REGGAETONMAPPING REGGAETO!From Misica Negra to Reggaeton Latino The Cultural Plc of Nation, lation nd Commeriaization When Daddy Yankee’ “Grlinn galloped up the chars ona catchy hoes sume shifty snares, anda ifbefiting balligh, expe a ich sense where egaeon had cone from as where img gi Though some dtc letersi ore than he aes ganar om (end abe sexist it fee ad eve candy a tht} a coer ten with ‘satan othe gee’ sstheti itor reveal x mare of wap that the song embodies a comple history of toe attends moze eazflly 0 the pita, tk, propeling the lexically and scaly suggestive vocals of Dad Yankee and his cage fl, Glory, one ‘her Lany ane ee, powefl production not way a a nesta ‘ample of contemporary commer egseon syle but «mus ext "njoying with along history of.iclatngsounds ppl, nd en abou sel snob race and place ‘One might her such soil and sonic iret in the ex lone nuns of "Gasolina which eae eit, city, “pret” viral ns tens frm such poplar msl sofware a Fruity Loop (or th Iara ie Studi) a wel a more sophistctad ay paths” oe lng aun, sch sores sings, wi rete versie. Ranging (rom bright wd nein ow and buy he acs ntrwonensyathesee lng eve cages wih contrporstyhp-top pop and nat anethall agi, neve esau ty prvide aden harmonic eso ene Alngworg, repre rp Conrng clr the tk rvcendang kick (rar und prio“ (aren entareathan or any of puntos mare spl cad top al" seureu! The hurmonle overeat of he re sf « wemlone ot"ye veal and visa texts in onder to explore the correspondence between scale sartoral and linguistic symbian he pits of ele my focus heres on mil expr, the gene’ pias the under. Tying tacks which propel reggaeton it the global medtcape and 9 tesinly embody its complex tits and turns, Reggaeton’ diving shyt 1nd dense textures, I conten, gine shape and for to myriad movements sro the Wester Hemisphere, eth metoplesadebor cents serving 5 roca sites forthe music cretion and isemination. Conneting msi sil to cultura polis (as histoially grounded and comple cross-cut ‘ce and das-commitmens, ideologies of col, gender, ad ation, and ‘mae rcs), sek to end you my eas~admitely thers ofan engaged ‘utes hear the ger’ musical development electing nd nor, the sonic nd sci ew ofthe postcolonial Americas Despite some serious contention reggatn’s publi negotiated marae has tended to locate the mos’ gens in Panama, while other place from Jamal to New York to Puerto Rieo—remain gain, secondary, ites forthe gents genealogy’ On the one hal of tee places have played «pivot ol inthe music's development. On the oe, «numberof impor ‘ant figures inthe musics history ave moved bck ad forth Between various ses over the coure of ther cazers, nds to ome extent the most wel ‘worn arguments aout national provenance ter to ovelok the inbrcations of thee plaes due (crcl) paren of migration and the each of ms rin, The established nae als tends to proce in fa too ica # fuhio, forte interplay betwen hip-hop ad regen Pana, Puerto ic sd New York was rsther simultaneous. As latempt to ee ost each of these symbolic ses might eter be understood as representing both di tint loa cotets a wll a mobile tid sociocultural contltions Depending on where one avs the ines around egston, one draws di ferent ines of community and varios observer enthusiasts and participants have sought to ircumscribe o- expand the genre’ grogrupial- curl bor ers acconding to incompatible if vetppig ssoges of ree, cn. sion, andthe ke Given how hes uch debates cam becom simp {© atempt to aif the tlaonshis between these vous ents of ‘eggiefton histor In thi scion, I wl come nd eprala oe of the ‘more comin conection nade htwcen he ten agenda our othe sora i lege antce. uel agg om pi mata an wal TOMOOOMOOOMOOO ee OCOMCOOOSOO80 merenouse" bomb and pls sls and merengue, Lai) hip-hop, and ner tan curd nano p-aanai ae ie oan lec ahr atin "ropa 1 we owt of Ne Pure Rc fms sh calif exceptional Feb on the cet recordings of Tgp Calderen and La Sit sped to heouage this perzpion, Say, he increasing psec in the ast few ear osc gars (and det digtl samples) from a, merengne and Thott wl be dscsed in sre det te nti esses to ol Tuntnsies sbou epgaetons inherent linda, Sach perceptions of Latin or fvetain ral emtyinrqgaeton ae ot without merit though one ‘Rouet hae to propose a moe general theory of Latin-Caribbesn musk Trence ad fo American inthe broaes sense) musa wnityin ode to vernal story with the imaginary? tis teling tat some obser eat Tepes nl stacores ot Laat al but as eens Jamaican Nien Ames in constain, whe ters make rele chs dave yonder to place the gesefemly in an Ao-Ltin-Canbbese Ftc template of rence Sones Tralion, we consider the prea f not cri Teton can ce and her how i oveaps with ious rool set Adige. The hth pter in fgres—aceninga stay. nesta ubiqitou in the Caribbean and ge some difrence ia Fac sndarangerment car be heard soc dere gees rege and jean “meringue” “konpe spoewiths +32 nea wo a ip, ssa and 40, meen itm" Sach eying sructralfstares allow some listeners 0 Bsa nama Yure” hing yi ofall mpi, han os Poti Risa eins ‘str Ao Lat sot Wi ec epi ent kk aloe tno nna ow ego save ni oven he man! nanan wi platen ple wd rt pacopatone or wih alia autres prope ib rye ch a suns corithis ease, we might compare atlas twee egseton ad a ‘us Afo-Latn trations wth Jamaican poe ton Kw Johnson's proposal for heating the minimal ys of rand 9 danchal reggue~te tery stythos that underpin reggaeton not so char an crample of atech-heay, ortadeaning corruption of Jamaican syle but x modera ree to Ale Jamaican elk forms: With the discovery of digital recording, an extreme minimalism bas ‘merged—in the mas of people ike Stele nd Cevie, or exampe. On ‘one hand his musics tly technologie onthe ther the hyths te far more Jamaica there dawn fom Et, Pacman Kunio _Aican-bse reigious cults who provide the ys aed by Saba Ranks o Buju Banton. So dept the exet ofthe technology being use, ‘he musics becoming even roe, with 3 eonanee een for quite old seers becuse itechoesback to wt the fit heat in atl Jaman? Whether or not one ages with Jenson of} wil his hype Purto ican bree, this rhythmic resonance between dceallsuitamodern "tythmi nimi and wakionslAfto-Carihan forms sets best sxbconscous phenomenon. At worst especialy with nad to regaton i ‘ncoutgs th uncritical production af stereotypes about an eset Latin sar of "aor? "ho chy for “hot lod” peopl, and 30 on Such ‘des an support suategie mobztions of racial ot ene Metis por cals content and moments, bu the harlot to mention the ‘masa eo ~oflers a muck mote rei, and les problema, acta of the connetons between aman rege and egseton, For all the esanance with Afo-(Lts-}Carbhean music and wth Ao Aasporic music more generally the predominant sythmic ovation of reggcton is derived direct and gti fm dance reggae ame mes refered os raga shor fr “rgnmuin” conmoing the mc’ ‘ough-and tumble environs). Thus lamaica—o ore acaratl aac ia Panama and New Yorks no sll skowiedgnent in geedogy of ‘reget sextet (Espliiute pif cure, the derivative name ‘oF he gene ised) One can hear the dist nk betwen these genes gute lary inthe dancehall derived shythms an riddim undying bah Pana ‘mani nd Prt Ran recordings and inthe boro melt sso many fhe" yto-epgaston” rsd rom ety dee ‘Although "oa resents «dpe of popular thw mare see here regen now ruler suc 1 oe wl nd punt ae wi oy Macey ha mos ancl ene’ ma amar dance en, wal JN GOOomoo@iooo owe ]OOOCOMCUC0OUoomo rapide rap and nia foes on 3+ 3 +2 cosets sary de ‘marae by ese, syed drums, have mach mare strongly inBenced vehi today called egacon Indeed, demonszating a continued engage ‘ent with contemporary danchll ye, one ocsionaly ears in reggaeton sas rather than the rythm lasted in ge tipped down pattern ‘ote crater f dancehall ins an the mid-late 908 Some- ‘ines refered to asthe bomp bomp—an onomatopocie phrase gearing othe prclty for tracing out the 3+ 3 +2 by employing to Bc fllowed by 1 snaredancehal's distinctive thythmic prof might be repented a a fgurea In contrast ots eae’ predominant goo olen led the "one-dop” lnorder to describe the spate but ela accet ofthe bck ur, eaves oom foe pemy of plyythie activity around th downbeat (and inded, one an fo grest el of cos htm in oot repgc Live hand iteay ‘nd sadioengncered fects), but the prevaing felt moe dpe —more tasly counted in roupsof (or) than sand 4 depicted in gure. ‘Beyond dee structural yh eatonsips, however, danchalls wp take amon young Pnaranians and Puerto Ricans was no dobre oie cular! connotations ts newness rudeness and is close reasons to ‘ap or hip-hop (and dst the sounds and images of modern bani, and blacknes) Wheres rots reggie presche pan-Aca iberaton and coosousness asi often couched i th milearan language of Rasta, {lincehal rege embraced mor earthy ad acl eoneess, thes esonant ond in cos convertion with contemporary hip-hop crime, drags, vilens, ‘ex potery compton lade, fein he weationa characte dancehall tn hip-hop hve ended trave together, ead ute epi tes ‘fon as ole the same cin" "inom coincides that dancehall laden popularity in Sa Joan rou mae in that the ge was ning ne ofl peo xe roman” poly by New York ad nthe Und Sales ore weer Daneel presence urban ounacpen mento ele hy lp-op ‘nd here soo ae weve Puro Ri le ve Kton tharwa JOOOMOOOCCoomooo we OOWOOOOLOOsO00 2A sla eth fst gps an ap fom NewYork, Connected to the remarkable growth nd infence of New York’ Jamaican community during the Rosa decade daring which J. malcan drug tracking poses dominitd the tae arse the Easter Se ‘oad and repetettons of lamacans in hip-hop and Holywood alte) sonsiructed fearsome, ruthie, extic portato the place and people by the eat 199s dnecal reggae had become a ubiquitous and cltrly charged feature of the New York soundsap.” Basse of and ang to) resonance with contemporary hip-hop, videos by sich Jamaican ats Shabba Ranks and Super Cat appeared o Yo serv Raps and wes Rap City songs populsrp videos, while backs of dancehall favors worked thei ey int the sets oF hip-hop ors woth noting that the very daca "racks which found favor among hip-hop ot his tine~inldng uch its 2 "Marder She Wrot” (399) by Chaka Dems & Plies A Who Soh Me Dun (9) by Caty Ranks, and “Hot This Yea” (op) by Daman not ‘only tended to emplay the Bom: bao chik dum pater which would become repgactons edo ein, figure) bt also popula st of Fiddims and other sonic signposts (rom busines to drum tnbres to vocal ‘mcodis) which Puerto Rien producers an performers woul ncorpoete Ii the dep densely referential underground recordings of the en 90m laying the musical foundations fr what today called repecton. As wl be dics in the next section, he "proto-egeon ofthe ely su mi-9905 scaled bya number ofoher nas, daw almost ely on ‘epg and hip-hop. Noubly. many rggttonea come of whom forey cll themsetes rapes or repr) cite hip-hop or rap te ply point of refrence, ater than tpg and some goof a simply to decie reggicion a subgenre af hip-hop. The 00g documentary Chee Fen, fo «xampl, includes segment in which various egaeton ats nan hi hap srt they conser tobe inportant ifueess on thir nh leet among them Run nace, Henry Dy gay Kane dK apn for Puerto Rican rap pionee Ls Mat Lyte, Que lala wd Sa ‘Pepa Notably hese aorcoal tet the ld and ate un rk Ptr generat rentation aoe patd i that ner ewe Te segment, a wel 8 the testimony to easton hiphop oat snd stark contrast the conspicuous absence fay sina testinonas shout he infaence of Jamican) reas tins. This somewhat lopsided ge ‘vlog ght be explained, in part by the fc that many cure reggaeton orsbegan as spring hip-hop aris, apping over hiphop beste abe than ‘cea ridin ar onl switche toa rggatn forms when tbsame deat sha the burgeoning gete would provide a path to graer sucess. Ths, Yao protest hip-hop ie"what ove odo and what! earned to da Mater Jo contends thatthe biggest influence on reggston ha ome fom hiphop aris who rap em americana” And Tego Calder fel ite com nto abou scribing him inthe flowing manner: “sing hip-hop top ofa rggeton beat. dot kno hw to we in anyother way” Toa inion commentary on the tensions betwen hip-hop and reagan in orn Rio, ccsing ome ll hi-hoppes (and rggacton detractors) of wuntng “tobe ral” wile acting blacker than Big Daly Kane” shows tt ‘ru fae retain central othe dtcoure around ban poplar msi in hr ic. Die foreprounding neta and rac slaty in is own ‘nic pbc ime, eg impli that egacon is something that Puerto ofall atrpes can embrace unconsciously (This ovr musi” he kh, whereas hip-hop remain tomgy marked a the domain of Afcan ‘wisn and shut particle notion of lackne (ae pts, You sa he ref pret tha the Pope. ‘ny disuson of repgatn’srestonship to hip-hop however, would be nonce without ackoouladgnt of whats fen refer 36 "Lain ‘a oF "Latin hip hop”—a subgence distinguished at so much by musical sv which can vary widely within hip-hop’ broad onic pale, but by lane Ashton Fores and Raquel. Rivers have noted rin pani and Spun, csaly a: performed by Puero Ricans (andor Nuyorican plays prt in Now Yorks hip-hop sae dsp its marginalization Inte ipo sea igneany, however, a good nunberaf he most sa atin raping Melo Mn Ace, id Frost and ee yvem Hil haw bso fel Law Angles, with fay isto Mexico ais has ors la the aia Caribbean. The popularity of such ats in heal "gms lia Sami-ngsge rap aa roi momen itt inti Hor nto atac arn te Spnish-spcaking United Nae! atl Aner noe wily. Other eters “ati app” sa 18, a oe athe Tere Squad a (nore ee) NOR Ian aaron Nev Yorba akg hele aia i rian pro hl ula, tno natal Met, at they ed to"wr preminly i cot in Engh, Neverthle,thepopularty sian Spanishspeaking and non Spaishspeaking audiences os tc tre the place of Latin rap in hiphop, in some caer for sone bervers—"proving” that Ltn ce “could rhyme" And yen, dept thee common aicalaon ofsldarty among people ofolr eg. feel mpeg ing the “r-wor), such peormer have abo consistely pst ong milena sues of ac oe deawing orang lines beers ‘Now Yok Latin and back communities despite the common acizrion ot ‘Nayoricans ss blak yi such ashe faloing fragment fom ig Pun, oe ‘sample, seem to eam bot hip-hop ptaieblackness vs nell othe ‘sumed nonblactnes of “Ltn rappers "inthe fist Ltn rapes aba Your sall/ master the ow niggas be meu Tm acer than ea fen ating?" lncontrato US-based eappersf Latino heaps, many of whom might Better deca as pppeing ter hyns with Spanish worded pees ‘han actly upping Spanish, Puerto Ris Vico sands ss foundation] Sau athe sri whofe demonstrated that one could ap entry anton, Pelinglyin Spanish peop peppered wth the ocasional Engl ghroeoy hip-hop dang. though other Puro Rican rappers nclaing Reno sos serge the mid to lt tos far and aay Vio Cited by pes ad "egortoneo al sth pioneer of rap eet In ndton ta renng uber of popular recordings his wn (ielaing the 8p touchstone a Resta Pinal” he alo played a song role ata producer snd ghost ‘singin the ery arse ote eros in te Puerto Rin np and op) scene inloding List M, Fanchesk, and #1 Comandante, fh ade ional norable kt Vio has par ed nthe reggaeton ovement ine ‘w andergroanddays~apearng for example on The Nbc rand trae ying video (97)—showing guint degree t which regnton rox oly gees with but emerges fom (and blu nto} the acl hiphop seme in Pero Rico, despite dep and enduring sare ete hte race = ‘Not sepsis; Vico C shares his eompatio ideas aboot reggaeton ‘si hip-hop, deseibing the gaz inthe Choir Fie documeneay) oe “scent hip-hop but with a Savor more compatible tothe Carbheene Wie minting hat the two are ofthe sme esence, he demonstrates he iain deren between hiphop an reggaeton by beanng et cone ofeach genres quintessential musical syle In conta nthe scenes ‘rcs that underpin regpeton Vie represen ae in bop shyt is aber accurately (ney) moe Pup” In huroan "ha. mre een oman a merc cent aed and pes we OMooofomotooo owe DO OMOOSC0UOm000 lOO 4-2 “a produced by th steady snus om the bat, anchotog the ove gains thesycopations of the hck dam, ab shown in gue This sem diferences not a insignia one Regge’ presi ‘thc venation derives athe diel rom dana rpg and such overlaps wth great number of oer Carib (dace) genres eden qgictnsdancabiliy its dance centri characters chet through the ue’ +52 ares and 44 Hck shichditingutes irom hip-hop for # good numberof fins and practonrs a which often serves erally to Caribbean” what eherwse would be beard simpy as Latin Rip-hop A amber of interviewes inthe Chosen Few dcaentary, for example di ‘inguish egston rom hip-hop by noting tht the formers more of bale enti gers more appropriate for couple dancing ha “-boyng” break acing where the focus fr many inners o chigoes is more often the beat than thelr. The comentiona ory of egunton typically fllows Vico Cs towering ‘sample wih dscssion of another exeiplar of Spanih-nguape "rap 4 anamanisn-bor dancehall (i, rapping scl, regue palace) who, ina nod to the power of Panara’ litry cats ued hima l [Genera Paar links Jamaica ence to reage ave long pase nt reggaston lor, with El General serving a prominent mba of Pan snvasmportant plc in the tory despite the ways that his own ansatonl rave complies to nett an account of rigs nd outpor vocations ‘ofthe Panamanian rats af reget sof al oo File. Typical tke the frm a ef maton of migrant aborers main fo lacs nun aru the sun athe went cer. ch eats baer ‘nether somos abo na elure tt se Paes fle going etic tht fica wor lle si by side i ae mbes af pepe es ao he Ah el Cee ‘Many est eroneoul ipl! aa “ugh reggae” Pen In he eaytwenlthcaiury, wel or the yt ste Ino belay. on ‘aly anahron that thay emigre to yk onthe Panama Canern th 70 cont to sch onc sta fan mig Sona ouonhond might betrinforman entangle morons 4d conection ewe te Cairn Cal Reo al he ‘siamo the nde fal he con ad Joma ht eee piss feel at regi, is inporat oe hte Andon ray nde hatlongsanng cea ompeone the Latin Caen nt Noh Cama an South Ames tape amin clr" nhs inter vrk on maton ntl er ‘i Minor Mor, ex Nelo ntty names Pas et ‘hese anscan magn Tasean ar pop i rest ‘exposed to external influences,” argues Nettleford, i . whose eomomic system traditionally depends on the capris of other People's pales, whose value ar largely imported fom an son et of ‘petiences and whose dreams and hopes have tone ine orator, been rooted ether in a eghboring Panama, Cbs or Cots Rin bi Drother Americ an sometimesin Canad, «Commonwealth coin” String i sron withthe in, Ned one at ash eign pope tee sinh cory wn heft Pan Cl pes sete ‘inh hig pote hr“ hr ads ht en ns not oso nec ‘sor we he USA, sa amma taste Ste nd wr Cm wr a aig be tm cava dew te 0" Sina ese Des “homes nding tt nan’ Tea by fe nts fat ot tht pce hen abu nd eed Sa eget he oy af gm war ao ea cotangent” in Pia he ge wich A Panmaian mana che sped yt or sn pn hing pay san cod onto pj ft ity Fc aden yee ‘crcl man or un ac Cabanas bevel om Titan ign Br tn lope Schema dpe re hoon sith agi ah a cand ae entrar lanka ea hagemony sr the Ano-Carheen adhe Alea ayy rs ener ly swpeviay wih repur o youth ular al out Hr important o note ht prior to reggie bal heyday inthe 1705 when he ee found vor even out the major site of Jamaican migation, Af Pansnaian poplar music was ay bse aroun capo (ppulrized by ‘niadins and jamaica aks), as performed such loa favorites as Lord Cobra snd Lov Panam, wove numes no the aps tedtion inthe same way that Pnamanin reggie atts would ater crown theres ater ‘ius danceal ys By he ate 970, calypso ia Panay ha een agey “pplaned by soca -a more moder verson ofthe Tendadian sound, eng ing with American naa a well a Indo Tnidadian sles and by spe, which at that point was ll dened by rotse “one-dop" rhythms: Targaly based in the urban contents f Clin and Panama City some of the casket proponcts of Panamanian reggaeand hence some of the fist to perform Spani-angge epg inclodd suc outed pioneers as Renato y po aka, HL General, Nando las «Eats (one of hom was Edad F oom, and Chico Man.” Tate of such tong ies nk o Jas and the Ango-Carbbean, the embrace and transformation of ogg in Pana ae in some ese rather fren fom the prall proses in Put Ris where regs’ presence Swati mediated a New York (an hirhop), Sach a crcl dere, Towever, should not obscure Ue dpe to which epae in both paces has served loa clara polticsbased om sar artculation of rac, cs ard ecration. Nor shoul cage the way hat Puerto Rican eeggifton has Infloenced the Panamanian sene—ia crear shion—sine el emerging, in prt out of engagements with the rpg eens of sch performers as 1 General Typical refered to in Faas simply eg” cle as leno (no be coafsedwith the Puerto Rican gee) ot Dur, Pa v's Jamaican derived poplar musi ws ab sometimes called pele, a tlseripor-notulte melanin Puerto Ric cused in detain th next ‘ection hich strong sind th perv and projected blackness ofthe feoreanditsadherens Although ote egge reais popular in Param, inc the aly ow dane rege, a Jamaica, has dominated the scene, Tle is tetrdanehal dyamic sates de dese to which eae in ana rons in tp wth egg i amie ute by tha fs hn he soso prtion of Spanish-language cover versions tc ontemparaty we bls ply er replay vrions ofthe orignal Foca ins In omar in ar fee cove sos kee ‘lange ek hi ny ay Peto Rn region nee than in enter Parla rye ple woul ee ‘eng alerts erin, ean ne chow he peng‘of sch “purists” (ashe cls them) Panamanian scene ie “more an ‘eqgie- derived misic™™ ) 8 Nando Boom and Hl Genera tht the ‘mulation of dancehall than Puerto Ric's ‘ears quite cleat ow El Generals “Puan Te any Tagen” or how Marconys “Mii Min same name. Typically the riddim over which ‘und altos demic! othe acompanis ‘lsu loser ten revels tha they {ngs of he iddims—"r ick or “dove rants Fa 5 sng by the thes coves were performed © rpectively Hl Generals “Pa ana “Te Ves Buena” (a remake of hab Ranks “Gal Yoh Gooay wee both ees om Miers own imprint, Gall Disc Revd wnt tubby ve, The rack on Dana Raggy ‘with contemporary lace reac thy aso bere racial oe that NewYork ay Yt agai, othe Played ouput the history ofthe nc me or Cartan “commopol” invoke Olan He ecumenical and Catia cure, ‘Imag om Donel epee iets "NewYork fee aspiring artists such a El General various opportunities for ‘scoring and performing and it tats at major media hu facta the ‘wower circultion of such music, intding to Puerto Rica™ Acros the soundscapes of New York's Booughs—where Panamanians, Poe Ricans, Jamaicans nd African Americans often Wed (ond were railed) sie by sile—sich press reggae and hip-hop rexnated powefly a “bac ma sks" which for all the fines stil drawn between uch groups, could em. lun and expres new atcltions of common The Ke ine for Dene. escort stro Afo-Lain orientation of xt New York-based Spanish ese, depicting. along Jamaican at Lite Lenny, the Backand prowl faces of Af Panamanian and Alo: Honduran rene ‘tats clad» sot of Marcy sping the sr of Aten healer ry mich in woe at that ne in New York gure, ‘Ade tpt vious connote the ne me pt it al Regan“ing etre” quotation fom Rade Git implies that contested no ‘ons of ational curl propeety—which continue to animate discanons of ‘onto tay coud til prove a potent source of divin: jamaica ike ‘think they the ony ones to come of with eg, bu we in Pana ave een chanting cay musi for yar™ ‘somewhat perplexing that the question of regaton's Panamanian “roots remains such a sensitive, hotly debated tpi, expecially gen the ‘dq documentation nd frsthand tetinony contin the connection. an remains an originary touchstone in the tablished reggaeton nara: ‘vs of ours, a counts journalistic counts and popular documentaries sh a the Chen Few consistent ream by aarti with the story of Janmican workers in Panama. As the Chosen Few Bears wines plenty of orto Rican reggaeton innovators celeste the foundational infaece that ‘tts sch as EL General had onthe sen there nclaing} Negro, who ‘count spinning the instrumental versions of egae en espaol recordings hile oa waists performed new ie over them-—a practic he says dee ‘py nest since Panamanisn performer proved too dificult to contact norer bok fo shows Ting for some Panamanian egae ethan, recto simply "a plena Puertoriguena” a reaccented esion ofan een. ‘ily Panamanian cultural prodoc And whe thi may not bean invalid ‘erpetatin, it does end to underlay the degree to which Puerto Rca owas and produces radical revisoned (and reversona) Panama more ‘everentapproach othe reggae tain. ‘yond nationalist chains, one reason fr sich prolonged contest ‘on and conason maybe the various ways in which these New York-based Sin eae recordings, agely performed by Panamanian came occa ae in Pero Rc. I addon ong thee way into the alana’ sound scape vi auch exr-tothe-ground cultural arbiters a0) Negro, who began “peat the Noise nghicub ino, he sounds of Spenish reggae wer lo wor i «somewhat top-down manser by the promoter and producer Jonge Oquendo al is “neren-ap” project. Released in 9 onthe hss of ‘Kat Miles Gold Die less of Genera Spanish rege its, quent ‘Mer-Rap compilation brought together eased merengue msicians nl ring Perio Rican rap star. aed on his wa label imprint, Prime Faertainment (nd sinc, disribted by sath dsc was lee 3 ‘epesentation of actual on-the-ground musical practice than alte emp 40 develop Latin pap yb wich might appeal wo a wide ice not jst rp and vege fans Bu devotes of merengue as well 0 Latin pos testy, house, and ther _grnes Notably, the mj of songs on Mere-Rap were writen and pro- ace by Vico Tn aon to trac tht simply ad rap vocal and ectonic dams to coterie typical merengue srangements(eg,"Meren Raper) anda n= ber of merengue numbers with seemingly no rap ot reggae referents COtra ‘Ver other wngs presenta moe exc atemp to fb eostemporary Pop snd “bac” muse with merengue Alongside merengue inspired piano igure tnd horn Blt, Bewley M.C' "Nena Ser fo instance, employ a number rewgc' sonic signatures, rom “sanking” keyboard pater (Le, scenting the ofbeat) to the voc’ dancehal-neted, doubletime rap styl. And ‘Use Ms El Pum Pun” response recor inthe tration of reggie coun- teraction tunes” not only comets the melody fom Bl Generals “Pu “Tn Tan” (Le, Lt enny/+"Ponnany Tee" over a merengue piano if it ‘begins by invoking the drum-bet introduction to Bel Biv Devoe nas hit Poison (950), Significantly, Meren- Rap alo incides a breakbetproplled bip-hop emis of El General's "Te Ves Boen juxtaposing esd hand dap playing a3 lave chunky sample marking the ofeat in rege se ‘dominant “duby” btn, and various sampled va interetons* Nota ‘ij aradens sample based hip-hop-inflted attempt ata reggae style track, the remic of Te Ver Buen” perhaps comes doses to sounding lik the po- ction 000 1 emerge from the parallel, gasroots development of rp- ‘tg fusions in Sn Jat cbs and barrios and no doubt helped to afi the poses of such a hybrid gene. ‘Because of mere-rapis veritable popularity bt debatable infoence the sad experiment might beste understood a paying paradoxical impor tant et marginal le ia the tory of reggaeton. The Meena album ndced ‘made pl on he and andthe atts associated with Oquends exper- ‘ment cae isle and audible th Pero Ras mainstream. At the same ime, meren-ap proved an utety ephemeral and arial phenomenon.* ‘Witt grasrot spport the hye genre was oon supplanted a lin ‘nha amet be Kowa he anderen scene (i contrast othe main- steam), by simile srt of fason which, insted of Latino “topc”sig- riers tend ofreround the Blac, wap, transnational sounds of hip- Top and egal contrat othe want ifaw recodigs produced by and for hws youth al circuited locally and normaly via mistapes (at nl be is! shorty), Meren-Rap sounds verpotvcr, to sc and {dean and her bourgeois despite the involvement of reputable rappers ‘uh as Vo Tngtd prin a commer. melas market aber ‘han tet eo aencs meren-ap faa one w ew generation of"ct Rae fan Nee) whl own wp with hip-hp ad sh te ods of asp! + sult as ees th whe anos Noe pnsapeimen ape, sis ht sb tell ay pe fran fpr flog pep anes ‘alder ths he ndptmd emt po ‘ecto rochon pin mana pata ent oe ‘ing the “tropical” a seas Buti dcsig gn (ct) wad sien fain, ‘hat ean prota no hes sa pasa a "Rape ain tinge oppor fone latin ein nt nd pes ma poe Sa, sents nrand-e ich decymaeded pca fr Poerto Ris cms on the geare—amsicds and Pusrn’s sotwite {anding—ssa loc nected ann ome ay quiteseial Pro Ren url product. By exploring the distinctive characte of ety to mid sgon Puerto Rican regge-rapfsions 1 hope o ari some ofthe gensogeal ‘eatioshis which remain the saje of it in ject of intense dba in public dicourse ong a edepnd me epg tino ngsong ta petri ease tgs maf memphis tr nn genase et ia tor whouring napa eer pag ce Mien pa rN tl ree Cae ea ‘ontop epi a ach ae na “inp mal mes oa pn Ii rine ite ip a ofan) pot ahah ‘gst yh ea 6 nvm manny oops of recgninble fragments hence provide rather resonant, dynamic sort of eccompaniment. Adding to the allie mix, sch lc, Spanish langing ‘ace at Ranking Stone, Albert Ste, Macl and Manu, O.. Black and Master Joe, Baby Rasta and Gring, ry Queen nd Daddy Yanks, among, other, frequently propel thir verses by ntning one ofthe many fie ‘melodic contours that Jamaican dancehall ave endl reworked since ‘the ex to mid 9805”Eopecaly for San fun youth, these deeply ferential recorngsthar engage and embody, asthe diel index the popular nd no lub poll main naa (sit was cali ong ti) o black msi” ‘which 0 powerfully resounded across the shared soundscapes of Puerto Rico ‘nd New York ofhome and home-aay-fom-bome (hough which is which, of cour, becomes increasingly ical o tease otin the context ofa ‘migration nd "commuter nationhood”) Tt no surprise that the terms aris and audiences wed to describe the Spanish-language rapreggne Iybrids produced in Pero Rico during the 1990 themades index & numberof sglcant, oeapping rations and postions Such terms at mise ne and mela (i, “molasses” signing ‘cea spor products doin poplanttion societies) served to express an explicit cultural politics of blacknes within conte of enduring racism and anqusaont:® Calin the music underground and dembow, on the ober undo to mention rp or rege (both of which were also common) signaled an articulation with ich putatively non-Puero Rican forms ship- hop and dancehall and therfore to New York, the Ato-Carean, andthe Mian daspora. Moreover, the tem anderound als embodied the musics ‘marginale (ad proud status vi--is mainstream Puerto Rican economy, cure, and society. But altogh terms such as underground and dembow ‘wee deied from hip-hop and regs, they tok on eather lal meanings ‘sighing that San jas dtintive musical fasion was, as Raquel Z. Rivera “ser in at 995," fin tan inten de rap con reggae que no puede ‘er dasa como una coo Ta or (sch an intense fasion of rap and ‘gett tou note dase as one othe other) Despite ing devin fom other ares the ems used to describe the ince yet emergent gente acces took on expanded and enriched ‘ncanings in aero Rico The term underound(ometnes shortened to nde) came dct out hp op discount aeady enjoyed sme rene as «mia mes of wean for artists eahewng the “ommeriian orp ena acing soc sling out with capt ‘on to maintream ashi and 3 movement away fom a harden ‘stv copyright oa and atonal pics, ose athe), otwhereas self proclimed underground hip-hop groups in New York often sil ‘ticipated inthe commercial economy via “independent” label (fequenty stride by mor abel in San Jan wnderround refered mo simply to ‘mascl sy or ideologies of authenticity but acta marke postion. Inthe caely on, Puro Rian anderround coring erly circulated outide ‘of formal commercial cannes and cetralind modes of mass prodsction Dubbed fom case to cass afte anni, sal run of master apes he ‘mies moved romewhat easly though an informal economy unt ate 194 when thei appearance in certain “aboveground” soe alowed the authori ‘es, spurred by Chitin “watchdog” organizations such at Moral in Me- ia, to commence series of high-profile controversial and essential sound twenty copies ofeach minapein the early days ofcourse tha at tes” were rapidly reproduced within and outside the sen, ein New York, Connecticut the Dominican Republic, etc)® Moree, even after fitng ith cal commercial channels reggactn' reputation the "obscene music ofthe underclass ean tht thd ie aces to mnateum med channls (Ge, aio and television) before it proved if commercial viable beyond ‘the underground markt. Although th San Jan—based In he Howse magatine fered regular coverage ofthe mus ginning in 1995, for example with ‘regain Jamaica (hich dd not ave dedicated plac on local airwave nti ‘the auch of ert in 290) twas not wt mach ater that hegre was ‘embraced by mainstream medi: San Juan's Mix 1077 a Began its “247” ‘reggaeton format in 999 through the efforts of 1 Neon and} Coyote” “The term demo oes sinlar example of rsigaicaton. A mii drum tack wth hint of Latinsqe percussion and unique timbral profile, ‘Bobby “Dig!” Dious Dem Bow idm, the instrumental undying ‘Shabba Ranks “Dem Bow” (99) performed and recorded by the prod: tion duo Stet nd Cleve—becme sich ubiquitous feature of undergo ies that, expecially inthe mid tote 904 on of he most como ers ted to describe the genre was simply dembow. Before lon. at st fo some the term came to tefer more geerly to the miss prevaing rhythmic strate, the bombard that has defied Pact Ria gan since the ery se figure). Notably th term hs en reignite that {thas ac, forthe most pat ot much of ts connection to the Hed of bowing” ov int the forces af apres ad cretion ranging fon the foes ecfoiais "deiat se protis e ana ce)—shich Shab Kans dei ecoing Here vie catty Spanish cove Na ox on Bena” (9p) or Hl Genera “Son Bow” (191) appear to endorse Shabba confition of macho sexuality and raced scl strug, ater vesons, such as Winn and andes “Dem Bow” (203) seem to imply tat the term ‘Simply signifies dancing tothe dinctve bet or oterwise patcipatinginthe ‘region scene™ The concatenated frm I employ hee (afer poplar we, though orthography vary widely) i thus mean signify his transform= tion ofthe te metning roma specific llusion toa Jamaican precedent 0 ‘rather resonant bit of cal agot describing Sun Jars unique approsch to ‘eps production (with hip-hop is) “This is an approach and tranaformation signaled sonically aswel forthe instrumental fom Shab “Dem Bow” hs, side pehaps fom exly ib and bome- rin jem seasons, rarely been employed fr underground produc ‘ios in it crginal form. Abetracted instead into particular thythmicpatern (light sere fom i th othe orignal and ast of speci drum ‘ibe (directly ample rom the Dem Bow ridin and, ling. eg ‘nespati variation#?), the Den Bow cameo stand aa lel et of msi tool which ou be used in combination with ether resonant sigs while esining ditinctve sonic profile (hence remaining ane in the vas ma- jority of regseon productions, even toda). Contemporary cllectons of ‘eggicton instrament suchas Pitas de Regacton Famoss (Row Music, 2003), for expe ofen contain one or more versions ofthe Dem Bow: the original or “csi” version two-bar lop based cosy on Dennis “he Menace” Thompsons version of Bobby Digits dancehall instrumental (at heal Nando Boon Blo Beni") bt often reduced to pure ercusion (Ges not containing the keyboards or bas fom the erga); and « more rece venom, eg “Dembow 2004" which might employ diferent sounds fn other fects but audibly maintains heidi’ welloworn rhythms and ‘imbes Notb prt of what kes the Dem Bow disingushabl fom oer reygac sources anclement en ientid spec in its dtl and Inter tcc, the snl (presumably fom timbales) a short pees ‘mpl that plays an eae two-measure rhythmic pattern which sommes congroat witha: ve (se figure 6) ‘sind in fit the standard Dow Bow pattern in regeton prod ‘ons lo feats tony ch bas dwn ccenting bets and tp an nein, “rye” which mrs each eat every a Topther oF Invara combinatons shes nana gir cansaget the presence ofthe ‘em Row na partic pst, Dapeng he whins of procera the ete ich hey want fone her fii ou theo won eens of he Do aight ake ore ess po mninee o,(The tn emt Pra i oan De Bow Like the terms theses, then, the sounds of underground dbo, me ea, and oon, ko served signal, forall thir putative forignes, loc cietton (ifr steady tranentiona).Embodyng the proces floc Inge forcgn tf, he invent mstapesissvedby Negro fo The Noise lum serie and by Plyero fr his eponymous franchise offer st of sonic snaps ivi Shstratng the ways ana crystalized in an Juan in the midipgos. The two sere are emathably sma inact approach. Indeed the creation of regpcton foundational syle and its eiable canon of samples nclaing the elevation ofthe Dm Bow to basc bling block, can largely beatributed othe long shadows cast by Pleo and Te Nes. Mixing song into song on best and without pause, hl mistpes resembled lie) ‘et not unlike the srt hat might be played by hip-hop oy or dancehall ‘elector. in conrstt hip-hop of dancehall however, songs recorded by ‘outside produces would aot be featured (hough they cou be sampled instead the micapes showcase the workaf the producers and ys who made them. Acordngy the mixes were fen denied spy bythe mame ofthe producer or werierand given anumber though sometimes cach seo he ape trol alo et i wn, more suggestive ti, a many cases gesturing to dan halo hip-hop (and, yet ofen signaling» certain distance via minor mi spelings): for example, “Dance Hall Mit” and "Ragga Mootn Mic” te the inva label sds on Payer (ca. 192) wile"Now Stop Rex” an “agg Miso Mix esrb the contents of Player 6. 94- Airing olism ba, Ao ela estat, nga etre ity hy sth ante dak ns ofthe werround On the cover of Player 38 (ge 8 for stance, drench pendant, saber pope hiphop accotement in epson night ao Many eae i sports an Afi "os (a aii (economical speaking), based on ve prfr- ‘tonal sane recordings provided the accom sly ire bythe musa ethics of eas lls hip opsampe-bsed collages the ‘he Vhs 0 Player, oy Neg, and oy Nelon ily unconcerned with the nctares of copyright ership The musi rims with relrenes Waser measure, onehearslaer upon ae of ancl his ofthe dy. Taken together with vs of vocalists who olen quote prior borow oir sours bcing sampled the mas recy and ‘Ne Yovk Hemixing the sounds of home-away-oa- th, wlrground could tha expres forms of Puerto vith the vistas (and pata) of new generation “cheers ot only athe remarkable sao dard with sinicance. Abe guided our of oduct yo Payeo, hope, may suice to impart hey weaning inertextaliy’= Hat Pipe 38 sets ita Raving cemented he entra own a ans Syn ye” seen, he "Rags Miao Mi” hi hap ace pening oes cing ender of the pn rong onmestions 0 rp a8 wll wage Hegaing with a “wah wal” gee Saar and theless an races of aged vig (end thes expcity ‘emborng «snp tase approach) the introduction bears the sno “se souo of ay 0s NewYork hip-hop, opecally when jazzy bass san hen auncatedien and dst breabeat big the song ec, ‘singing nk Along with the bs eter looped olen lightly dant inthe ‘mix an punta bythe sien sound "La gente abe/que somos eck” (the people know/that wee fom the street) it repeats nsitenty before (sc how they keen | ing meses. Before lng the vocal, Mant ‘ens rapping ina “ip-tongue” stl, et is sometimes cle Jamin, in Now accompanies the appearance ofa shor but ez spy ‘om “on Number” a two-measure sxophone loop and rahe lane Ixfeem fr hip-hop devotes. Produc! by Mark the 5 King, hp hap Producer based in New York, the ras sample from Marva Whine funky an ingle "Urwin Yours (ae) bec wl na nip bop er being fare rpetely om Ya ar Rap rom W989 to ys te baci fr he" Love Dane” Atowgh he ple re bt be ng eee ett terete etree ct nrpond prota ste Mane pte pe, tka ance, the do bin dng of hme whch icin Ct (rth is croton eip-hp sod ome i) et ing ‘kel commitment) end lta phigh the tation of ch ‘pmb te fee ange dey doping yg ot a ae eeed eeee eeeaeet Inc pla ey eps he ins bl drting pc, “tly Mane qu tt? (ad Mane ho dg ln) Nay he och want cat ens ma Loveday ti ace denon i ram dt aa Aired Sono i prope el canoer ft tie ‘tei enthracntp aladg dec pe ei, Sn Tak “Ting Lng' a el inert op od ee tlio muy hs ("Landon Bk} dcp ks ‘rape wii hop yl ogmeing ey adr eee ere see eet eee Tey Cypress he athena Pee ad ati ca (i copter Nes Cot) cma vet iti tt by pti st bree erred fete tcf manipaig for the ied dab ming ee le eae ear there idl cpl soe of te ee est we dca Ceatnpceny meg fee by Th Nee deertsig os wea toto of tay doer egy nd bph ins fan al ‘ed veining eno te tna fr trp mod a ere ea ety eine fe mine i hc rsp exchenge bree en oe ‘ete pte oe et oer (a mda ope (ab tod ani “at ovan i Ml ad Mal ae flowed by set of el IP ia eet ose fe sy sing bcing Fr tne deme om th enn pope fam a in a rd y Sy and Read papa! on Gala Doman 8 Pcs iar She Viol opecaly dati pine chip appetie eer cn comsng 3 > 3 smu poten vp of pertinent ty on OM Mn hanging he ty phe ta of Now‘ork inthe wnderound imagination: "Yo me voy ara New York/E-F-ELO" (Cm ging to New Yrk/E--E1-0)-Notlong afer wehear a interpotion of “ation” (193), acontemporaydancebl eggs track by Nadie Sutherland snd Terror Fabulous and another cosover tin the New Yorkhip-hop rane "Notably the performances not quite cover af "Acton inthe sense tha, sy, Panamanian reggae arts might version an extant sng. bat instead, at 3 Jamaican dancehall artist might doit loosely alludes othe main melody of “Aton” over new backing Sima ather han replying (or reicking) ‘he Rover Pichi tht under the orignal the pista bring together & ‘numberof diferent ers and fapment, among them the Bam Bar gute ‘mpl which tue served inspire elements ofthe Fever Pick (ria ty Dan as Pichi, popularned by Cty Rank “Limb by Limb" sah an- vee fore inthe underground scene wel as drum sumples drawn mn \avioussouresand hey newly sythsned (rather than amped) baie ‘efre log, that mélange gies way to a ever oop of «breakbeat sampled fom (or at lest gesturing to) Slick Rick's “Mons Lis” (98), oll older bat rather common musical reference in anderground prod ins which ison unreveried and augmented by +32 snare (once again juxtaposing hip-hop and reggae grooves ina striking manne), Cementing the ‘connection Sick Ric's “Golden Age hip-hop track the neat vocal em os melodies, afectations and other formal features frm "Mora Liss” ‘nde to sing, "Oye Lisa” wile «stomping four-on-the oor Kick drum ‘oer and the hip-hop break i essed in and out ofthe mix. A the pst “hangs once gin returning tthe bright Bam Bam Pick utr spe the same vocal shits to new melodic and textual references, aluding tH ‘Genera’ “Pu Tun Tun” by chanting "boom boom marijuana” a wll 0 Sper Cats "Don Dad (hich was simiry covered incidentally around the ‘same ime, on BY General's “El Gran Pana”) alin the space of about hey scot From teeth mix moves to another resonant sample—the dine ‘ve dram break rom Audio T3988 hip-hop asc “Topi which had recently bee sample for Mary J Blgs 99 hit single “Rea Love™—whie ‘9 female vast apt the tne af “em Lite Indians” we by ye mother ay reference “Action oer 4am Ram ita propel dembow tuter ht perhaps ou tte pct: the degree iets foundational mixtapes is aly remarkable The sheet nob of efeences surely val exces sch pati ample bse masterwork a Public Hnerys Takes « Nan of ‘ate Boys Pou out) espe bringing ota ing sather ecumenical ottok forthe geze, the infaental mixtapes of Payer, The Noise and other innovators ao eablised, ot insignificant. 8 {sly sable canon of resonant references by reusing hi vor spl oer sd oer aan. As U have arged, sch an approach sere odie index esse and hip-hop (aod hence, “lack muse” and New York) even ai ‘vances rather ditincive ak on both traditions—and, notably, viltes 2 ‘umber of aesthetic conventions inthe proces. For ne, rege produces ‘arly employ simples, prefring instead to version or rick previous rd ‘ims by repaying and resbapin) thee dinciveelemen' Yet Puerto Rea linderround proucer, forall thee Sei to reggne tion, employ 2 ‘primal sampl-based approach and demonstrate no compunctions shout Sampling whatever sare seems appropriate. And whereas sample based p> hop producers tend to take aly ber atte toward the diet sampling of other recordings, the underround practice of sampling hip-hop tracks ‘seca een rene, conrvenes at ast fr some US. producers) ata ‘bt widespread ban on jcking” ober produces bento the sme saps ‘ued to produce och eats (withthe exception of wel-worbreabet) Its wrth orig then that Pero Rican produces nd voc ao depart rom ‘he sume trains they so cosy engage, extending even farther hip-bor and egg central practice of reste and allusion and attendant notions of ‘rnership or originality. In sown wy te ubiquitous we ofthe Dem Bow (Gwe asschtplsa the Ban Bam or Drum Songs) fers parallel tocser digital age genres ever of which hav demonstrated the sity fora ge sample to serve a the bas for hundred if not thousands, of ds cs dnt tracks: fr example the “Amen break for ux “ung” and runfats the “Degrap of "igermaa” for New Orleans “bounce” the mis or Bion unk or ve, though es demonstrably theconsti- tie role cheats the "Punky Drummer” played inate 19808 hip- tp. Porto Rican poder hus tke reggae “ddim method” and hip- tos omnivorous approach to sampling tan unprecedented extreme The samples ost common employed by andergound producer fer 8 ‘eg pe ofthe specie sorts of sundae hip-hop and reapie— that pone fest for certain Perio Rea Hiving in San Joan and New Sawin the id tyes Fr the sf station, allow met provide a sort Tio the most eu free samples during his pero. Noa the taphopacdate sources range trom wwe breakbeat (Bob Jes ake Meo the Ma Go Lo Donon nk sou recoding of "OMe tae Jo") asks from he yee’ olla Golden Age ip ch ate ‘os ovis a Sa Nk "Mon i "Cie Story and ey YoungSpecial HiT Got Mae” and “The Magaicent; Maley Marts “The Symphony Mac the 4 Kings “goo Number), eostemperary hy dlc aie Cyprian inthe Membrane peal, tnd fen ony its gueling sen: Howse of Pi “Back fom the Dendy ig Mack's “Flava in Your Ear" and De La Sous Talk’ Bout Hey Love aswell as various other tracks by sch New op oops as Gang Stat, Wu-Tang Clan, and as 90). Ragamatin eapper Mad Lions “Take an “uring riddims dating fom the s,s, and "oe: Dm Son Rea Rac, Sie, Tempo to ame afew" Payer and hiscolleagucs nd competion «ithe det sampled (and chopped and stabbed" thee ior loded 1 them—espeily those defined by thi ‘ale)—by replying the melodies on synthesizer which had long been od by anderound producers o augment thir sampl-bsed prodetiony I sl worth noting 8 hasbeen mentioned above, that wea fequenty ‘ue yet another layer ofinterextulty ether by employing mee drvun sis rom daca ong (wel som hip-hop or pop his) er by more pnerc melodic contour tha danethal she longsetopropel thei. Shabba Rank, Tnor Sam uj Barton, Sper {sand Cty Ranks appar tobe favorite model in thi ear. (An he ‘anes of many undenround arists—wihsachappelation 8 Ranks, Styles ‘Nowy, and Dahy—py explicate to sch figures) ven when ecg caics do not appear, underground wes flows tnd to doselyreemie chalsing-song, scat, doublet, end-shyme eto, Many tunderound vocals scm lot have doped danchall eye ‘clo conentonl ey ratonship wht me might and et hay ‘insnwhich cul be heat as bth a expen these we“ ‘formal musa traning a8 well ta ashton consent ith ‘raat aproutes mae bay ‘The dens, aint nvm wanes ‘ni 1905 underground recordings ths supported youth-anddlas-indeted ‘altura polis of Backes and dds, sigan, by embrcing if not implying the Nyorcan mensions of Puerto Rican culture. Taking hip- hop hatchet to reggae'spop-wil-eatsl aetbets, underground produc- ‘sand vat crafted rich mai fon which ered t New York ot ‘hcltaral ewible where Puerto Ricans, Panamanian, Jamaicans and Af “on Americans, among others, encountered each other and contributed to * share, contested and cltraly charged soundscape. Moreover, a noted shoe wih regard to the mintapes’arwork, the transnational character of| ‘daa cnerged ot olin the sounds of the productions but nthe images ‘hat sccompanied them, Sica, iar actions of race and place a be seen ithe promotional videos for the mixtapes. The video for The ie forinstance, with ts shots of goose down jacket wearing cs hopping ‘wesilsin the New York subway and psig in ont ofthe Unisphere in ‘Qucens fers ved stration of what Juan Flores describes as “otble revere the detion fecal dese forthe geographical other: Whe tadonlly the transocal Puerto Rican sensibly was charactr- la hy the emit longing for the bene ofthe log at ind 0 some rap texts andamong street youth it waste urban dasporasetingsof| ‘hls and EI Barto that became places of fescnation and nodaia® In his sense, the expresive Forms of reggaeton and it rp-repge prec. so) might be had, sen, and ead a embodying the “tural reins” ‘of uansatonatism from blow” perhaps even promising reicovery of Port Kan norte and a reonciaon of Puerto Rien natioal den- Ning t historian Frank Moya Poa, lores compares sch poten "alshito he ways which notions of Dominican ef and nationhood have cn ehape yeti migrants “Racial and cultural denial worked for nay yes ares Mya Pons, "but migaton to the United Sate aly “ash de the ogo fhe radon dfn of Dominican ational deni Ben 30 Te Caleb contend, dpe me encour ‘cg shen a Don Omar's st denifcstion (and projection) es “eh any wane i racial ogi am the aan and acre Latin Ameria mote wily rena pinfly how: “Thee ignorance and Pity cto Rico ad Latin Americ whe it comet blake Cabedn ‘un sates ina eet piece pie i the ew Yr Psa eprint in ‘hi vohame, stance hip-hop ee aa rpg in Pero Rio thas om {uot eh certain uta atonal prochain wich al come gnwith what Flores cal “tefl fore of daipors at source and challenge in Caribbean musi history” The commie ving in daspora, Hotes con. tend “ned tobe seen a sources of creative cult innovaion rate han 1 repository or mere extensions of expresive tatoos in the geographic homelands™ Thi is by no means new curl ten for Porto Rio 8 the examples of dana and ss demonstrate a iar proces of engin vith puny other” music (marked, yt bac, Nuyorican, or Cuban), and of nationalizing as quately Pero Rican expres forms once ded 8 foreign And ye, asthe real” character of danas othe bla _qcamnintof as demonsrates—with the ter gent exp “rac con- ‘sciousness at Deborah Paci Herandes pus it, “replaced bythe hth or ‘hestral arrangements and insipid Wil concere of isle soccer, sale rmdir” —the “nationalization” or pulic embrace of that which was Intl cast as masa ners in Puerto Rico ca lo lead toa. co-opatin (or teat transformation) of such gene for commercial ventures Indeed Poco Ri’ transnational forged apreqga hybrid moves fom te under ond othe “mainstea” around the ten ofthe millennium, one bears (od sec) some striking shifts in sonic, view, and teal articulation of communi, expecially a artists and producer sek more expiciy to markt ‘he genre xpeclly ouside Puerto Rio, the sound ofan emerge pan {atin comma ‘HOM MOSICA NEGRA TO REGGAETON LATINO: ‘As underground became more commercial crave over the ae os and ‘pecially inthe st ha ofthe present dec, alo beanies nderground—both in aesthetic and economic erm. The arent of aceibe Aigitaloos or producing and dtrbutng recoding acl changed the sound and reach ofthe genre, and vcaiats nd prods eg apt ‘nw markets and aden, often tein the lis of cna in the rcs Nolnger bound by Pero ic shores or even by Naya aid ile dasporic circuits eeton atts and record Ils pn o ales ew and incteasngy dvr tener an interationl meager and suggestive sounds of techno (or cm, a sometines oie) and ater vith sch “pial” sources apn to ie the sry em) a achat a ‘ala, the comtemporary suid fraction as ky prose ca se nded a he wold came to know it via the aloping synths of “Gain “obered around the tur ofthe millenium and quickly asumed the sort of ‘isc rtodory one might expect from commercial ventures, Dept ble onic reminders ofthe genre's oot and rote, such 8 the penitent prscace ofthe dembow thythm, fan percusion samples and ‘etal youl ses or fw, what had formerly ben bigitous and obvious ode to hipchop and reggae—and which seemed quite eset othe genre dts curl pois in the mid-gp0r—qrew fries submerged with 1: (petons burgeoning commercial sacs. Peeps in part i order to aod Copyright Iitgaton given newfound prominence (nd profi) reegacton Pro- ‘dcesincreningly favored sythesaed backing withthe only remaining ‘Semple bing the soare kick and ober bits f resonant pression cut and amed om the ene’ foundational dancehall ids (and, more and more ‘resting a sample banks via e-mail and cos). Regpetonasitcame tobe “tle during this ime, began to throb with the hea, bombastic sounds of ‘fv and dance anthems (i, house and techno-infsed pop. Grated onto the gen’ dembow template, the musi was increasingly prodced and po noted asthe soundtrack of pee” and “blaqueo” (Le, dogg ste dance a rnin), of highly sexual dancing and high sexi object of the male pate Mirroring the commercial and exaggerated sexual cms asoxited vith chi tre, as wel continuing a longstanding preocupation fo the [rove (and a common projection onto reggie), song themes tured more uarly sxc to x, acho fantasies about ex—fien bordering othe pormogaphic se Bass Regen Sexseties rb sich at ‘hip Ss I yrhaps pil challenging middleclass mores and Christian ‘alas reggaeton’ emphasis on 2x (and more iy mance) shoul ao Trac an consistent with mainarea commercial American clr, nt 40 trenton enduring stereotypes about hot Moe” Latin vera 1 bat & “hort jump rm ert the veo for NOES cromsner hit “Oye Mi Cano” ecu an aay of tiki cad women waving the lag of Latin American arnt arttean counties Regeton proces an performers seemed 0 brace, not amplify, ber of stereos about race gee, ad hetplac. Give such fiona dhe msc ve at the mata “Changin contest ar conten th e's pais might een (ad Fran) as undrging sor sit aru he ar of he ile vin tay fom only, ety a visually encoded forerouring of rca “Community oc oval national an fn sexs oa eas ere)Latin pan-Latn signifier, to putin the words of reggaeton performers ‘hems, rom "msn ner to “Reygaeton Latina theater phrase e- shined and projected by « Don Oar cosover hit in 200. "And yt fara the gente may hve dri from hip-hop and eggs in some way the embrace by repgeton roduc performer and ecord abel (Of bling bing” style nd ster archetypes aggresive cos-promtion and ‘medi sy, andthe timbres and textures of hip-hop and reps’ own ‘ovevapping dg millennia aestheticr-all hs eatures show how the gre as emained in eve convention wih its nfluence: Moreover regain’ ise to mtnteam vst, sii, and marhetayisied not only to Sch sist yore but lot certain dere of ortlous timing In 2003, ety piortobreskthrough its by NORE, Daddy Yankee and Don Oma, ‘wave of cruover ite and high-profile collaborations by sch Jamaican ‘ances Sean Pal, Wayne Wonder, and Hephan Man had served © prepare US. (and international) audiences fo, if you wil lative win ‘eligble dance cence pop (For the average monolingual Engh speaks, Jamaican creole might at well be Spans)" Furter prepping the lten- ing publi for Spanish and Spanglish songs, Jamaican dancehals own sccess in the US. mainazeam was amplified (if ako eppropated) by US.-based otinofa performers who employed the test requ rds to support tee ‘own char incursions: eg, bulls "Calo" and Nina Sky's “Move Ya Body” ‘wre both recorded oer the Cale Dene di, whe Lume recorded Neve Leave You (Ub-Ooob, Uh-Ooot)” on the Dial riddim, which had already propel US. hat hits by Seen Pas and Wayne Wooder. Thus. 5 nc reggae artis pigybaced thie way to new lve of international ces on hip-hop national and global resonance, regscton arte did the sts with the added aseitance of thei brethren from Jamaica, who ‘eases sence fora new waveofCarbea-infece foreign bu uni rpsinfaed dance mas ‘ier forms abe consmerciiatin consistent with the mains Ingo egsston fom the mi-1990eo today can be ead the increasingly commonplace effects an aft of nan and American pop more general ako ein the fen overwrought singing tks of Lain pp alls ‘ie the singsong meio dana reac wl a hiphop mone ‘monotone have coon npn ean xls ote in of spyrocher—in particular, Amerian Malay minut: histones have ‘become more prominent sce the miso sang wh there of romantic ‘hemes and coer ape estor and Tit, Wisin and pearance of group and soo albums and compilations of drt songs at ‘oppose to dense, nonstop mixtapes, might be seen a8 apoter attempt 10 ‘bring eggcton into the aboveground commercial marketplace. similar shit ‘as occured a the evel ofthe song: whereas enti andmid-9pe productions were mashed by moe fragmentary routines ollowing the regula if whimsical shits oftheir collage acompaniment, by the tego and especialy afer ‘he tun ofthe mllenni, it became far more common to produc separate songs falling a vese-chorus-es form and without too many stark de ‘partures in mosicl texture. Such ice nits and familiar forms are, of ‘couse. area o promote andi the mszstream make Related 0 his sh toward certain orthodon reget’ defining feature, the bom-ch- ‘vor chik ofthe dembow patra has assumed evel of hythmic hegemony. sch that one ens far fewer breaks int hip-hop or contemporary dancehall ‘Ntsome point inthe ate gos though the exc date and particu eco ‘st remain in dit, underground (or dembow, mela) was rerowned ‘gyn nameperaps being the ger’ increasing commerciaation nla sens that tha emerged ata dnc Fin, at eter hip-hop oe reggae (hough it was il equeny described sng both terms by fans vu practioner) oy Neon i equendy credited, and takes credit, for ‘emming the gere. "ng pat the mame‘ Repgcton’ on one of my bums” Io reporter forthe der agin, “I started thinking, Let me pat ke "Rojpe Marta o Maat Reggae’ it And fom there I tated, ik, sinpliyng words, an thn came up with Reggaeton" cording ito, + Brons-bor, Cannetcut-bsed 0} who plays regpactn alongside ous, hip hops anda host of ote eyes sme people began sing the ‘orn ravion arou thiime to dese track employing “original Deas” "has hoe that did ot ron the well worn eg die and hip-hop ‘omples ofthe 90s but instead primal employed yuhesiers” Blas pr Rear Sexi dot wa crcl in popularizing the er a he mew prction sy merging in sep with dg muse Sotate (otto meio sigan of he sexu. And of eouns, more ‘eco mai tention and indy ype round the gee, especial from dio4 tthe present, ave serve cement the eras connection the mie cont ts resanance or prs ana aun ‘Around he ae ie dhe ane as ecg how by anew mame the vs had gn acre several of he tic etre hat propel nay’ ‘ae, db rendy conection. The alt of we mk prskction echoes patil yes a soqence stare, hav res de{0 do with this shit in ound, Programs such Fruity Lops, with tela “prot sounds and fects, served o expand and change the sonic paletes of ‘expton produces n part because sch programs wee often intial dev ‘pesto fr techno producers the gee tated to moves rom epgne ‘hip-hop samples and toward faturiic ryt, cinematic rings bombs ic fects and (especialy ust before a “big” downbeat) crescendoig kick rum are roland cba splashes. Theater formal devices ound more ‘ered fom trncespe techno anthems than anything ee if, notably, sometimes scoped ina manner more reminiscent of breaks in saa ot merengue Extblhed producers such ty Player, 0) Neon, and Joe, las clatve newcomers such Blas, ped move the gene primary ‘ound sores fom samples to synthesizer, introducing the we of hei ‘ck drums, vey sy sabe” and tancey arpeggios a well as catoonsh ita sound eects wind blowing, explosion). Ther productions wee not ifm or matualinditingsshable, however, nd ech offs an interesting lookat the development ofthe genre daring crcl transition, Arie survey al alow us iten in on some of these changes oral the new sound and technologies informing reggactn yin the Ise ‘os prior toa kindof commercial consoldation around 2003 many rouctons mintained audible Hinks wo the gene's sample laden dey, and "hs pethap, othe abe curl politic of midge melas. A number oF familia sours fom hip-hop and regs, if often employed in self ‘onsioy nostalgic manne, can stil be herd on Plier Pas Pres aa Future (998-9), ining a track telling tiled “Ol Scho View” hich fers wpa ase collage in underground se referencing ancl of ‘ont simple in under thirty second among ther bits we hear fragments rom Slik Rick's "Mona isthe familar saophone tb fom 45 King's“ Name: rapper Rob Base saying “I wanna rock ight now” (rom “It Takes Tk the well-worn breakbeat fom Bab James “Take Met the Mand ‘Gra (a usd in countess hip-hop songs; Chick D's heavily sap shout "tas How low can you goo Weng the Noise" measure from Howse is "Hot This Yea” More se connetons othe genes pas abo ‘emain adie a ayers ate apo protons, op Agmentary font a sot a eg! ns eng yee pista ‘Other techn mba the ene ew Seaturs various techno synths evoking the distinctively “euch” sounds of the Roland 19-909 and employing the charceriic fering r frequency ‘wees of electron dance music. Daddys Yanks “Tas las Ye i an ‘ther case in point. The tack begins witha “detuned” ath if evoking ony ‘umber of trance o techn tacks. As s fouron-the-foo hick drum aug. ‘ment theif one could eal mistake it fora andar not ch gosh mbm, at least before the demdow drums enter Once the 3+ 3+ mares ‘ome, along wth Ynkee' vol, there iso mistaking the ck or anything other than reggaeton; nonthles it ofr clear example of how sythsiand. (or sample) techno references came increasingly to spplant the gee’ a fini for hip-hop and dancehall sources. The track sill moves somewhat stahiybetween hip-hop groove ands dembow thy, howeves and such stration maining connections to mid-ggs see Moteor at pointe ‘Yanke propel isi with couple (characteris out-of tune”) mao. ics borrowed fom Culture Gs “Karma Chameleon” (198) and the Ban. ‘es tllad “ternal Fame” (8). Although thes references ots pop hits ‘might sem lightly odd here, not © mention rather fr fom the symbolic links which borrowed hooks from reggae of hip-hop songs might once have «vol they are atualy consistent with what has long been an ecumenical ‘tlk fo th penre—an approach derived in prt from hip-ho' and rege {8c owm voracious practic Finally, “Todas Yale” alo offers «window ‘the enduring presence of Jamaica via Panama: the term yu, which ‘ket tmes interchanges herewith mujeres. women, comes fom the anamanion slang quik, which tulad gyal Jmaicen creole version of gitor gn? rodutions by The Noite nd by Joe during his period demonstrat simi- lured On The Noe (2000), for intanc, one hes the tea sound of Fruity Loops prs and effets longi other synthesized sounds, empe- ‘ily the pounding has drums fr which techno is known. One alo her, however, the sme big bas synths, chopped-and-tabbed hip-hop references (ss squealing Cypress Hi samples), repeat triggered vc lines all ‘soos dans meas Rue Son crams several into singe song), and ‘on How saps especialy the sates, bt als the dns resonant ass rum) for which mela ha een known, The Bam Bam, ever ih, nd oo Man am dis ao er thee the i hough the pst shit i shape at el t oriented the mos (ses pti han om carer recodings andthe ng forms moe csely ‘esrb anda pop far. ae millenia nistapes a sem contin ‘these detons Whereas the prMac ae Wyo mies tain ea defncaca syle, sory afer 2000 the infuence of Fruity Loops and nods to ‘techno become fr more pronounced. With the exception of Dem Bow drum ‘samples by the release of Fatal Fata (30), big cheesy ub sats digital ‘rplosions, and melodramatic percsion crescendos dominate the tract tx tutes, ovesdowing any smpe-bsed connections oes, Vocalists stl employ dancehalb-elted melodie at wel various op allusions (i- cluding the tht "Me. Sandan”), though one also heats refinement of ch # melodic approach: a diinctivly Puerto Rian approach to melodic ‘contour and vocal tinbee—ofen evoking the asl singing ses of many sneromseems to emerge afer «decade of recying «handfil of tunes. A connection betwen th sounds oftchno andthe sexs aendy appears ‘ater reed by this point, underscored in Joe's case bythe sgt (inp efeence to «popular videogame (Final Rota) on the Fatal nas series. Despite thee parle movements across the reggaeton scene, during the fest ee ears of the new millennia Blas might ih be credited as most ality promoting the tecne sound, coafating it wih sexual licens, and ‘utringin good number af the elements which emai tapes ofthe gare ‘oy and atk moet oft mainstem is. la’ Reggacon Sex sere m- loys the tari act synth and bombast of aera techno and conte rary tance to eat fe, creating physical and pcologcaly compel ig music ver which (re) vais and (Female) “phonesex” samples ‘pestely invoke the body and the bawdy. Over sa-toath yas and ping yong sepa cescendoing kicks and snares and cymbal rashes, ols Caort (and/or order) women t0 “move i” pero, and d afr number ‘ots more expliiy sexul act. Rather than the pliant, reggie sinc ofthe mig ses’ bas toes sere instead to accente the kick Urums on ech bet, fen with a -V Coompahae) movement an somtimes racing out ple chord progresons—a rudimentary thy Inc ard harmonic roe fr the as which has remained a etre in a peat ‘many commercial reget peat Apis these steady Bas toes {nd ery bck om each thease ro [aw a Ba, the voi eat isfy ome there, pig gain {he forage el wth thei § +96 8 ae ad ingot prominent va a es the ony ai a eatin wo the gees under own os, Getring tthe of em Bass 4h oF wemeasue in ‘hers ater ti \ ‘One strong contrast o what stems ike a creping samenes among ep ‘ton produces around this time canbe heard inthe productions of 01 "Nelson, even if remaaby he i alo pari responsible for ushering in the ‘most hegemonic orc in recent reggacton sy the du known as any Tues ‘Begining wih his production work or The Noi in 193, Neen proc: tions ve consistently pu forward an ecumenical orientation, as well one ‘hat remins closely connected to contemporary movements in hi-hop and ‘egg. During an interview semen in the Chosen Few dcimentry, Neo ‘characterizes hel and his styl as "adventurous "Ike to experient” he says "fase diferent gee, for example: sia and reggaeton, electron ‘mas and reggaeton ays tt bring something newt the ene, ie rope new rhythms" (Appropriately whe he is describing hrs i thi ‘manner a bachat-egacton fasion payin he background) Mot recent, "Nelson has ben a the forefront of sas-reggactn fusions nd infusions but his premilenna productions abo demonstrate a reat deal of arcy Neen lbum The Fw 98) blancs exist explorations witha hefy number ‘of samples and obvious references to ater songs (eg, Eurythmics’ “Sweet rus) Notably as many tacks on the am employ hip-hop groves (ce ‘igure 4) and dancehall’ inte stomp (gue 2 as egaeors well-worn ‘vom ¢h-om SynerAkeran, dei the wnic romanc pp of “ae Sin amg Kash see a an arin ot open tare Ippon tof /nlan 0p (ace ‘tae ne Meet ft acts Panam we ee ba tsi witha pcos hi mo onto el ‘eon “Gn ign wed Key ee ar ton fe ‘pdt ene hon "Monet a beds pete al hh te a ort |i ctl Boi in Per a tha reting| ‘thon soi ink AfeLatin spe, Alle me to chr my wos, {paling er when I wt “Dem How eff the Sh Res on: whe ‘te De arr he dim pray Baby Dia wen wre deo, "reer tothe abstracted hymipterderie othe De owas wel thee in Peo Rio named ser he igsos yh, wich aioe a dered ae temo db dr (ad wich semepmens wt on pound "under" mela) 7. The orf rept Panamanian oa bece nh commonplace in ovr cee th sees an etc etre Online meme od Scan, he te and, tend tower iy hae apts over which le ‘ea im tothe pe Se, 9 hep urease com/ fr show ‘ven pp-enpasge aed Ocobe 6); hontai nt ‘ramen ml cee ae, 308) ‘Ar ines sraghot this ey employ te contruction “eps” when seing bth gga ad epson pec inca whee acing Pt ko Panama pie the ave of he em rego skin 0 “soe the ge eat itr ped For camper ef ome ther antetout {Wo aod eget progepiel ndclra prvenans eg plo ‘on nate pp ceed nary & 3007) © Ang rt ea other ihelarhp the wings oflobn Strm obra eatin Ting Theat of Latin Ameri Ma te Unie Sees New Yo Nl Satie Ch a eM rm the int Drom he Mambo (Chg: hc Re Pres, 0) a perma fr ow advan snd ig ah thy. The wrk a Ken Bib uch ti ny “Te Caren 2 tal Renn Can Caos Sy W. Mir and Sly Pc 8-8 An sp righ ample ce thir vat the ong hepa conte Hes. thsioems i ophion a range ete te ene a omni ones Onan han te were gem boa tr op aya ne she iar photon 0 fod” See hen ling eon Tea t pip a pga ary 6) wb etre sh pn he tng ae met fie“ wl fee ee he ae dieing ehh ea fs aden xp at 1 ot‘sted inmost dnc, Afo-Cabn, New Oren mc, The ho ig ieee eee sting on with corel or cyl thao he ota wih heb drum 1 Tshoaldnote ti my on xpi tng bomb nonin Chica dig the il of 206 Bowe sch onsen ween the rans eer aod ‘octon wer ewe aborted by the Intute and ned, pact ine eigrated—rmore beaut fs ri tha man lemat sarge opting Ines on Pur en you. The conection mak re, thn ry ‘oun tempts to provide pec rediag of wat re prap mare is thn on, {ene atempe connect epicentre han i mst it oe ‘ears hip-hop and gp thou wal the acknowl he cpr A “oclekin ping meter the cnnecton) Ply Thane igh ‘och strcurl hie ilres om more specious sos th pare ‘fone in regan wee browed det fom bombo em eg, “Where on versa tet aablediference eth ex aps a igh hat ‘kre fom Bamba and Pew pepe chi os ‘ese iar 63207) non Kv Johnson, “introduction” in Topher than Tog The Say of ance Masco ner oes (Lond: ud Record La sit rhe and produces ason name ere ar among he mao acho fr Prt Rien producer andor thc and mip: Shab Rk “Dem waded in te preva and flwig stony, came rept eck ii aj anor’ tone nope rod ny Paro Rca o/c nd vera ipa and produced by Stel and lv sch a Pe Ma) nine Dem Bowie exe sales fo "underground" poe 4 Ss vin ey in Tony Michele, Gal Nae Rap nd ip. Hp sw te na Mien, Conn: Ween Unrest rs 00) gpd mer ‘hich er wines to acoso of dna (en led arg’ ond ip plein var coments te Unie Ste The nash and growing Hert on Jaman and Wot Ii Carin) ‘nition o New ak the ate weit century ee Mary CMa, la “en We dis tin Dre ed Aricon Riis (ow Yr: seth ‘Soult Philp Kasi, Crean NewS Bc gta oh sof ae ae, Coral Unive Pre ancy For nd te ‘ip Wt dio ito New Yk Brey Ur Calla Pros sm for aaa sing om may Ae an Lote Wie, Mad Sn he dCi Cain Popa a a ety Now ok Uns ier ‘Mid oy Reo 9) pp ht sae he cee hat aay ln se ee Yr by hi fo el di eer ‘wt wih the ord ke Cie). Tat "hake Now ek oap cold ‘epee he Boa coving with he ound of ala th ine pes ole For sina mor widespread pth more persion precenons fhmai the ace an exe ore hare vse, fr ple sch Holywood Sima Marn Death opr Per 3p) ot of wich are exname deed! iain Choe ewe Dacre cove (Churn Few Ener Enteralnmen an Bor Of pone aod 17 The document tiles, wich ec fer gy ites ns ofthe itevew tet, tate Mase Jo “en merc 1" nga orf dtingish fom Spanish ange rpprs he ther cs eel ret qute the bit (ter evening rerio cpr). "8. The Metn Machin Ray Dee ad Whipe Whip nd hares re ag he ct, Now York-based “ain rappen” Fr ft dcusion af he pene on. wal the inpons ot marpialinton nthe hip-hop marae ae, nan Ho, From Bab Hip-Hop: Pr Ren Cae nd Ltn ety ne "ork Columbia Une Pres onan Rage Riera New ot if the ip Zone (New Yr: agave Macilen, 0 Ses tte tthe ae Pn in, which gn with he ede “our yeas ag weg gndary t wo nga hepa wih his ries ow In te, we xine his jamp-of Cpl Pacheco at oe Latin ws cou sym and go plain: beg com Fennec! ‘me ighvindechl ccd Fry 7). 20 Se fo inte, Vitor M. Rogue “The Racin of Puro Rian "ahi the Unie Stein Bi Hae nd Nanay the Crea od FM. Cason Ro Fda: Une of Prt Ri, Into Cartbean Sa, thane 2 Pie, “The rem Share” Capi! Pannen, co (Beit. 98) 2 er morn the sons ewe hiphop nd ego in Paro Rn ee sean hi le Se lest pnh iy? The Sure March 2 Thesqenin qin canbe oun in chap Bf the Chen ev ovo, "Hip op Latin vs Regen” Interestingly, Veo Cx cmp alo fe ac of ry she pss the rect yt ky tra he ip opt Ath php and ecto ck ecm rang ly wy tc pe et er mite tis a ah tact eps econ a ‘one ater than pT prt cla eg dc 24 Not pica Vio Can Gent ae te case sw ma ‘ava te. Fr eames a ips tc fort ep ‘spe aerating slo as fm che ane Vi oo 90 = 200 Aba i th ig ht Gea ene on the Per-Ranip bopigpe see i perap perv Vi Cx Hl Comandane (gh finan In ation ng weten by Vico Che Lie iy Reg, ince cone fH Generals Ta Pa Pan” ane Boe” 1 Anonine xr yp mer frre inthe soe ase ht soap wos Boog o Pana inthe ety etch etry, other alleging at Tams came work onthe caalin het See tpn econo ‘enor 62007) sxx eg, bprlooindre cash di vewtopcpp-sashgligh=ae won preset nln depth El Gener fr tn, the nerve with Chris Toc blah in his ue, mento the poplar of Haan uc in Pans othe {eo in rege at aching on) As th wrk of Ca Gan Monto sg ‘he waythe pee with earn cur pisces interest ing ad destin part, woul we 1 in hw ad wy ‘eae eel come uch crs prominence mong Af Ailes Paina Se Cora Marta Gor Monte“ Bx Me Own Drm in Me Ow Nate {aCe Maia Toran the Panamanian at Ca Anh Qari 508 69-0 Onc wlll eran migrant calle “Gaan hing nrc egg Pann gh is ory sent peel eh the ded ond mniccrl Tik tonn aws a ma So ‘leptin PsP es any 9 80) "Thnk Mar Li Sal fo ge ot pr (a ny sw) for cco he ieee te le, a con Pum the ling mesg Bo! hs. “Com infaunal ow 8- wnat. -comlatinlakinch.ibrpt_picktetteecomssp=y (bah scene brary, 208) 1 Sureying ome of the att sng rd n Faams, oe he pracice ‘contig hen in 204 on cal ht he Panama Pinca pain il" Rey el Daneel” wih the ee cdecs nd oe the en at Jana Beele Man wed ows inal Kinga the Dnchal” fw moat ‘sor Fama Arne employing for “Las Cenos Dijeron Goodbye (The ‘he Sid Goody the mea fo naa singe yp "Seious Tins” ove reenter cous Spinal Wari that pops the origina (hoops Asie changes the text om «medion othe ate fh werd ‘ed aon) er aborsion oo emacs "lin pen” ad te pai of reli covers and othr ids of eons wl sadn ofr mee pracher—tn Pett Manel and Wine Mal, “The Ridin Med Att 1 Practice and Ovnerhip in Jems Dacha” paar Mae 5,3 208) 28, Rague Cepia “Ridin bythe Regen” Vil i Mach 2 005, npsteagoicom/maicsepea ah acd Febery 21a) Mao fall ei comments 0 apoling and engaging ih ree ‘won Paani rt ee rare and th owe mon ape ‘sth well ow tad a ply yada the orm Spr whch wold ‘tl parte egcon eon a Poe Rie Here agin Te see ot ‘ten Pua there moe since 1 ter” he tl Rage Cepeda (i And hough at bert iat recat boi coset ith ‘ners mony a cated the Chen Fo cuenta pring ort “yup ein daring the orate ay of Panam pln ae, playing te ‘tena ies frm econ at 4m In ation aough ene lds wide "ont emp ars Pnumanin epee her aoa tie genre "va whch cree the umber of bea pr mite shoe ge yom form dnc or eet ego ht mater) And ye, thr wa, he Pam rege sre a ng ee comets with dept in Fret Han hgh the lef repgpton an he more eet aden aw ican airman hoor seated hi change Pane an proce Cheb, won rn ines mare i in "oa oar Fro Rs goin the a fo th eo Las nts de rp Tikes om the Crp) sere ies ac om ace en, Span "a eke ete ern y the mae o Chon bel i it vers Mak -appret ail he mie "Fom th cron wth ce ch eat mats eee the ml’ dnoe dPe i pe of os apap Tas tf nro ste na in dc sot main, ef sme by ei” May, 00 pe yo yb og4hegcon thers foie lace any 28Say” asin Iman ht i etre ot of eps s(t the lee fh sh nt) saore apron fr rep ee ‘6: A poup sch Proyecto Us, ho emerge the Nw York meng eehoue, "Ltn oe ad pour er wth fiona sa ie (Le, the eye) and tie are tughot the ed (and oe ree ah ere eee {iy inet hat ch rope wee lini mer chat Mag nv in es ys incrprstd eo aa tga a ‘thet merengue cence pop (eo tan, Map as a tM a er no une the siren pat nt ocr tht amish ame po." "4c" er i Ik yh anc | bl ies apg ar which hy een whch see susan may ay dnd enn at Bas Ti anh hh se ten tthe ©. Other note produce ofthe prio inden, Ada, 0 Gly, ‘Miter GJ an er inthe deca 0} Ba od Diy. The rm ch sordigs tok of one, wre icy td ote med oa whch hy cee ‘hus pel map oti wo 20-30 mint continous mins (oe fr ech ‘eof tease), 4 As dca ath opening his uy the herating ares in comers ‘roucton ch “Guo cn thse er aly bedi onmcion ‘his er asic practice feat betwen recep, tana se ‘rom hip-hop ad gp. Morew een ongach s “Regan ati?” Bon ‘aro “So” by Heor “Ft coat, all he commitment te bedrock bom-c-hen-ick wo emply conten poo in oer propel he efor and pes ape iferetence ‘he aio and “tov” yf te ora Sn wh ned exy hip-hop sad san vocal For moo this nomen wel a expan oe ‘ying af ria meade contours in deel see Mane wd Mal “The "lin Med” ‘Foret account of Por Ri (andthe Crea inceigy cc | ron pater edhe ad ctrl impo tere rec vr i ad alr Saga, nd Parad Par ii ep Yorks "lg ondatin 29) Cro Astonia Tors, Hage Roger Ven sn iam Bar Te Commune Mtn: pins on Par ia Mian {to eas Unive Pur Rio Pe 4h Pati Peer, Carian Che ‘ow Dis nthe Sty of Crean Mito New York: Cener gton hs New ark 19 ad re Duy. The ars Kien Noo th Me eis he an ad inthe nied Sates (Cape Hs Une of Neth aria Pom 0) {»-O0eofte met sent cumple ofa an imecation fm canb andin sc Reverso of Calin “Ti” Cat Al “Lat ers gone ‘exo equa clea quer langue. > (Wee ‘ws ht lage mesh create mest nc.) ed ‘eis of meting re msn, Mange the pons poe ‘ha bf cl “when” the Latin arte an Ltn Ar ‘fe tne tak de salty o cea cas ‘anastasia heel aon ch pope ee {rhe exe yet may rea ana he pS ‘te Wa Ra yn Lai Aaron: hPa rh a 9 Kat ir," wou pei” Cra bony ome:The allowing west, prepared in 200 bat eft he dts of 95, es see fing pois ote who oppose moray ened ap ‘ue toca pron o/s (crue Rao 9, 2007, $2 Hague Z Rive, “Del underound a oper p 5 St the Chosen Fe documenta 2 Coe einen shout puting reg ‘on the ai awl assent ot nthe Hae map 1: shoul conf that though 1am set nif «god mame ofthe ‘fon in sch recog thanks ait wih hiphop ed ee "err om ht eri, am no dot mining many then, pei prep, ‘eco Prt Rien (pop an fo) nga etaet other a eg, ‘ompeeny expected evar and ener y thse mien peda {Sere 4 menage bard dc ego con f Noember so, cht the loin pinion: “The ef the Seat cane Rao 9 es, wh the sg La Mass Negrin’ by nce Tht sna spr ae ‘snes cing theming of he ro the water Dykes Me ier Ver Maro Ea i Funerdopig the bee ht the eee eon ih tere. that dc mae You twp an err a dane et ‘sor what wi” These ut, ath contin by omega aly ‘a that Maco poi! te deo be with Pa 9 pws oc ma/rum/tadamse8-+-vahl I am at se why Har hence hich ate pits hat a employ dente ate nal fos horse, ‘ont be rn teat in his pct sk twa simpy erp Aparna ox perhaps nor) th acm the def oe he ‘Wipe ey fr Payer dees Mee sas hinged he eae the ota cyt of eg” hpenlpecap ion, re ha 9% Arming hi connection eon Te and ache in i gn | ‘koa pe a the Mean tid ang ft whch pan cowry arta wie acl hegre wie eer ‘ol aha a) we oe ok po the Bg ding i th a mai nh oe ay he dco Latin a en ‘elt mt ofthe misapes ee ite colabrtn ede, thaph nt thes sora ett come lige 0.5 oe Sow, ‘ows Conn: Wean Unity Pe 04) ug {ha Flores, "Celi in the "Hood Digs x Sour and Calne Conve onto. hiya rm thera "dendrite mid ovine a, {crab ol reso cacti See, Th Ne (up) een mao el de oge (anos ins np sea ha ‘a4 Th Nae 9c. 9S whch tinea ie? oo hese 7% 1 1 worth tig wel tht pclae in Pape ad ati‘Amey the Panamanian ait Lar 0 ht “Pp ho Te Tg Mine) ‘raced by EI Chon, exposed ert see feces pre | Dry ake breakhagh 7. My terion here isspprte ny by aes videnc bt ai norma lls tuk of tens fend nd coe hve fied that few Engh ‘oonalingal nthe Ute Sates wndestand any it potin of decal ‘exs inee byais cl Sen Pl wh sre fr ceri evel fm en? sco, 7 See figure and ore orem f such hin ates ‘Wal at the ew minis ati bw pole ee 1 the pe sph sexe While working ve abt ear t Cami inde and a Schaerer in Rhos Man fm 205 head aden dcaning orig howto pods, “regu” dave venta hat ‘he ered a to Jraca-se eye ut he sti timbres nd yh of “Spa re” repos Fac fg,°b Non” aero Septomber 068. 2 EmalcorspondencSptenbe 2208 76-Fordcion of encavenon ey toate “uf” gag a ‘ex om which reget sem 16 derive ew ima ea prac) om ‘Manolo Mahal "The Reis Method”. 40. 17 Thanks o Maro Seal or beiaging thionscinn omy eto wl | ‘or orig ter eres oon nal rm in aamiian dco ch ge re you, 17% Gen the "compa fel ete yc a patna ono th oot maybe of ie suit, coding am tuned ere in Chi ton 0 lense refer repton pena rate "pola oe apt grant. board hip-hop pt he eee egpton-al cme Ap 207 1 es Carma, “The Cangas of Amer (Neth a South)” Now Yok Tin December 3005 "a SeeDeborah Paci Hersey inthis on forse ofthe role hat Docs he ed a econ {8.1 worth sting. bowen, th Sans (a Lay a pe i Nt ‘cairn his mired blr moving Mama in igh school Hee, mew San a io epee te mtg ot sh emainng comet ih rian a {ecg hen atrepnnersn/ rn ta ppeacoed May Ofcourse he misting thats he Vi Ste in Po Rs ‘spray the pe be the stream inh Dina Rp ach ress ti ha ae ana Forme he il det nda ats ofbchts Debora Pac Herman, cht A Sal io of “Dominion Poplar Mac Pepi: Tempe Unive Pr 9) 14. smal cerspondcce,Sepenber ssn, he ligand pct ‘ion iy pel ofthe intl of ner coe, change ee a de pre the oef be extange Adding thisinpreson some dion adie ven 1 ‘hoe oid inc bepa iting ie bot epoch tht ch ech sing "cha tar spe lops—presunaly by sping ego proce ~bring peo my te ity quent icy thawte isnt of iooal vide sou the popu fein technique and eli ed to roc rept. Couns sins with sm varition onthe phe “eto ‘spr ity ope, hve el serch ng sh omy gS ick com/ pte oem aed Janey 230) Fora proatve dacasion of cand a erage projet ‘gon ait se agus 208 lg post "Wl ic Re ng "ea tnd Up as Rac Regen” pean oppo! ‘sue engorple_nyteeseoseo hl axed May 307) “©. Lam thinking hr of ch ample Yar ame? “Oca nd “Yew Cheon alo which inp unde “larch” veo ported to Youtibe.These pont the ri vdeo, and wo ter expos ee ‘tr stant performance fc nd cas eres bythe nto Lata Aeron “ie howe sso sch tol nd tech wien shot video and iso nd utr inpitions nthe lowing og poets npvaycanden loge com/ ster heptvaraiedme Sopot ilrimmechcronhick —tpfvepseandex opptcim/ ese! egy mn hetaymend Moppotcom schnell ye oilah hn psteaynendwehoppotcon/ et apec ery con. ‘visi payin Hpotcon/o4 on-ic monada Mn (scsi May, 07 ‘1 Reo thank stent a be Unive of Cag, an Late fr ling wy eto thes cha inom a pat 1 Forse sy ponte perhaps ong n-check, exmpe hiss of her: ee» mame of comenis psts by prominent hiphop Boge Byrn revo et “a econ” hpi pe and "ap opiat fo jmp p- nth aed May 00) often ere no oe Catia ari en gon or he Vig Ve, hich on by pang th Ene thee opp ori "ack +s hay writes Carma,“ prc at bis ee” {Gr De Vile ear 208. Theat Trin, "The Mia, Wek, and he nnn gin” do Mn. osWhe fon wi land bechaa migh be esc moe ar ang we tommizegpcton wih f(y Spit bonneanwos ad hang (by such ous a “Tigger Ht Squad in the United Kingom) sags, aga inte ‘ing osing of gst on Lai Americ ors. Ath pit owe, eon tanatontcks he Yt to go Dod regpeton emis Bangs ot atljwod tac (and vice) wie -gantn spent ede moe than nen expernent Tere may obese or ch fons, awe, pec ‘onierig hiphop nd pe etn Orin enings or eae cig elf Devan Lanier hat len «coupe sab at «Peto an version of iadaqe wcll Ane Pt Sb fr eng my tenon wo th phenonent) fe. Fors diel deripon of he regan sen in Mineo ee Pe Scien "Regpcon Anal” iy a November 3,206 hpcrypapscom! atk aed May, 207- Alhough Ee Yt se ‘sae dy ofthe in Medel US Hoge Serie meng with some June pepe thre, tng, that "hey were id fa of pion mai Thaw alee" tptneattocous concn ahve otis wth (and May 207), And noms Mia Bebo (uinr ha etad he tring region see io Tuma, Caleb, o it og Inputagaytinblepptcon/ seabed ser-gndeind (aces May 2p 207) Fly ord an ely acount of eget i , Apin ‘Gun, "When th a Gos ie Las nes Tins Al 208. 2009 ‘> ce Co, “arcasnernssomsric” hip aegophon mn! se7| sarin (sccoed May 4. 207) THE TATA CONNECTIO