Merenhouse

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Merenrap
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Merenhouse, merenrap or electronic merengue,Mambo o Mambo de Calle is a style of

dancehall reggae and hip hop.[1]
The mix of Latin music, house music and dancehall started in NYC in the late 1980s.

Merenhouse usually combines

rap singing (talk-singing) with actual singing. It has instruments that are typically in merengue music, such as saxophones, trumpets, accordion, bass, guitar, güira, tambora (drum). However, they can be combined with electronic sounds or even electronic sounds sampled from the actual instruments (much like house music). Sampling music means reusing a sample or portion of a sound recording in a song. Merenhouse is very upbeat and intended for dancing, similar to house music. It is hard to identify merenhouse based on its time signature and rhythm alone. Some merenhouse music is in a fast 2/4 beat and has typical merengue style rhythms. Some also is in a slower 4/4 beat, identifying more with the hip hop
style. Merenhouse can be characterized mostly by the instruments/electronics used and the combination of vocal styles.

History

The hybrid music known as merenrap, merenhouse, or

Dominican merengue music can be considered an expression of Dominican transnationalism, as there was a significant shift in the migration of Dominicans to New York City in the twentieth century. As a musical hybrid, merenhouse was popular with a generation of bicultural youth growing up in New York City with Dominican roots that combined both aspects of their culture. Merenhouse is a symbol of national identity to Dominican Americans.

NYC and Dominicans in the twentieth century

The early 1990s saw a huge increase in immigration to the US from the Dominican Republic due largely to the greatly deteriorating economic situation of the Dominican Republic in the 1980s and early 1990s. New York City saw the bulk of this initial Dominican population growth, and once those first Dominican immigrates got settled in, New York City became the hub of Dominican culture in the US. "By 1990, an estimated 900,000 Dominicans—12 percent of the country’s population—lived in New York City alone". Dominicans also "tend to be more concentrated residing exclusively in barrios or ghettos like Washington Heights-Inwood, home to 59% of Dominicans registered by the INS". This potent concentration of Dominicans all in one place allowed them to bring in their own culture while they assimilated into the melting pot of cultures found in New York City. Merengue is one example of the many pieces of Dominican culture brought during this period of immigration, which was a key element to the creation of Merenhouse.[3][4]

The new style was most importantly influenced by

percussion and bass. The merengue in which merenhouse is based upon developed in the 1980s and 1990s, and resulted from Juan Luis Guerra’s incorporation of more modern sounding arrangements and socially relevant themes. He was also influenced by pop and jazz music.[6]

Music influences

Genres that were popular during the 1990s in New York City greatly influenced Dominican Americans to create Merenhouse/Merenrap:

Reggae

guitars. When many think of reggae, they first think of the Rastafarian religion, which was created during the 1930s. Many associate Rastas and reggae because of Bob Marley, the Jamaican Icon.[7]

Rap/Hip-Hop The beginnings of

House music House music is considered a type of electronic dance music which was spawned in Chicago, IL, and it is heavily influenced by disco. The synthesizer is most commonly associated with electronic dance music and the music is often characterized by its continuous and repetitive beat. This subgenre of electronic dance music was influenced heavily by DJ Knuckles, who moved from playing others' records to making his own music. There are many subgenres of House music, including "acid house," "Latin house," "jungle," and "techno," as well as many more. This music also has close ties to hip hop.[9]

Influential Artists

  • Fulanito is a Dominican-American Merenhouse group based in Washington Heights, Manhattan. They have received acclaim from being one of the first groups to combine merengue and house music, selling around 2 million albums around the world.[citation needed]
  • dancehall reggae, and hip hop
    . The group won Billboard Latin Music Awards, Premios Los Nuestro, and an Emmy Award.
  • Ilegales (also called Los Ilegales) is a Grammy-nominated Dominican merenhouse trio. They reached the Billboard Tropical charts and were nominated for a Latin Grammy award for "Best Pop Album."
  • Sandy & Papo, was a duo of merengue and hip hop, with temporary residence in Venezuela. It was made by Sandy Carriello "Sandy MC" and Luis Deschamps "MC Papo", both from the Dominican Republic. The group came to an end when on July 11, 1999, when Luis Deschamps (MC Papo) died in a car accident. Sandy MC continued as a solo and received success with the song "Homenaje a Papo".
  • Dark Latin Groove (or DLG) is a salsa band that mixes salsa, reggae, reggaeton, and hip hop. The group was nominated for the Grammy for "Best Traditional Tropical Album" in 1997[10] and Premio Los Nuestro award for "Best Tropical Group."
  • Lisa M is the first major female Latin rapper. The song "Tu Pum-Pum" in her second album No Lo Derrumbes is the first merenrap song. The album was released in 1990.
  • R&B, and hip hop
    .
  • Calle Ciega is the first Venezuelan boy band of merengue house.

See also

  • Latin rap

References

  1. .
  2. . Retrieved 7 January 2020.
  3. ^ Austerlitz, Paul. Merengue: Dominican Music and Dominican Identity. Philadelphia, PA: Temple UP, 1997. Print.
  4. ^ Reynoso, Julissa. "Dominican Immigrants and Social Capital in New York City: A Case Study". Encrucijada (2003). Dartmouth College Library Publishing Project. Web. 25 April 2011.
  5. .
  6. ^ Itzigsohn, Jose , Cabral, Carlos Dore , Medina, Esther Hernandez andVazquez, Obed(1999) 'Mapping Dominican transnationalism: narrow and broad transnational practices', Ethnic and Racial Studies, 22: 2, 316 — 339
  7. ^ [1] ]
  8. ^ http://people.artcenter.edu/~acheng1/design_workshop/01.28.03/rap_evolution.pdf[bare URL PDF]
  9. ^ McLeod, Kembrew. (2001) 'Genres, Subgenres, Sub-Subgenres and More: Musical and Social Differentiation Within Electronic/Dance Music Communities' Journal of Popular Music Studies, Vol.13, pp.59-75. https://iro.uiowa.edu/esploro/outputs/9983557572802771
  10. Grammy Award for Best Traditional Tropical Latin Album

External links