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Lyrics and theme

The themes of reggaeton frequently revolve around three prominent locations: "la disco" (the discotheque), "el barrio" (the neighborhood), and "la calle" (the street). These locations serve as crucial settings for storytelling, self-expression, and social commentary within the genre.

More than a quarter of reggaeton songs explicitly mention "la disco" or "la pista de baile" (the dance floor). The disco represents more than just a venue for dancing and sexual expression; it becomes a space to prove one's rapping skills, showcase conquests, and assert one's masculinity. It serves as an escape from the harsh realities of the barrio, offering a temporary respite from everyday problems. In reggaeton lyrics, the disco is portrayed as a place to levitate above societal judgments, especially for those labeled as unviable or threatening by Puerto Rican society. The night, as a predominant temporal-spatial element in reggaeton, symbolizes the unfolding of the disco and the streets coming alive.[1] This setting provides an opportunity for free expression and reflection, often delving into serious social topics such as violence and sex. The disco, both visually and lyrically, remains a central motif in reggaeton videos, encapsulating the essence of Puerto Rico's urban experience.

The barrio, caserío, or residencial form the second most prevalent thematic space in reggaeton lyrics. Approximately a quarter of reggaeton songs mention these neighborhood cues, emphasizing the artists' connection to their roots and the everyday realities of urban life.[2] Regardless of their specific upbringing—whether in public housing, barrios, or urbanizaciones—reggaetoneros often hail from neighborhoods characterized by decreased socioeconomic means. The lyrical representation of the barrio serves as a legitimizing agent for reggaeton artists, reflecting the intimate link between their identity and the neighborhoods they describe. The visual representation, however, has evolved over time, with newer videos often showcasing aesthetically pleasing sceneries rather than gritty urban realities. This disjuncture between lyrical and visual representations highlights the contested nature of the barrio, challenging negative caricatures and promoting a more nuanced understanding of Puerto Rico's diverse neighborhoods.[3]

Approximately 22 percent of reggaeton songs explicitly mention "la calle," portraying the street as a requisite spatial entity for the genre.[4] The street becomes a metaphor for authenticity in reggaeton, emphasizing the importance of being "real," honest, and sincere. This spatial identity is intimately linked to the everyday experiences of the poor, grounding their legitimacy and authenticity. In reggaeton, the street is not merely a physical space but a symbolic representation of the public sphere where social and professional interactions occur. The genre's dependence on the street aligns with the artists' belief in the transparency and honesty found in informal public spaces. As reggaeton evolves, some lament a perceived move away from the street culture of doing business, emphasizing the genre's roots in the raw, unfiltered experiences of urban Puerto Rico. Kmacosta (talk) 08:28, 14 December 2023 (UTC)

References

  1. ^ Dinzey-Flores, Zaire Zenat (2008). "DE LA DISCO AL CASERIO: URBAN SPATIAL AESTHETICS AND POLICY TO THE BEAT OF REGGAETON". Centro Journal. XX: 35-69. {{cite journal}}: |access-date= requires |url= (help)
  2. ^ Dinzey-Flores, Zaire Zenat (2008). "DE LA DISCO AL CASERIO: URBAN SPATIAL AESTHETICS AND POLICY TO THE BEAT OF REGGAETON". Centro Journal. XX (2): 35-69. {{cite journal}}: |access-date= requires |url= (help)
  3. ^ Dinzey-Flores, Zaire Zenat (2008). "DE LA DISCO AL CASERIO: URBAN SPATIAL AESTHETICS AND POLICY TO THE BEAT OF REGGAETON". Centro Journal. XX (2): 35-69. {{cite journal}}: |access-date= requires |url= (help)
  4. ^ Dinzey-Flores, Zaire Zenat (2008). "DE LA DISCO AL CASERIO: URBAN SPATIAL AESTHETICS AND POLICY TO THE BEAT OF REGGAETON". Centro Journal. XX (2): 35-69.

Semi-protected edit request on 24 November 2023

Under the history section, please change "often mistaken for Reggae or reggae en Español, reggaeton is a younger genre that originated in the late 1980s in Panama and was later popularized in Puerto Rico." to "often mistaken for Reggae or reggae en Español, reggaetón was born through a genre called reggae. As reggae gained popularity, a Spanish touch was given by Panamanians; reggae en español. Subsequently, reggae en español music reached Puerto Rico and the teens from caserios and barrios influenced what was then called reggae into reggaetón. [1]

Under the lyrics and themes section, please change "Reggaeton uses traditional verse-chorus-bridge hip hop structure" to " Reggaeton uses traditional verse-chorus-bridge hip hop structure, but it also uses terms specific to reggaeton. Due to this, specialized dictionaries are used to explain the vocabulary found in these songs. Defining these terms allows people to acquire an improved understanding of reggaeton themes and interpretations." [2]

Under the lyrics and themes section, please change "like hip hop, reggaeton songs have a hook which is repeated throughout the song. Latino ethnic identity is a common musical, lyrical and visual theme." to "like hip hop, reggaeton songs have a hook which is repeated throughout the song. Latino ethnic identity is a common musical, lyrical and visual theme. Another common theme found in reggaeton is narco-culture. The lyrics and representations effectively tell stories about poverty in Puerto Rico and it holds the power to influence behaviors and decisions in some of its audiences. Reggaeton artists often include narco-messages in their songs because many confide and relate to the lyrics of the songs. Allowing for reggaeton to become more appealing to the consumers." [3]

Under the LGBTQ influence section, please change "reggaeton has traditionally been male dominated and heteronormative, known to "reinforce the most unpleasant aspects of machismo" to "reggaeton has traditionally been male dominated and heteronormative, known to "reinforce the most unpleasant aspects of machismo. Often, the lyrics are used to gender, racialize and discriminate against particular communities." [4]

Under the LGBTQ influence section, please change "new generation artists like Villano Antillano, Young Miko, La Cruz and others have been challenging the stereotypes and values traditionally associated with the genre" to "new generation artists like Villano Antillano, Young Miko, La Cruz, Lisa M and others have been challenging the stereotypes and values traditionally associated with the genre. Lisa M battled against the public's responses about her songs and encouraged her to behave more femininely, however, she disagreed with such views and maintained her right of expressing her personal opinions. Lisa M laid foundations for genres like reggaeton to flourish due to her courage of addressing the public." [5]


Under the Latin America section, please change "in Cuba, reggaeton came to incorporate elements of traditional Cuban music, leading to the hybrid Cubaton" to "In Cuba, reggaeton came to incorporate elements of traditional salsa and Cuban music, to create a mixture of different influences on reggaeton. Which as a result, led to the hybrid Cubaton." Adv0620+ (talk) 23:40, 26 November 2023 (UTC)

References

  1. ^ LeBrón, Marisol (December 12, 2011). ""Con un Flow Natural": Sonic affinities and reggaeton nationalism". Women & Performance: a journal of feminist theory. 21 (2): 219–233. doi:https://doi.org/10.1080/0740770X.2011.607598. Retrieved 26 November 2023. {{cite journal}}: Check |doi= value (help); External link in |doi= (help)
  2. ^ Vaňková, Pavlína (December 1, 2022). "Studying the vocabulary of reggaeton song lyrics". Topics in Linguistics. 23: 63–88. doi:http://dx.doi.org/10.2478/topling-2022-0012. Retrieved November 26, 2023. {{cite journal}}: Check |doi= value (help); External link in |doi= (help)
  3. ^ Ruiz Vega, Omar (December 1, 2018). "Representando al Caserío: Narcocultura y El Diario Vivir En Los Videos Musicales de Reggaetón". Latin American Music Review / Revista de Musica Latinoamericana. 39: 229–265. doi:http://dx.doi.org/10.7560/LAMR39204. Retrieved November 26, 2023. {{cite journal}}: Check |doi= value (help); External link in |doi= (help)
  4. ^ Pena Alicea, Glorimarie; Sanchez-Rivera, R. (March 1, 2023). "Internalized Eugenics and Hygienic Codes in Puerto Rican Trap and Reggaeton". Caribbean Studies. 51: 77–111. doi:https://doi.org/10.1353/crb.2023.a905515. Retrieved November 26, 2023. {{cite journal}}: Check |doi= value (help); External link in |doi= (help)
  5. ^ La Fountain-Stokes, Lawrence (May 12, 2023). "Lisa M, "La primera rapera mujer de Puerto Rico y de Latinoamérica", and Early 1990s Feminist Puerto Rican Hip-Hop Culture". Journal of Latin American Cultural Studies. 32 (1): 133–155. doi:https://doi.org/10.1080/13569325.2023.2197549. Retrieved November 26, 2023. {{cite journal}}: Check |doi= value (help); External link in |doi= (help)
 Not done for now: These are really well written and well-cited, but I believe you missed one last citation on the very last change suggested re: Cubaton. Add that and all of this is good to go imho. Thickynugnug (talk) 08:46, 26 December 2023 (UTC)

Translation into Chinese Wikipedia

The version 00:11, 30 April 2024‎ Poppercornguy of this article is translated into Chinese Wikipedia to expand the content of an existing article.--Wing (talk) 07:34, 5 June 2024 (UTC)

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