News Latin America the word reggaeton

the word reggaeton

Each word has a long history, but we rarely know about it: they are usually so old that no one really knows how they started. The few that escape this rule are called “neologisms”: a new word, one that someone formed so recently that we could see it, know. The word reggaetonwithout going further.

In these years most of the new words are of English origin. Reggaeton is, gringa with a Greek footprint. It was coined and coined, they say, by a singer, Ramon Luis Ayala Rodriguez (a) Daddy Yankee —the nickname is a poem— and a “diyei” —another neologism—, Pedro Gerardo Torruelas (a) DJ Playero. They did it, they say, just 30 years ago; It was in Puerto Rico, that’s clear.

The crib was very hybrid —almost Latin American, almost North American— and that music too: a mix of reggae Jamaican with New York hip hop and those very dirty stories and that ending in ton to say it was a marathon, a long shot. Or, perhaps, to add a tone of Latin explosion: the thing is discussed. In any case, reggaeton started there, it stayed local for a few years, it spread, it slipped into every corner. Reggaeton is the musical fashion that has covered the West the most in recent decades.

In her image and likeness, her first videos fulfilled other desires of her executors: they insisted on showing gold, asses, cars, dollars, more gold, more asses, plastic tits, swimming pools in mansions, mansions, another wet ass. All the marks of success, more similar to failures, accumulated —and continue to accumulate— on those tours: object women, slimy objects, shiny objects to make it clear that they are expensive, the idea that to succeed is to appropriate them and from them. It was another strong sincerity: perhaps, after all, reggaeton had set out to show that sincerity is not necessarily good.

But that is almost incidental to its true role: to form Latin American unity and find a place for us in the world. Reggaeton represents us: it is obvious that for many, now, we are that. Reggaeton connects with other American cliches: the rhythm, the miscegenation, the sweaty, the hot, the hot, the —slightly— wild or, at least, wild. And it offers an advantage that many appreciate: being able to do some things they wanted —listen to bumbu music, rub their crotch between another leg— and attribute it to a foreign culture, to exoticism. “We here do not do that, we only do it now because those people do it.”

But what impresses me the most is how reggaeton has managed to create the first truly common language, the authentic beginning of the famous Latin American unity. When I try to listen to the lyrics of certain reggaetons —and their trup of variants trap trip trep, without a doubt trop—, it is difficult for me to discover the nationality of the one who sings them. They all sound with a twangy Caribbean trace that unites and confuses them, beyond national identities. It is an extraordinary advance: centuries searching for that unity and now it turns out that its clearest germ is that joking tropical accent that equals Argentines, Colombians, Mexicans, Guatemalans, Catalans and —not to mention— the Puerto Rican daddies.

Thus, reggaeton follows its line: it shows that the famous union can be based on the worst. It’s a hard line. Perhaps, after all, reggaeton is a sacrificial art, one that sacrifices itself to show us that certain things we wanted weren’t worth it. Slowly, of course, but until you provoke your screams. Unless, as we suspect, we are changing a ferrari for twingoa rolex for a casio We just don’t really know what the rolexthe ferrari. Neither him twingoneither him casio, but our region could, somehow, sing that “a wolf like me is not for newbies”. Or, if not, keep on twerking — the planets collide.

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