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| {{Infobox Music genre | |||
| |name=Reggaetón | |||
| |bgcolor=red | |||
| |color=white | |||
| |stylistic_origins=] - ] - ] - ] - ] - ] | |||
| |cultural_origins= Late 1970s/early 1980s ], late 1980s ] | |||
| |instruments=Dem Bow (rhythm) - ] - ] - ] - ] | |||
| |popularity=Moderate since mid-1990s in Puerto Rico, worldwide beginning around 2004. | |||
| |derivatives= | |||
| |subgenrelist= | |||
| |subgenres= | |||
| |subgenres=] - ] - ] - ] - ] - ] - ] | |||
| |regional_scenes=] - ] - ] - ] - ] - ] - ] | |||
| |other_topics= ] - ] - ] - ] - ] - ] - ] | |||
| }} | |||
| '''Reggaeton''' (also spelled '''reggaetón''', and known as '''reguetón''' and '''reggaetón''' in ]) is a form of ] which became popular with ]n youth during the early 1990s and spread over the course of 10 years to ]n, ]an and ]n audiences. Originating in ], reggaeton blends ]n music influences of ] and ] with those of Latin America, such as ], ], ], ], ] and ] as well as that of ], ], and ]. However, reggaeton is also combined with ] or singing in Spanish. <!-- Add any more references to the Reggaeton around the world section --> The influence of this genre has spread to the wider ] communities in the ], as well as the Latin American audience. | |||
| While it takes influences from hip hop and Puertorican dancehall, it would be right to define reggaeton as the Hispanic or Latino 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 rhythm that characterizes reggaeton is referred to as "Dem Bow."<ref name="villagevoice">{{cite news | url=http://www.villagevoice.com/music/0603,caramanica,71722,22.html | publisher=Village Voice | title=Grow Dem Bow | accessdate=2006-07-24}}</ref><ref name="phoenix">{{cite news | url=http://www.thephoenix.com/PrinterFriendly.aspx?id=1595 | 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. Reggaeton's origins represents a hybrid of many different musical genres and influences from various countries in the Caribbean, Latin America and the United States. The genre of reggaeton however is most closely associated with ], as this is where the musical style later popularized and became most famous, and where the vast majority of its current stars originated. <ref name="AskMen"></ref><ref></ref><ref></ref><ref></ref> | |||
| Reggaeton lyrics tend to be more derived 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. | |||
| ==History== | |||
| Reggaeton's roots are from Puerto Rico. Reggaeton started as an adaptation of Puerto Rico ] to the Spanish language and overall culture in Puerto Rico. The origins of reggaeton begin solely in Puerto Rico. During the 1980s the Puerto Rican rapper ] released Spanish-language hip hop records in his native island. His production of cassettes throughout the 1980s, mixing rap and hip hop, were not considered the first Reggaeton recordings. | |||
| During the 1990s, Producers like Playero introduced what were then the earliest Reggaeton recordings. Hip hop and reggae in Puerto Rico were on the rise due to the increased popularity of Puertorican ] imports. With the release of Playero 38, Nico Canada introduced the first original beats to the genre. These are considered the first proper reggaeton tracks, initially called "under," a short form of "Underground." This created a highly visible, and prominent underground youth culture called Cacoteo or Cacos that sought to express themselves through Rap and Reggae 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> Santos, Mayra. 1996. "Puerto Rican Underground." Centro 8, no. 1 & 2: 219-231. </ref> | |||
| 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. | |||
| ] 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 ] in 1993, with the release of Playero 37. Playero 36 contained some original music, but was predominantly a mix of commercial tracks, with only a few original tracks. | |||
| The basis for reggaeton was laid in Puerto Rico at this time, completely independent of Panamanian Spanish reggae, with influences from dancehall, hip hop and various other Latin American musical genres. | |||
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| {{multi-listen item|filename=Dem Bow sample.ogg|title="Dem Bow (rhythm)"|description=Produced by ], performed by ], 1990.|format=]}} | |||
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| The genre morphed through the years, but always maintaining the name "undergroudn" amongst the core audience of "cacos", and it was loosely called by other names in the street, like "perreo", and "marroneo" which is reserved for the mostly musical tracks which feature very little rapping, rather commands like "guaya" and "tra". Reggaeton's distinguishing rhythmic feature is: the ''Dem Bow'' (alternately spelled "Dembow") beat, relying heavily on the ], which is used in nearly all reggaeton songs today, but many creative producers have been able to incorporate other riddims, and the dem bow is mostly overused by the commercial aspect of Reggaeton's modern and exploited versions. <ref name="villagevoice"/> <ref name="phoenix"/> This beat, or ], 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. | |||
| Reggaeton's popularity in the U.S. can be credited to early collaborations with Hip Hop artists like Nas, Fat Joe, and others on albums like Boricua Guerrero and Guatauba. | |||
| ===Rise to popularity=== | |||
| The name ''reggaeton'' only gained prominence in the mid-1990s (from the 1994 to 1995 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 almost by accident when a concert promoter merged the words Reggae and Marathon to for the word Reggae-Thon or "Reggaeton" in Spanish. Today, the music flourishes throughout Latin America. | |||
| Reggaeton soon increased in popularity with Latino youth in the United States, when ] worked with artists such as ] and Speedy in albums such as ''Reggaeton Sex''.The genre started to get strong hold in Miami, where young people played the music at the clubs,in their homes and cars, from cds and cassettes, since the genre was being ignored by the mainstream radio stations. | |||
| Reggaeton expanded and became known when other producers followed the steps of ], like ] and ]. In the early '90s albums like ]'s ''Playero 37'' (in which ] became known) and ], ''The Noise 2'' and ''The Noise 3'' were very popular in Puerto Rico, the ], Panama, Venezuela, and other Latin American countries. Singers like Eddie Dee, ], ], ], and ], among others were very popular. | |||
| Many now popular producers, such as ], ] and ], first appeared in the reggaetón scene in 2003. By this year The genre was getting the exposure that was missing. TV programs such as "The roof" on mun2 started to support the artists, hosting them daily, and playing their videos per public request. Albums such as '']'', '']'', and ''Las Gargolas 4'' expanded reggaeton's popularity among Latinos in the United States. | |||
| ====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 Diferente, Tego Calderon 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 July 16 ,2004, ] came out with his album "]" and his hit single "]." ] 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 reggaetón artists include ], ], ], ], ], ], ], ], ], ], ], and ]. | |||
| . | |||
| ==Musical characteristics== | |||
| ===Reggaeton beat=== | |||
| Reggaeton's most notably unique feature is a driving drum-machine track which was derived from a popular Jamaican dancehall rhythm. As stated previously this beat is called "Dem Bow," from the Bobby Dixon-produced ] song of the same title. The beat that can be heard throughout reggaeton is an interplay of a steady kick drum and a syncopated snare. The kick drum emphasizes a 4/4 beat, while the snare comes on the "and" of the 3rd 8th note and right on the 4th 8th note (or, counting four 16th notes per bass note, on the 4th and 7th 16th notes, in a repeating two-bar pattern). This makes the powerful "boom-ch-boom-chick" sound. It is also typically 95 beats per minute. | |||
| Many of the sounds found in a typical reggaeton beat are electronically synthesized. Simple melodies may be produced with keyboards, electric guitars, and other electronic instruments. Other forms of electronic dance music have significantly influenced reggaeton beats, such as ], ], and genres such as the merengue hip hop (also called ]) of groups such as ] and ]. | |||
| Reggaeton beats are highly versatile. The great variety and flexibility of reggaeton beats can be illustrated by ]' CD '']'', which is a collection of purely instrumental beats. Reggaeton beats can be based on ], ], ], ] and ] beats. Other subgenres of reggaeton include ], ] and ]. | |||
| ===Reggaeton and hip hop=== | |||
| {{Original research|date=September 2007}} | |||
| Reggaeton bears many resemblances to ]. The most notable resemblance to hip hop is that reggaeton, in most cases, is ]ped instead of being sung. Reggaeton also has hooks throughout a song that may include a chorus of singers. Reggaeton artists also adopt pseudonyms comparable to those of hip hop artists. Overall, reggaeton and hip hop are both thought of as street-styled music popular among urban youth. Reggaeton also features "beef"-like rivalries similar to those found in hip hop called "]" (literally "throwing" in Puerto Rican Spanish). | |||
| Despite the similarities, reggaeton only roughly fits into the Latin hip hop category but is not synonymous with hip hop. True Latin hip hop has beats that almost exactly resemble mainstream hip hop beats. These "hardcore" Latin hip hop artists include ], ], ], and ]. Reggaeton, though, has rap-styled lyrics but has a very different beat that is influenced not by hip hop, but by ], ], ] and ]. Although reggaeton has been influenced by hip hop, it has also borrowed features from many other genres as well and is not considered to be Latin hip hop. | |||
| Reggaeton and hip hop are often remixed together, and reggaeton songs and live concerts may feature hip hop artists such as ], ], and ]. Hip hop songs such as ]'s ''Yeah'' and ]'s ''Drop It Like It's Hot'' have been remixed by replacing the original beat with a reggaeton beat. In other remixes, reggaeton DJs may rap out an English song in Spanish. | |||
| As reggaeton has gained popularity, there is a new trend of hip hop and reggaeton artists collaborating on songs. ] was featured on ]'s Gangsta Zone in his album ] ; as was ] on remix to Yankee's earlier hit song entitled "Machete." The remix of Daddy Yankee's song ] featured ] and ] of G-Unit. And Yankee's first U.S. hit ] was remixed, adding Miami rapper ], and Crunk music producer ] to the track. ] collaborated with him on the song 'Oh Man' on his most recent album, The Trinity. Hip hop producer ] produced and sang on the track 'Mamacita' with Daddy Yankee as well. American rapper ] was featured on ]'s song Conteo on Omar's album King of Kings which was featured in the movie ]. ] produced the ] song ']' with ] on his album TP3 Reloaded as well as producing the remix to ]'s song ] again featuring Wisin & Yandel, which has sold over 300,000 songs on ]. Popular reggaeton producer ] produced the hit song 'Here We Go Yo' with ], whom he collaborated with to produce his most recent album "Los Rompe Discotekas" (The Club Bangers) which came out in early summer 2006. Reggaeton artist ] raps alongside with R&B group ] on the song 'So Amazing'. The song 'Wanna Ride' was recited and sung by distinguished reggaeton artists ] together with veteran rap group ], and which was featured in the movie ] starring ]. A remix of the song 'Rakata' by Wisin & Yandel features rapper ]. The official "Chosen Few" remix to the song "Hello Mama" by Hector "El Father" features American rapper ]. Both genres are accepting influences from each other today as these musical blends also signify a cultural blending pot in today's urban scene. | |||
| ===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, although earlier reggaeton songs were toasted in which some are today. 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 started as a genre composed of mostly male artists, with a slowly increasing number of female artists debuting over the years. Notable female reggaetón artists include ], ], ], and ]. | |||
| Reggaeton lyrical themes are versatile. Typical themes may include dancing, love stories, partying, short anecdotes of the rapper's life, and problems in life. Popular reggaeton songs are mainly intended to be danceable, rhythmic, party-like songs for young people. Reggaeton may or may not be objectionable depending on the artists, song, and the listener's interpretation, as one reggaeton song may have many interpretations because a song's meaning may not be very clear and direct; Many of the songs are highly ]. For example, the song '']'' is often considered appropriate for children and has made it into the ] series.{{Fact|date=June 2007}} However, because of the various possible connotations and literal interpretations of the song, some people criticize ''Gasolina'' as having possibly inappropriate sexual content. | |||
| Latino ethnic identity has been a common theme in reggaeton, articulated musically, lyrically, and visually. | |||
| 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. | |||
| Some songs have also raised concerns about women's depiction on their lyrics <ref></ref> | |||
| ==Reggaeton across the world== | |||
| ===Latin America=== | |||
| Reggaeton is very popular in Latin American countries such as ] (where the music originated), ], ], ] 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. In some countries such as ] with MC Francia, Los TNT and Mr. Fresh, Venezuela with Doble Impakto, ] with DJ Sy and ] with Heavy Clan, domestic "reggaetoneros" have arisen, expanding the Pan-Latin feel of the genre. | |||
| 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 an anglo-american musical genre. <ref> Baker, Jeff. 2008. "The Politics of Dancing: Reggaetón and Rap in Havana, Cuba." Royal Holloway, University of London </ref> | |||
| ====Panama==== | |||
| Spanish Reggae developed as a result of the Jamaican migration 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 there, and eventually assimilated and became part of the culture. Meanwhile, in the 1970s, Panamanians like El General, along with others began taking reggae songs and beats, and singing over them with Spanish lyrics. They would also speed up the reggae beats, and also add Hispanic and Latino elements to them as well. This movement of reggae in Panama, which was extremely popular was called Reggaeespanol, Reggae en Espanol, or simply "Spanish Reggae". The music continued to grow throughout the 1980s. Many stars developed in Panama. El General has been widely regarded as the "Padre Del Reggaeton" or Father of reggaeton due to his unique sound of Latino rhythm sounds. He also garnered many awards. In the 1990s, El General continued to make hits earning many words, and was revered throughout Latin America. He has received many Latin music awards as well. El General never really got the respect he deserved as many would say. El General stepped down in 2004 from the music industry. Since then, he has decided to give back to help underprivileged Panamanian children. Now, reggaeton industry flourishes in Panama. Artists that have gained recognition include ], Eddy Lover, ], also known as ] and ], among others. Other artists of reggaeton music and Panama continue to gain recognition and popularity. Many Panamanian reggaeton artists have collaborated and worked with Puerto Rican reggaeton artists, which demonstrates the feel and connection with reggaeton's two countries of origin and development, being Panama and Puerto Rico. Overall, Panamanians and mainly Puerto Ricans still lead the commercial reggaeton today. | |||
| ====Puerto Rico==== | |||
| Reggaeton derives from the post-Salsa music youth generation of the '80s and early '90s in Puerto Rico. Before reggaeton exploded in the mid-nineties, young street artists, heavily influenced by ] and turntablism, rapped over cassette tracks easily acquired within their ] status. Alongside this early hip hop influenced reggae-rap, evolved the Panamanian reggae style which eventually fused into reggaeton. | |||
| 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="msantos" /> Marquesinas were often in "housing complexes such as Villa Kennedy and Jurutungo." <ref name="msantos" /> 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 Puerto Rico 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. 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. | |||
| 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. | |||
| 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 web| 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}}</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> Santos, Mayra. 1996. "Puerto Rican Underground." Centro 8, no. 1 & 2: 219-231. </ref> The Department of Education banned baggy clothing and underground rap music from the school systems. <ref name="rnation071217">{{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/news.nacla.org/2007/12/17/reggaeton-nation/ | archivedate=2008-10-16}}</ref> In the following months after the raids, local media demonized rappers, claiming they were "irresponsible corrupters of the public order." <ref name="msantos"> Santos, Mayra. 1996. "Puerto Rican Underground." Centro 8, no. 1 & 2: 219-231. </ref> | |||
| The Puerto Rican chapter of ] asked the local authorities to intervene and ban selling underground music, which subsequently required that all local productions being sold displayed a ] label{{Fact|date=May 2007}}. By 1998 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 Velda González 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| title=Reggaeton: The Emergence of a New Rhythm| accessdate=2007-06-23}}</ref> | |||
| 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 effect 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="rnation071217" /> | |||
| 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="rnation071217" /> 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/| 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>{{Citation| 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> | |||
| 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 name="rnation071217" /> | |||
| ===United States=== | |||
| 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 mainstream popularity in the US<ref>Marshall, Wayne. "The Rise of Reggaeton." , 19 January 2006.</ref>. Soon after, ] caught the attention of many big names in hip hop with his song '']'', propelling the style across the country<ref>Marshall, Wayne. "The Rise of Reggaeton." , 19 January 2006.</ref>. 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 . The genre has also provided the foundation and basis for a modern Latin-American commercial radio phenomenon known as ]<ref>Marshall, Wayne. "The Rise of Reggaeton." , 19 January 2006.</ref>, a combination of the terms Hispanic and Urban that is used to evoke the musical influences of hip hop and Latin American music. Reggaeton forming from hip hop and reggae 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>Marshall, Wayne. "The Rise of Reggaeton." , 19 January 2006.</ref> | |||
| Underground clubs, youths in the inner-city ghettos, and huge hip hop moguls all participated in pushing the genre to the top of the charts.<ref>Marshall, Wayne. "The Rise of Reggaeton." , 19 January 2006.</ref> | |||
| ===Europe=== | |||
| Reggaeton has not become as popular in ] as in ]. However, It has a great appeal to Latin American immigrants, especially in ] <ref></ref>. 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 ''"Papi Chulo (Te Traigo el Mmm) "'' in 2003, and ]'s '']'' in 2005. Puerto Rican and Panamanian reggaeton artists have toured Spain to give concerts mainly to Latin American people<ref></ref>. | |||
| Reggaeton is also known in ], as songs like ]'s ''"Papi Chulo (Te Traigo el Mmm) " ''and'' '']'s '']'' and "''Lo Que Pasó, Pasó''" made it to the Italian charts. | |||
| ==See also== | |||
| {{portalpar|Puerto Rico}} | |||
| *] | |||
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