28 January 2006). "Snoop Shoots Video With Daddy Yankee In Puerto Rico". AllHipHop. Archived from the original on 23 July 2022. Retrieved 23 July 2022.
  63. Tecson, Brandee J. "Daddy Yankee Sticks To His Roots, Won't Lean On Snoop". mtv. Archived from the original on 23 July 2022. Retrieved 23 July 2022.
  64. "ICM: Instituto Canario de la Mujer". 17 January 2007. Archived from the original on 17 January 2007. Retrieved 10 September 2016.
  65. Ben-Yehuda, Ayala (31 March 2007). "Reggaetón Royalty – Ivy Queen Earns Her Crown As A Very Male Subgenre's Only Female Star". Billboard. Vol. 119, no. 13. ISSN 0006-2510. Retrieved 29 November 2012.
  66. "Reggaeton Nation". Upsidedownworld.com. 19 December 2007. Archived from the original on 21 February 2016. Retrieved 10 September 2016.
  67. Fairley, Jan (2009). "How To Make Love With Your Clothes On: Dancing Regeton, Gender, and Sexuality in Cuba". In Rivera, Raquel Z.; Marshall, Wayne; Hernandez, Deborah Pacini (eds.). Reggaeton. Duke University Press. pp. 280–294. doi:10.1215/9780822392323-014. S2CID 192110981.
  68. Hidalgo, Andrea (2 June 2005). "Perreo causes Controversy for Reggaeton". Reggaetonline.net. Archived from the original on 19 December 2013. Retrieved 30 March 2014.
  69. Sullivan, Al (16 October 2016). "Trash truck worker competes for a Latin Grammy: Local Cuban exile fulfills dream as musician" Archived 22 March 2018 at the Wayback Machine. The Hudson Reporter.
  70. van Boeckel, Rik (19 September 2006). "Reggaeton a lo Cubano: From Cuba to the Rest of the World" Archived 22 March 2018 at the Wayback Machine. 'LA'Ritmo.com: Latin American Rhythm Magazine. Retrieved 21 March 2018.
  71. Bellaco, Daniel (11 March 2019). "Cuba prohíbe el reggaeton por sexista, machista y violento" Archived 30 March 2019 at the Wayback Machine. Digital Sevilla.
  72. "Reggaeton: como a batida certa e a mistura com funk e sertanejo fizeram do gênero um fenômeno". G1.globo.com. 6 April 2017. Archived from the original on 27 May 2017. Retrieved 31 May 2017.
  73. ^ Marshall, Wayne. "The Rise of Reggaeton". , 19 January 2006.
  74. Zahumenszky, Carlos (21 January 2016). "El Reggaeton es el género más escuchado en España (aunque todo el mundo diga que lo odia)". Gizmodo. Retrieved 18 January 2024.
  75. "¿Dónde empezó el reguetón? ¿Cómo llegó a España?: de las calles a la radio". MegaStarFM. 15 September 2023. Retrieved 18 January 2024.
  76. Montero, Natalia (29 November 2023). "El 'reggaeton' se corona: estas son las canciones más escuchadas en España este 2023". el Periodico de España. Retrieved 18 January 2024.
  77. "España es país de reggaeton: es el género que más se escucha en Spotify". elEconomista. Retrieved 18 January 2024.
  78. "Home - Reggaeton.co.uk". Reggaeton.co.uk. Archived from the original on 13 February 2019. Retrieved 13 February 2019.
  79. "黃明志邀黃秋生合唱 《中國痛》 - 帶有華人色彩的《Despacito》". 香港01. 24 January 2020.
  80. Díez-Gutiérrez, Palomo-Cermeño, E., & Mallo-Rodríguez, B. (2023). Education and the reggaetón genre: does reggaetón socialize in traditional masculine stereotypes? Music Education Research, 25(2), 136–146. https://doi.org/10.1080/14613808.2023.2193209
  81. Díaz Fernández S. (2021). Subversión, postfeminismo y masculinidad en la música de Bad Bunny. Investigaciones Feministas, 12(2), 663-676. https://doi.org/10.5209/infe.74211
  82. Herrera, Isabelia (2023). "In Puerto Rico, Queer Femmes Are Dreaming Up Rap and Reggaeton's Future". Pitchfork.com.
  83. Arellano, Susanne Ramírez de (2023). "Villano Antillano, First Transwoman in Spotify's Top 50 Talks Transition: 'I Always Knew It Would Antagonize'". we are Mitú. 100% American & Latino. Retrieved 2 October 2023.
  84. Eccleston, Katelina (2022). "Villano Antillano Is Making History: 'We Have to Be Proud and Stand Tall'". Rolling Stone. Retrieved 6 October 2023.
  85. VoxPopuli, Redacción (2022). "La historia de Villano Antillano, la primera artista no binaria en sacar una canción con Bizarrap". www.voxpopuli.net.ar (in Spanish). Retrieved 10 October 2023.
  86. Lopez, Quispe (2023). "Villano Antillano Is the Breakout Rebel of Latin Rap". Them.us.
  87. Villa, Lucas (2023). "WATCH: Tokischa & Young Miko Hop on Bad Gyal's 'Chulo Pt. 2' Remix". Remezcla. Retrieved 6 October 2023.
  88. Bad Gyal, Young Miko, Tokischa - Chulo pt.2 - (Official Video), 21 June 2023, retrieved 6 October 2023
  89. Raygoza, Isabela (2023). "Cómo Young Miko pasó de SoundCloud a ser una artista en ascenso en el Billboard Hot 100". Billboard.com.
  90. Sim, Bernardo (2023). "Meet La Cruz, the Gay Latino Stud Who's Making Queer Reggaeton Music". www.out.com. Retrieved 2 October 2023.
  91. Cepeda, Eduardo (2018). "Women Have Carried Reggaeton Since the Beginning. Now They're Its Future". Remezcla. Retrieved 2 October 2023.
  92. TE CONOCÍ BAILANDO - La Cruz (Official Video), 11 May 2023, retrieved 6 October 2023
  93. Yo Informativo, Aleks Syntek enojado arremete contra el reggaeton, archived from the original on 23 May 2018, retrieved 7 February 2019
  94. Soria, César García (4 June 2018). "Estos tíos también odian el reggaetón... perdón, estos artistas". Erizos.mx (in European Spanish). Archived from the original on 9 February 2019. Retrieved 7 February 2019.
  95. "Reggaeton Is Not The Problem, Misogyny Is". The Gazelle. Archived from the original on 9 February 2019. Retrieved 7 February 2019.
  96. "Latin singer Flex leads 'Romantic' evolution". Reuters. 10 January 2009. Archived from the original on 9 February 2019. Retrieved 7 February 2019.

External links

  • Media related to Reggaeton at Wikimedia Commons
  • The dictionary definition of reggaeton at Wiktionary
Reggae
Genres
Characteristics
People and groups
By region
Related
Reggaeton
Genres
Characteristics
People and groups
By region
Hip-hop
Culture
History
Subgenres
General
Hardcore
Trap music
Fusion genres
General
Rap metal
Regional
Derivatives
Electronic
Other
Regional scenes
African
Asian
European
Middle Eastern
North AmericanUnited States: Outside the US:
Oceanian
South American
Other topics
By decade
Prehistory
1960s-
By area
New Mexico
New York
Texas
Related topics
Music genres in the Hispanosphere
Andean
Spaniard folk
Latin urban
Reggaeton
Litoraleña
Peruvian coastal
Latin pop
Regional
Mexican
Southern Cone
Tango
Rock
Traditional folk
Tropical
Cumbia
Afro-Latin
Other genres
Related
Categories: