If you’ve been trying to find a way to combine your two favorite things (getting fit and breaking it all the way down), peep this banger from the Puerto Rican reggaetón superstar, Mr. Gasolina himself, Daddy Yankee! According to Billboard, Daddy Yankee has partnered with Zumba to create the song “Hula Hoop” for use in their classes.
The bass-heavy reggaetón track has a lyric video featuring flashing neon hula hoops and classic Zumba moves .
It’s got everything you’d expect from a Daddy Yankee Zumba video: hip shaking, hand-punching, lasers and a packed VIP section. What else do you need to work out and feel like you’re getting your life together? Yasss!
The video even shows you how to do the exercise on beat with a dancing cursor.
There is something so fun about learning what musicians are listening to. We all know that we love our own musical finds but who are our favorites are listening to. Daddy Yankee is giving us a look into his own musical loves just in time for the COVID-19 shutdown.
Daddy Yankee is giving all of us self-isolated music fans a playlist of music he recommends.
The reggaetonero is known for his own music. Daddy Yankee has been rocking our worlds for over a decade and we all are better off for it. His music is one of the most consistent things we have had since we were all in high school. Who doesn’t remember dancing the weekends away to “Gasolina”?
The playlist has 29 songs performed by Daddy Yankee, of course, and other artists we all know and love.
Natty Natasha, Bad Bunny, and Wisin & Yandel are just some of the artists you will see featured on this playlist. The list is one of the most fun playlists of Spanish-language music you might be able to find right now. Plus, there is something so nice about musicians creating playlists because you know that they are the experts so you are in for a good ride.
Fans are super excited to get this playlist in their ears.
Who else has listened to this playlist? Does anyone have any issues with it?
Reggaetón has spread out into the world like wildfire, signaling a whole era of Latinx representation in mainstream culture. The infectious musical movement has become a wave that artists from all over the world want to ride. And in the process, Reggaeton has been Americanized, Europeanized, watered-down, dressed-up and recomposed to fit a thousand new contexts —and here’s why it’s a problem.
The 2010s saw a rise in global popularity of what used to be a Latinx exclusive genre.
This last decade will go down in history as the beginning of the global Reggaeton and Latin trap era. In the past years we’ve seen these two genres take over the globe, from North America, to Europe, to Asia.
“Despacito” was a major moment in the expansion of Latin Trap and Reggaetón.
In 2017, Luis Fonsi’s hit transcended borders and geographic locations. From a Latinx point of view, it was the first time a reggaeton song infected audiences everywhere, and it became clear that this was a bigger movement now. With the help of Justin Bieber, who later hopped on for the most commercially successful remix of the decade— the song reached worldwide dancefloors and broke records for the most views on YouTube.
Luis Fonsi’s mega-hit opened the doors for artists like J Balvin, Ozuna, and Bad Bunny, to show global audiences what they were capable of.
Karol G & Nicki Minaj’s “Tusa” (6.43M) has surpassed Dj Snake, Ozuna, Selena Gomez & Cardi B’s “Taki Taki” (6.25M) and is now the biggest day of streams on Global Spotify by a female rapper in HISTORY. pic.twitter.com/YYN4pUT501
Following the breakout success of “Despacito,” the world was finally ready to listen to what reggaetoneros had to offer. Artists were recognized by fans and media members alike as worldwide sensations, despite achieving notoriety on a local and regional level.
In the mind of executives, Reggaeton was an untapped market which people from different backgrounds could be targeted.
The growth of artists like Bad Bunny, Karol G, and others, was such that mainstream outlets eventually began to call them “global popstars,” a white-washed term that took away their reggaeton roots. This practice has made these artists more digestible to American audiences. But, removing their reggaeton tags strips them of who they are and becomes a disrespectful denial of cultural history.
In 2018, ‘Mi Gente’ shot up the Billboard charts and became another worldwide hit.
In the opening lines of J Balvin’s reggaetón hit Mi Gente, the Colombian superstar made a few promises. For one, this song is gonna be for everyone—Latino, or otherwise. “Mi música no discrimina a nadie así que vamos a romper, Toda mi gente se mueve.” Mi Gente shot up the Billboard charts in both the Spanish speaking world and, somewhat more surprisingly, in the United States. From Madrid to Mountain View, its thumping bass and infectious rhythm received countless hours of playtime on mainstream FM radio and made innumerable appearances at bars, nightclubs and parties.
J Balvin’s success was largely indicative of a new wave of music, the likes of which hadn’t been seen stateside since the famed ‘British Invasion’ of the 1960s. But unlike the English-language popularity of the Beatles and the Rolling Stones that so characterized that era, this particular ‘invasion’ is in largely in Spanish—or so it had been.
And then came one of the weirdest trends in reggaeton: Its interpolation with American music.
Reggaeton is really being Americanized and I don’t like it.
On March 20, 2018, Alex Rose and Myke Towers released “Darte,” a trap song borrowing the melody from Akon’s 2006 hit “I Wanna Love You” to create a smash single that would change the immediate future of the industry. With this formula, Rose and Towers created a blueprint for quick success, putting the originality of the Latin trap genre in danger.
After “Darte,” in January 2019, Daddy Yankee dropped “Con Calma.”
The catchy hit took its charm from Snow’s 1992 single “Informer,” using the melody and adapting new lyrics. Another example is Anuel AA’s posse cut “China” which turned the melody from Shaggy’s 1999 classic hit “It Wasn’t Me” into the earworm of the year. Later that year, in October, J Balvin, alongside the Black Eyed Peas, released “RITMO,” a dry tune that uses the same chorus as Corona’s “Rhythm Of The Night.”
The lazy formula has spread into 2020.
What’s the different?? Sounds a bit similar though. Further up would more hiphop taste then muevelo is more reggaeton. I hope I won’t mess up???????????? pic.twitter.com/RoXnLDRKb0
Less than one month into the year, not one but two different songs copied the chant from Ini Kamoze’s 1995 single “Here Comes the Hotstepper”—Daddy Yankee and Nicky Jam’s long-awaited comeback single as Los Cangris, “Muévelo,” and the collaboration between Static & Ben El and Pitbull, “Further Up.” These songs were releasedonly two days apart.
The latest single in this mashup trend, dropped January 12.
“Me Gusta” by Shakira and Anuel AA takes Bob Marley’s classic ‘A Lalala long” copying the melody and chorus chant.
The trend is resulting in a lack of creativity that’s stripping away the boldness of reggaetón.
Cuando el reggaeton se queda sin repertorio tira de pop que tuvo exito:
Con Calma – Informer (1992) Ellos – I’m blue (1999) China – it wasn’t me (2000)
This mix and mashup trend is changing the sound of reggaeton and Latin Trap to cater to international audiences and make the Latinx genre more palatable. The innovative nature of reggaeton is the reason for the genre’s international success in the first place.
Reggaeton artists and producers have the means and creative drive to give us innovative, fun, and fresh material.
It only takes one quick glance at Bad Bunny’s career. His aesthetic, innovative sound and daring lyrics have been well received in Americanmagazines. We know reggaetoneros can make genre-shifting music, because they have. Which is why the laziness behind this trend is almost offensive—especially for Latinos who’ve grown up listening to the genre and adopted it as our primary sound.
Now that reggaeton has conquered the US market, and with this breakthrough, artists and producers have amassed more money, resources, popularity and respect; this trend towards the interpolation of Latinx sound with classic American songs—an effort to make the genre more palatable to English-speaking listeners—feels like a betrayal.
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