Urbano music

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Urbano (Música urbana)
Other namesLatin Urban
Stylistic origins
  • Urban contemporary

Latin music

Cultural origins1980s–1990s Latin America, especially Puerto Rico, Brazil
Subgenres
Regional scenes
  • Latin America
  • Spain
  • United States
  • Brazil

Urbano music (Spanish: música urbana) or Latin urban is a transnational umbrella category including many different genres and styles. As an umbrella term it includes a wide and diverse set of genres and styles such as

dembow, urban champeta, funk carioca, Latin hip hop and reggaeton. The commercial breakthrough of this music took place in 2017 with artists from Colombia, Cuba, the Dominican Republic, Panama, Puerto Rico, the United States, Venezuela and even non-Spanish-speaking nations, such as Brazil, where Portuguese is spoken.[1]

1990s

Origins

In the late 1980s and early 1990s, most

Johnny J was a multi-platinum songwriter, music producer, and rapper who was perhaps best known for his production on Tupac Shakur's albums All Eyez on Me and Me Against the World.[3] He also produced the 1990 single Knockin' Boots for his classmate Candyman's album Ain't No Shame in My Game, which eventually went platinum thanks to the single.[4]

Panama Railroad (mid-19th century), the railways for the banana companies (late 19th century), and the Panama Canal (early 20th century).[5] Prior to the period of construction of the Panama Canal (1904–1915), most of the Afro-Caribbean communities in Panama were of Jamaican descent, but with the construction of the canal these communities grew in diversity with immigrants from other parts of the Caribbean such as Jamaica, Barbados, Martinique, Guadeloupe, Haiti, Trinidad, Dominica, French and British Guyana and other Caribbean Islands.[6]

In 1977, a Guyanese immigrant who went by the nickname "Guyana", along with a local DJ known as "Wassabanga," introduced for the first time the reggae rhythms in Panama with lyrics in Spanish.[7] Wassabanga's music, along with later interpreters such as Rastanini and Calito Soul, were perhaps the first remarkable cases of Reggae en Español, and came at a time when many Panamanians were already developing a musical and spiritual bond with the Mecca of reggae music (Kingston, Jamaica) and the music of Bob Marley.[8]

2000s

Reggaeton

Latin and Caribbean music. The genre was invented, shaped and made known in Puerto Rico;[9] most of its current artists are also from Puerto Rico.[10][11][12] After its mainstream exposure in 2004, it spread to North American, European, Asian and African audiences. Reggaeton blends the musical influences of Jamaican dancehall with those of Latin America, such as salsa, Puerto Rico's bomba, Latin hip hop, and electronica. Vocals include rapping and singing, typically in Spanish. Lyrics are derived from hip hop rather than dancehall. Reggaeton, like hip hop, has caused some controversy due to the alleged hypersexualization of women.[13] While it takes influences from hip hop and Jamaican dancehall, reggaeton is not simply the Hispanic or Latin American version of either of these genres; reggaeton has its specific beat and rhythm,[14] whereas Latin hip hop is simply hip hop recorded by artists of Latino descent. Another aspect that makes Reggaeton different is its lyrics. Reggaetón's lyrics serve as a reflection of Puerto Rico's urban landscape, drawing inspiration from the spatial geography and everyday life of the island. Urbanism in Puerto Rico underwent significant transformations in the early 20th century, driven by shifts in the economy and population dynamics.[15] The influx of agricultural laborers to urban centers led to the creation of social "ghettos," characterized by substandard living conditions. The mid-20th-century policy response to urban poverty involved the construction of caseríos (public housing projects) and the development of barrios, which, despite efforts, persisted with slum-like conditions.[15] Notably, the genre places a significant emphasis on authenticity and genuineness in urban settings. Key spaces within reggaetón songs include the discothèque (the disco), neighborhoods (barrios), and the streets. The disco, in particular, holds a multifaceted role, acting as a place for escapism, self-expression, and reflection, contrasting the challenges of barrio life.[16]

It is important to note that reggaetón goes beyond the commonly highlighted topics of sex, dancing, and love. The genre addresses a range of themes, including everyday life, social and political concerns, poverty, local conditions, friendship, athletics, and

Black aesthetic, indicating that many artists envision themselves as black or dark individuals, linking their disadvantaged societal position to the intersection of race and class. This sheds light on how reggaetoneros articulate racial dynamics within the context of urban poverty.[19]

The specific "riddim" that characterizes reggaeton is referred to as "Dem Bow".[20][21] The name is taken from the dancehall song by Shabba Ranks, from his 1990 album Just Reality, that first popularized the beat in the early 1990s.

In 2004, reggaeton became popular in the United States and Europe.

bachaton: "bachata, Puerto Rican style".[23]

2010s

Dominican urban movement

Around the early and mid-2000s, a variety of urban rhythms such as merengue urbano,

Vakero introduced elements of reggae and afropop on his songs and was named a Top 5 Hot Rising Latin Urban Act by Billboard.[26]

During the late 2000s and 2010s, a new format of merengue become very popular—Merengue de Calle, or

Urban Merengue. Omega is regarded as one of the most popular acts and was the recipient of Best Merengue Urban act in the 2009 and 2010 Soberano Awards.[27] His studio albums El Dueño del Flow (2009) and El Dueño del Flow (2011) charted on the US Top Latin Albums and Tropical Albums. He collaborated with other Latin American artists, including Daddy Yankee, Ozuna, Shakira, Akon, and Pitbull
.

In 2011, Vakero became the first recipient of Best Urbano Artist at the Soberano Awards.[28] In 2014, Don Miguelo released "Como Yo Le Doy" with Pitbull, which peaked at number one on US Tropical Songs and 16 on Hot Latin Songs. It was nominated at Premios Juventud 2015 and was certified platinum by the RIAA for selling over 60,000 units in the United States, becoming the first urban act to do so.[29][30] In 2015, Mozart La Para hit the top 20 at US Tropical Airplay and Latin Rhythm charts with the track "Llegan los Montro Men" and later signed a recording contract worth $2 million to Roc Nation.[31] In 2016, Lapiz Conciente's studio album Latidos debuted at number 7 on the US Billboard Latin Albums; the following year, his song "Papa" with veteran rapper Vico C was nominated for Best Urbano Song at the 18th Annual Latin Grammy Awards.[32]

Colombia's reglobalization

Colombian artists like

Maluma or J Balvin put out hits every two or three months, and the South American country pays tribute to this genre in all its cities. If Medellin concentrates on the most successful artists and producers, Bogota has specialized in theme parties around this rhythm. One of the keys to the success of this music is its ability to eliminate the existing social gaps in Colombian society since this genre triumphs both in the humble neighborhoods of southern Bogota and in the most exclusive clubs in Zona T or the Parque de la 93.[33]

singer who has done collaborations with other reggaetón singers, such as J Balvin, Bad Bunny, and Maluma.[34] Throughout her career, Karol G has had troubles in the industry because reggaetón is a genre that male artists dominate. She recounts how when starting her career, she noticed that there were not many opportunities for her in the genre because male artists dominated reggaetón. In 2018, Karol G's single "Mi Cama" became very popular, and she made a remix with J Balvin and Nicky Jam. The "Mi Cama" remix appeared in the top 10 Hot Latin Songs and number 1 in Latin Airplay charts.[35] This year she has collaborated with Maluma called Creeme and with Anuel AA in "Culpables". The single "Culpables" has been in the top 10 Hot Latin Songs for 2 consecutive weeks.[34]

Funk carioca

black communities in Brazil, therefore a boiling pot of influences to derive the trademark.[citation needed
]

Latin trap

Rauw Alejandro Vice Versa Tour[36]

Latin trap is a subgenre of trap music that originated in Puerto Rico. A direct descendant of southern hip hop, and influenced by reggaeton, it gained popularity after 2007 and has since spread throughout Latin America. The trap is slang for a place where drugs are sold.[37] Latin trap is similar to mainstream trap with lyrics about life on la calle (the streets), which deal with love, sex, drugs, and violence, often without censorship.[37][38]

Puerto Rican reggaeton and Latin trap singer

I Like It" featuring Bad Bunny and J Balvin became the first Latin trap song to reach number one on the US Billboard Hot 100 chart.[41][42]

The 'Despacito' effect and mainstream resurgence of reggaeton

In 2017, the music video for "Despacito" by Luis Fonsi featuring Daddy Yankee reached over a billion views in under 3 months. As of December 2020, the music video is the all-time's second most-viewed YouTube video. With its 3.3 million certified sales plus track-equivalent streams, "Despacito" became one of the best-selling Latin singles in the United States.

The song's success and its remix version led Daddy Yankee to become the most listened-to artist worldwide on the streaming service

Genius website wrote that "the successes of 'Despacito' and 'Mi Gente' could point to the beginning of a successful wave for Spanish-language music in the US."[49] Ho also stated that "as 'Despacito' proves, fans don't need to understand the language to enjoy the music", referring to the worldwide success of the song.[49]

'Te Bote' spawning imitators

In April 2018,

Ozuna, Bad Bunny, and Nicky Jam. It became the first dancehall song to have reached number one on the Billboard Hot Latin Songs chart. It currently has over 1.8 billion viewers in YouTube.[50] But Te Boté not only achieved that. Many artists began to mark strong commercial trends in a market dominated by mixing Reggaeton and Latin trap. For example, "Adictiva" by Daddy Yankee and Anuel AA, "Asesina" by Brytiago and Darell, "Cuando Te Besé" by Becky G and Paulo Londra, "No Te Veo" by Casper Magico, have influenced the style.[51]

2020s

Argentina's urbano movement

At the beginning of 2020, a new generation brought more Argentine identity to urbano. The songs "Colocao" by Nicki Nicole, and "Mamichula" by Trueno and Nicole were the first urbano songs on the list of number-one singles of 2020 in Spain; they also reached the Argentina Hot 100.[52][53]

See also

Look up urbano music in Wiktionary, the free dictionary.

References

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  6. ^ [1] THE AFRICAN PRESENCE IN PANAMA—FROM THE CANAL TO COLON CITY
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