Although the effort did not seem to negatively affect public opinion about reggaeton, it reflected the unease of the government and the upper social classes with what the music represented. ![]() In 2002, Senator González led public hearings to regulate the sexual "slackness" of reggaeton lyrics. Schools banned hip hop clothing and music to quell reggaeton's influence. ![]() ĭuring the mid-1990s, the Puerto Rican police and National Guard confiscated reggaeton tapes and CDs to get "obscene" lyrics out of the hands of consumers. Senator Velda González of the Popular Democratic Party and the media continued to view the movement as a social nuisance. It was a hit, and underground music continued to seep into the mainstream. The album had no cursing until the last song. In 1995, DJ Negro released The Noise 3 with a mockup label reading, "Non-explicit lyrics". For months after the raids local media demonized rappers, calling them "irresponsible corrupters of the public order." The Department of Education banned baggy clothing and underground music from schools. Puerto Rican police raided six record stores in San Juan, hundreds of cassettes were confiscated and fines imposed in accordance with Laws 112 and 117 against obscenity. In February 1995, there was a government-sponsored campaign against underground music and its cultural influence. Underground music in Puerto Rico was harshly criticized. In South Florida, DJ Laz and Hugo Diaz of the Diaz Brothers were popularizing the genre from Palm Beach to Miami. Underground music was not originally intended to be club music. Bobby "Digital" Dixon's " Dem Bow" production was played in clubs. By this time, Puerto Rico had several clubs dedicated to the underground scene Club Rappers in Carolina and PlayMakers in Puerto Nuevo were the most notable. The genre caught up to middle-class youth, and found its way into the media. Gerardo Cruet (who created the recordings) spread the genre from the marginalized residential areas into other sectors of society, particularly private schools.īy the mid-1990s, "underground" cassettes were being sold in music stores. The most popular cassettes in the early 1990s were DJ Negro's The Noise I and II and DJ Playero's 37 and 38. The availability and quality of the cassettes led to reggaeton's popularity, which crossed socioeconomic barriers in the Puerto Rican music scene. Despite being recorded in housing projects, most of the marquesinas were good quality (which helped increase their popularity among Puerto Rican youth of all social classes). Marquesinas were often in public "housing complexes such as Villa Kennedy and Jurutungo". The marquesinas were crucial to the development of Puerto Rico's underground scene because of the state's "fear of losing the ability to manipulate 'taste '". "Underground" music was recorded in marquesinas (Puerto Rican carports) and distributed in the streets on cassettes. These themes, depicting the troubles of inner-city life, can still be found in reggaeton. The new genre, simply called "underground" and later " perreo", had explicit lyrics about drugs, violence, poverty, friendship, love and sex. ( March 2022) ( Learn how and when to remove this template message) There might be a discussion about this on the talk page. In particular, marquesinas is used in different senses: carports and (?) cassettes. This article may be confusing or unclear to readers. ![]() ![]() The genre's popularity increased when it was discovered by international audiences during the early 2000s. Bootleg recordings and word of mouth became the primary means of distribution for this music until 1998, when it coalesced into modern reggaeton. The Puerto Rican police launched a campaign against underground music by confiscating cassette tapes from music stores under penal obscenity codes, levying fines and demonizing rappers in the media. As a youth culture existing on the fringes of society and the law, it has often been criticized. This created an inconspicuous-yet-prominent underground youth culture which sought to express itself. As Caribbean and African-American music gained momentum in Puerto Rico, reggae rap in Spanish marked the beginning of the Boricua underground and was a creative outlet for many young people. DJ Playero and DJ Nelson were inspired by hip hop and Dancehall to produce " riddims", the first reggaeton tracks. It had its origins in what was known as Rap y reggae "underground" music, due to its circulation through informal networks and performances at unofficial venues. Often mistaken for reggae or reggae en Español, reggaeton is a younger genre that originated in the late-1980s in Panama and since then has become popularized by Puerto Rican artists. Daddy Yankee is known as the " King of Reggaetón".
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