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Speaker 1: Welcome to five hundred Greatest Songs, a podcast based on

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Speaker 1: Rolling Stones, hugely popular, influential, and sometimes controversialist.

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Speaker 2: I'm Britney Spanos and.

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Speaker 3: I'm Rob Sheffield. We're here to shed light on the

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Speaker 3: greatest songs ever made and discover what makes them so great.

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Speaker 3: And this week we're going into Gasolina by Daddy Yankee.

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Speaker 1: Yes, the song is at number fifty on our list,

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Speaker 1: rounding off the top fifty. I mean, like, is there

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Speaker 1: a bigger kind of like cultural moment than this song droppet.

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Speaker 2: I feel like.

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Speaker 1: It's still one of those massive, massive songs that it's

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Speaker 1: just like so high energy and kind of is such

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Speaker 1: an adrenaline rush of a pop song.

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Speaker 3: It's never not an excitement when it comes out.

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Speaker 1: Yeah, And I mean it is a barrier breaking song too.

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Speaker 1: I mean, this was a song that really helped Catapault

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Speaker 1: reggaetone into popular consciousness. I mean, and even was ahead

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Speaker 1: of its curve in a lot of ways. Like not

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Speaker 1: only did it kind of help break through, but then

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Speaker 1: it still took so many years for that kind of

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Speaker 1: foundation work that Daddy Yankee made with this song with

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Speaker 1: his career to reach its full potential.

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Speaker 3: Yeah, but talk about a song with an impact on

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Speaker 3: the feature. It's really wild to look back over the

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Speaker 3: last twenty years in pop music and think of the

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Speaker 3: world that this song dropped into and how different it was. Yeah,

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Speaker 3: and a definite before and after a moment. Yeah, in

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Speaker 3: the history of pop music, there was a thing where

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Speaker 3: there was nothing like this before, Nothing had had this

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Speaker 3: kind of impact before. Yeah, and it was just innovative

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Speaker 3: on every level.

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Speaker 2: Yeah.

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Speaker 1: I saw on that if it were released literally this week,

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Speaker 1: it would hit number one and immediately, you know, like

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Speaker 1: it's it's kind of surreal, how still fresh, it sounds

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Speaker 1: still how like, like you said, ahead of its time,

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Speaker 1: how influential. I mean, there's not a single I get

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Speaker 1: to an artist who is not cited Daddy Yankee this

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Speaker 1: song or Barrio Fino his album that the song was

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Speaker 1: on without you know, it's like completely foundational. There's no like,

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Speaker 1: not a single artist that's you know, the most streamed

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Speaker 1: artist right now of course, like Bad Bunny, Carol Ozuna,

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Speaker 1: like none of them would not cite the.

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Speaker 3: Song absolutely and that it had the impact it had.

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Speaker 3: It's almost hard to imagine the last twenty years without it.

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Speaker 1: Yeah, So the song came out in two thousand and

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Speaker 1: four on Barrio Fino, which was Daddy Yankee's third album.

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Speaker 1: And I mean this was a massive breakthrough of an album.

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Speaker 1: He had already been a big artist in Puerto Rico,

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Speaker 1: but had not yet broken worldwide. And I mean there

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Speaker 1: weren't a lot of artists, Spanish language artists, let alone

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Speaker 1: artists doing reggaetone that were breaking out at all at

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Speaker 1: this time. But you know, this was a song that

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Speaker 1: ended up kind of shattering that ceiling and becoming the

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Speaker 1: biggest song in the world.

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Speaker 4: Yeah.

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Speaker 3: I mean, reggaeton is very much a Puerto Rico thing

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Speaker 3: at that time. It's not really spreading out the way

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Speaker 3: it would internationally with this song. Yeah, And it's a

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Speaker 3: wild to think that this song was a sound that

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Speaker 3: just so many people around the world were hearing for

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Speaker 3: the first time and it blew everyone away.

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Speaker 2: Yeah.

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Speaker 1: I mean this was also like such a time in

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Speaker 1: the early two thousands where I feel like Latin pop

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Speaker 1: was something that was like both becoming very very popular

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Speaker 1: but also appropriated a lot by a lot of artists.

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Speaker 1: Like this was a really big time kind of posts.

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Speaker 1: Ricky Martin and Rickquae Glcia is starting to break through, you know,

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Speaker 1: Shakira of course kind of crossing over and making her

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Speaker 1: first English language album was around this time. This was

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Speaker 1: a time where that kind of was becoming a bigger

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Speaker 1: part of pop music. I feel like a lot of

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Speaker 1: you know, English speaking pop artists were kind of touching

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Speaker 1: on a lot of like Latin fusion Latin pop influences

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Speaker 1: in their songs. You know, you could hear it on like,

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Speaker 1: you know, like a n Sync er Brittany album. So

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Speaker 1: there was sort of this like air of pooling influence

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Speaker 1: from Latin America at this time, even before, of course,

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Speaker 1: seeing someone like Daddy Yankee, who is rapping in Spanish

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Speaker 1: kind of singing a genre that was already very controversial

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Speaker 1: in Puerto Rico because it was coming from you know,

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Speaker 1: a lot of poor communities. It was sort of this

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Speaker 1: you know, kind of looked down upon genre at the time.

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Speaker 1: But there was kind of this this thing was happening

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Speaker 1: in the air and pop music in that moment.

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Speaker 3: Yeah, and like you said, it was spreading all over

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Speaker 3: in the US in terms of influence, but there was

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Speaker 3: still this wall that it was unthinkable that any Latin artists,

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Speaker 3: any Spanish speaking artist could have a hit song in

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Speaker 3: the US without doing that compromise, without doing that English

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Speaker 3: language song. It's really amazing that that was a template

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Speaker 3: for success that was just considered inevitable. That's just how

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Speaker 3: it was. And Shakira was already super famous when she

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Speaker 3: had her first US hit. She did a song in English,

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Speaker 3: That's how it was done. Ricky Martin was a star

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Speaker 3: in Puerto Rico four years before he had American impact.

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Speaker 3: He did a song in English. And these were great

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Speaker 3: songs that they did. But this was a compromise that

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Speaker 3: wasn't seen as controversial. It's what you had to do

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Speaker 3: to translate that to an American hit, And it was

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Speaker 3: just really amazing that a song this uncompromising also had

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Speaker 3: that huge international impact it did.

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Speaker 1: Yeah, I mean even thinking of someone like Selena in

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Speaker 1: the in the nineties who spoke English as her first

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Speaker 1: language and was able to have much more success and

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Speaker 1: break through as a tehana artist and who was singing

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Speaker 1: in Spanish and then suddenly had to kind of go

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Speaker 1: back into an English language song to kind of see

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Speaker 1: that really go to fruition. But yeah, it was such

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Speaker 1: a common thing, expected thing, and such like a requirement

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Speaker 1: in the industry. To be seen as viable in specifically

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Speaker 1: an American audience, to you know, sing a song, rap

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Speaker 1: a song in English and to kind of have that

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Speaker 1: even if you were one of the biggest artists in

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Speaker 1: on you know, any Spanish language country and having number

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Speaker 1: ones in ten, fifteen, twenty other countries, and it still

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Speaker 1: mattered so much to kind of get radio play, to

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Speaker 1: be seen as an artist that's worthy of getting the

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Speaker 1: MTV rotation or anything else, to kind of have that crossover.

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Speaker 1: But of course Daddy Yankey proved that was not necessary,

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Speaker 1: that didn't matter. And of course, you know, Gosolina of

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Speaker 1: course has that really really great propulsive beat.

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Speaker 2: It is like so so energy.

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Speaker 1: It's like it really feels like you're in like a

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Speaker 1: car going like two hundred miles per hour.

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Speaker 2: But you know, it's.

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Speaker 1: Also just no matter if you don't speak Spanish, you

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Speaker 1: could very much sing along to that chorus like you

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Speaker 1: get it.

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Speaker 3: Yeah, yeah, it did not need that translation. The old

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Speaker 3: school idea of this song started to be a hit,

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Speaker 3: Oh should do an English language version of it, you know,

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Speaker 3: that was the ninety nine Lift Balloons became ninety nine

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Speaker 3: Red Balloons. That's just how it was done. Major Tom

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Speaker 3: was starting to be a hit in German, so he

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Speaker 3: did it in English, Peter shilling for Gasolina. There was

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Speaker 3: no question of that. But it was so axiomatic before

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Speaker 3: Gasolina that no matter how huge you were all over

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Speaker 3: the world in Spanish, it just did not matter in

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Speaker 3: the US without that English language song, that that was

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Speaker 3: just an insurmountable barrier. And for this song to just

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Speaker 3: smash through, like the barrier wasn't even there. It's the

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Speaker 3: confidence in this song, the arrogance that Daddy Yankee sounds

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Speaker 3: like he's absolutely on top world.

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Speaker 1: Yeah, and I love reading interviews that he's done in

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Speaker 1: the year since the song Glowing Up and especially looking

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Speaker 1: back on it, and just the fact that, you know,

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Speaker 1: he kind of calls out the fact that there was

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Speaker 1: so much of this idea of like this must mean

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Speaker 1: something really like inappropriate, that like Gasolina must be like

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Speaker 1: must be like slang for like alcohol or for sex

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Speaker 1: or for something, or for drugs or whatever.

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Speaker 2: And he had a really great quote in.

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Speaker 1: Interview where he was like, this is probably the most

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Speaker 1: innocent song I think I've ever written. He was like,

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Speaker 1: in my entire career, this is He was like, there's

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Speaker 1: nothing more straightforward than like this song, it's like the

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Speaker 1: most innocent lyrics I've ever penned. Of course, reggaetone is

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Speaker 1: a very like hypersexual genre. It's like very kind of

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Speaker 1: you know, there's a lot going on in a lot

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Speaker 1: of reggaetone songs. But he was like, this song is

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Speaker 1: it's literally about cars and about kind of the idea

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Speaker 1: of a girl liking, you know, someone with a really fast,

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Speaker 1: expensive car. You know, it's just it's just like so

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Speaker 1: funny that he's just like there was so much of

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Speaker 1: this kind of like what's it about?

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Speaker 2: What's it really about? And he's like, it's it's about gasoline.

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Speaker 3: It's about gas there's no double on tundra. It's the

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Speaker 3: eternal mystic collusion of car and girl. Yeah, you know

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Speaker 3: a car song that's a girl's song. That combination is

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Speaker 3: just it's undeniable all through ages, every genre, every language,

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Speaker 3: every language. And Gasolina just so urgent, like you said,

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Speaker 3: perfect word propulsive for how it sounds, and that it

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Speaker 3: didn't need to cross over. It just it was on

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Speaker 3: its own terms and everybody heard it said yes.

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Speaker 1: Yeah, I'll tell you of being at a seventh grade

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Speaker 1: dance when the song came on.

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Speaker 2: Yeah, incredible because.

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Speaker 1: No one knew our teachers were going to translate it.

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Speaker 2: I had no idea, didn't matter.

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Speaker 3: Catholic school.

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Speaker 2: Yeah, not cars, you know it's.

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Speaker 3: About cars, yes, but for some reason, against all the

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Speaker 3: conventional wisdom that Americans needed that English language content. It

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Speaker 3: was also pretty easy to tell that this was a

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Speaker 3: song about gasoline and just such a powerful sound.

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Speaker 2: Yeah.

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Speaker 1: And of course you know, this song kind of again

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Speaker 1: like breaking that barrier, allowing this idea that like to

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Speaker 1: be marketable in the US in America no longer meant

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Speaker 1: that you needed to speak in English, or have a

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Speaker 1: song in English, or be able to have a hit

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Speaker 1: with that. I mean, Broke Berry's on a lot of levels.

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Speaker 1: You know, we've talked about this, and you know, of course,

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Speaker 1: like the BTS episode and things like that, there's all

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Speaker 1: these like barriers that ended up sort of being shattered

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Speaker 1: over the last two decades in pop music, and especially

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Speaker 1: with the rise of social media and streaming like that,

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Speaker 1: where this idea that to have a hit it is

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Speaker 1: universal no matter what language it is.

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Speaker 2: If the song's good, it's good, and it.

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Speaker 1: No longer matters this idea that you have to kind

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Speaker 1: of forsake your native tongue in order to be a

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Speaker 1: success story.

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Speaker 3: Absolutely, he proved that this was possible, and so many

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Speaker 3: people have done so much with it since then. I mean, yeah,

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Speaker 3: BTS a great comparison. It would have been ridiculous to

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Speaker 3: think of them doing a hit song in English to

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Speaker 3: make themselves popular in the US. They became stadium act

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Speaker 3: in the US by doing exactly what they did and

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Speaker 3: what they wanted to on their own terms, in their

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Speaker 3: own language. And it was only then that they started

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Speaker 3: playing with like doing songs in English with Halsey. Yeah,

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Speaker 3: for Gosolina, it's well that reggaeton was such an unusual

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Speaker 3: and unprecedented sound. It was such a fusion of different

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Speaker 3: things that sounded so extreme, and it was still a

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Speaker 3: relatively new genre and as you said, very still a

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Speaker 3: very controversial genre in Puerto Rico. It's well because reggaeton

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Speaker 3: seemed to get very big. It was something you heard

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Speaker 3: all the time in New York, even if you didn't

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Speaker 3: know what it was. You know, like there were songs

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Speaker 3: that would break out and people would know the names,

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Speaker 3: they would know the artists because of those songs. But

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Speaker 3: it was still seen as a genre that was rising

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Speaker 3: and didn't have a breakout start, didn't have a breakout song.

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Speaker 3: There were some examples besides Gosolp, but like nothing was

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Speaker 3: as big as Gasolina.

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Speaker 1: Yeah, I mean, of course, even just like the sound

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Speaker 1: of the genre, this particular song, whereas reggaeton comes from

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Speaker 1: reggae music, it comes from you know, this fusion of

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Speaker 1: kind of nineties two thousands rap music, and as that

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Speaker 1: was sort of evolving very quickly, it was very much

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Speaker 1: becoming like very fused with with what the sound of

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Speaker 1: reggaetone was, and of course very traditional sort of Puerto

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Speaker 1: Rican and Latin Latin pop and traditional sounds that were

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Speaker 1: kind of all coming together to create this like very

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Speaker 1: high energy, very club forward music that was so much

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Speaker 1: blowing up in clubs in the underground, like in sort

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Speaker 1: of you know, again hearing it at block parties in

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Speaker 1: New York or in the streets of New York well

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Speaker 1: before Gosolena blew up, or I mean kind of the

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Speaker 1: way with any sort of reggaetone artist that's blown up

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Speaker 1: in the last twenty years, you know, you kind of

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Speaker 1: hear it sort of people play now of their cars,

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Speaker 1: people playing at the clubs, people playing at parties, as

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Speaker 1: it sort of kind of builds up hearing like someone

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Speaker 1: like Bad Bunny for so long, just like from attending

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Speaker 1: block parties, even before he kind of has become one

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Speaker 1: of the most streamed artists in the world. It's such

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Speaker 1: a testament to why this music is still so successful

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Speaker 1: and continues to evolve and change. You know what reggaeton

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Speaker 1: sounds like now, completely different than when it sounded twenty

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Speaker 1: three years.

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Speaker 3: Ago, totally. Rakata was the first reggaeton hit that was

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Speaker 3: huge in New York that everybody knew just from coming

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Speaker 3: out of cars. Even if people weren't hearing that song

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Speaker 3: in clubs or bars, it was still a song that

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Speaker 3: you knew just from hearing it in cars, block parties,

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Speaker 3: as he said, literally just tearing it on the streets

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Speaker 3: with people listening to Rakatau. It was like it was

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Speaker 3: a hit song of his entire summer of Rakata in

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Speaker 3: New York. Yeah, for Gasolina to take that to a

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Speaker 3: national level was really surprising.

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Speaker 1: Yeah, with this song with day Yankee's career, I mean,

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Speaker 1: this was it wasn't even the beginning of his career.

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Speaker 1: It was, of course, like he had been sort of

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Speaker 1: already blowing up, but it was sort of this like

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Speaker 1: this kind of new beginning of world domination and just

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Speaker 1: like really a new start for him, as like becoming

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Speaker 1: one of the most iconic, best selling artists of all time.

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Speaker 1: You know, he famously last year, I guess two years ago,

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Speaker 1: he technically announced his retirement, as all great artists do,

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Speaker 1: all great artists prematurely announced retirement that may not actually

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Speaker 1: be a retirement, but you know, even just like the

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Speaker 1: response to that from the community of artists, especially younger

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Speaker 1: artists who have become more popular in recent years, who

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Speaker 1: idolize him and to have worked with him, you know,

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Speaker 1: that response, and also from his fans. I mean, he

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Speaker 1: kind of closed out his big tour last year with

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Speaker 1: a huge concert in San Juan that I know a

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Speaker 1: few friends of mine ended up attending and said it

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Speaker 1: was one of the best shows I've ever seen in

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Speaker 1: their entire lives. But you know, it's I mean incredible

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Speaker 1: that so many years later there's still so many hits,

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Speaker 1: great albums, and you know, just like a really great

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Speaker 1: kind of legacy that he's built and continued to build.

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Speaker 3: Amazing, especially, like you said, for an artist who retired

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Speaker 3: definitely from the share school of retirement.

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Speaker 1: Yeah, I'm sure we'll have another tour Nottin, Like, I'm

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Speaker 1: sure we will.

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Speaker 3: Yeah.

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Speaker 1: I mean, especially he's like still very young. You know,

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Speaker 1: it's still he's like very very young when he started out.

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Speaker 1: He's a teacher when he started recording, and like, you know,

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Speaker 1: he's still is still a very very young man. And

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Speaker 1: so it's like kind of surreal. But I mean, the

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Speaker 1: fact that he could do that after nearly thirty years

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Speaker 1: of creatingmusic and tory music and continue to be kind

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Speaker 1: of on the pulse of everything that's happening again, as

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Speaker 1: reggaeton has changed and evolved over the years to sort

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Speaker 1: of not only match but be.

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Speaker 2: Very much ahead of the times at all times.

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Speaker 1: It's pretty remarkable that he's been able to keep up

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Speaker 1: with that and still kind of be ahead of that.

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Speaker 3: Yeah, he's never become a legacy act. Yeah, it's amazing

307
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Speaker 3: that he's still had such massive hits in recent years. Yeah,

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Speaker 3: and it's funny that he's had this self sustaining career

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Speaker 3: long past. I mean, there was no role model for

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Speaker 3: you know, a twenty five year career in reggaeton. Yeah,

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Speaker 3: the genre is so new and he just really has

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Speaker 3: been breaking molds, yeah, and is.

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Speaker 1: Now that role model for so many artists who are

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Speaker 1: so you know, very vocally following in his footsteps and

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Speaker 1: very much kind of looking to him as that lighthouse

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Speaker 1: for how they kind of proceed in their own careers.

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Speaker 1: You know, the way that the reggaeton being so infused

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Speaker 1: with trap music now and kind of edm and house

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Speaker 1: house music, kind of hearing all of that sort of

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Speaker 1: collide at once in it, it's pretty remarkable to kind

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Speaker 1: of see.

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Speaker 2: How he's inspired that.

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Speaker 1: But also, yeah, like seeing those younger artists who are

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Speaker 1: kind of reinventing that wheel in his in his name. Yeah,

325
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Speaker 1: as this last album was called Legend Daddy, you know,

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Speaker 1: it's really an appropriate, appropriate title.

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Speaker 2: For Daddy Yankee.

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Speaker 3: Absolutely.

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Speaker 1: Next up, we are joined by Rolling Stone Senior music

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Speaker 1: editor Julisa Lopez. We are joined now by Rolling Stone

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Speaker 1: Senior music editor Julisa Lopez Jalsa.

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Speaker 5: Thank you for being right, Thanks for having me.

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Speaker 3: Thank you so much.

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Speaker 5: I'm excited to be here. I'm very excited to talk

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Speaker 5: about guys.

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Speaker 1: Let me know, Yeah, do you remember the first time

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Speaker 1: you heard this song or Daddy Yankee?

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Speaker 4: Yes, so different so one thing that I was always

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Speaker 4: really excited about was my older brother and my older sister.

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Speaker 4: My half siblings were raised in Puerto Rico, so kind

341
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Speaker 4: of one brigaton was really starting to take off in

342
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Speaker 4: the nineties, and like early two thousands, I felt like

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Speaker 4: I was ahead of everybody because they were bringing back

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Speaker 4: all of these tapes from Puerto Rico before it had

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Speaker 4: really touched down in the US. There's this guy DJ

346
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Speaker 4: Prao who was one of the pioneers of of Regetong,

347
00:16:08,520 --> 00:16:10,080
Speaker 4: who was playing a lot of the stuff at clubs,

348
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Speaker 4: and then like would release these bootlegses and so a

349
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Speaker 4: very young Daddy Yankee is featured on a lot of

350
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Speaker 4: those mixtapes. So I first heard Daddy Yankee on those

351
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Speaker 4: and then I remember like in middle school and stuff

352
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Speaker 4: like I would bring them into my middle school and

353
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Speaker 4: felt cooler than everybody because this like entire genre of

354
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Speaker 4: music was happening and nobody, you know, in the in

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Speaker 4: the US really had it.

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Speaker 5: And then I would say it started picking up more

357
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Speaker 5: and more and more.

358
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Speaker 4: I think the album came out in two thousand and four,

359
00:16:35,240 --> 00:16:37,640
Speaker 4: so the song broke through in two thousand and five.

360
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Speaker 5: I was in high school by then. So by then

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Speaker 5: I was like Daddy Yankees, like old News been around forever.

362
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Speaker 4: But that I mean, that song was just massive, and

363
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Speaker 4: I think really the sort of the breakthrough point four Regatong,

364
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Speaker 4: which I think really hadn't found its footing yet in

365
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Speaker 4: sort of a global mainstream stage, but this was, you know,

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Speaker 4: the point where where it didn't weren't really broke through.

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Speaker 1: Yeah, can you entuck realized a little bit, especially because

368
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Speaker 1: he was so much blowing up prior to this song

369
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Speaker 1: and getting such like a already kind of seen as

370
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Speaker 1: this like king of Reggaeton, Like what was happening prior

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Speaker 1: to Gasolina for him?

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Speaker 2: Like how yeah, how is his career developing?

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Speaker 5: So Danny ge Get started really young.

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Speaker 4: I think he was about sixteen when he started rapping

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Speaker 4: in Puerto Rico and back then, if I mean, if

376
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Speaker 4: you really think about the way that Raggetong came together,

377
00:17:22,520 --> 00:17:24,640
Speaker 4: you know, in the early nineties, there wasn't even really

378
00:17:24,680 --> 00:17:26,320
Speaker 4: a name for it. You know, if you think about

379
00:17:26,359 --> 00:17:29,960
Speaker 4: how Regyaetung happened, it is sort of this incredible mix

380
00:17:30,000 --> 00:17:32,680
Speaker 4: of geography and history and if you really really go back,

381
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Speaker 4: I mean a lot of this starts with the Panama Canal.

382
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Speaker 4: Like all of these West Indian migrants came to Panama,

383
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Speaker 4: they brought reggae albums with them and all of their culture.

384
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Speaker 4: And then in the seventies you start seeing reggae espagnon,

385
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Speaker 4: which you know is artists like in Heineral and sham

386
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Speaker 4: Barinks and people who are like really sort of the

387
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Speaker 4: pioneer and like the prototype for what you know reggae

388
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Speaker 4: and spagnon eventually becomes you know, reggaetong.

389
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Speaker 5: And so what you had happening is that you had these.

390
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Speaker 4: Influence says from the Caribbean, from the West Indies, and

391
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Speaker 4: then in Puerto Rico, it you know, mixes in with

392
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Speaker 4: hip hop, which like hip hop was coming in from

393
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Speaker 4: New York from the US from the mainland, and people

394
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Speaker 4: at clubs start kind of mixing the two, and so

395
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Speaker 4: you get this like mix of reggae with hip hop,

396
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Speaker 4: and you get all of these kids kind of at

397
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Speaker 4: the club messing around with us and just trying it out,

398
00:18:21,840 --> 00:18:25,080
Speaker 4: and it's really just club music. Then it wasn't even

399
00:18:25,160 --> 00:18:28,159
Speaker 4: called regatong. And I think there's one urban legend that

400
00:18:28,280 --> 00:18:31,440
Speaker 4: Daddy Yankee's actually the person who coined the term Regatong

401
00:18:31,480 --> 00:18:33,760
Speaker 4: because he said it like while freestyling in a song.

402
00:18:34,600 --> 00:18:36,439
Speaker 5: But he was like sixteen years old and was like

403
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Speaker 5: this guy who.

404
00:18:37,040 --> 00:18:38,480
Speaker 4: Was like out, you know, at the club with a

405
00:18:38,520 --> 00:18:41,560
Speaker 4: microphone kind of messing around. And so the story goes

406
00:18:41,560 --> 00:18:44,440
Speaker 4: that he originally wanted to be like a baseball player

407
00:18:44,760 --> 00:18:47,240
Speaker 4: in Puerto Rico and that was really his dream, but

408
00:18:47,280 --> 00:18:49,320
Speaker 4: he was sort of ducking in and out of studios

409
00:18:49,359 --> 00:18:51,600
Speaker 4: and rapping on the side in Puerto Rico, you know

410
00:18:51,640 --> 00:18:54,160
Speaker 4: that where this you know music is really taking off,

411
00:18:54,320 --> 00:18:57,960
Speaker 4: you know, wasn't like the most like wealthiest parts of

412
00:18:58,000 --> 00:18:59,840
Speaker 4: Puerto Rico. And so he's out late one night and

413
00:19:00,040 --> 00:19:02,280
Speaker 4: he gets shot in the leg and that kind of

414
00:19:02,320 --> 00:19:05,240
Speaker 4: effectively ends his baseball career. So that's really when he's like,

415
00:19:05,280 --> 00:19:07,920
Speaker 4: I'm going to focus only Andreazong, I'm going to be

416
00:19:07,920 --> 00:19:11,440
Speaker 4: a rapper and really tries to make this career take off.

417
00:19:11,480 --> 00:19:13,399
Speaker 4: So in Puerto Rico he was like among the biggest

418
00:19:13,480 --> 00:19:15,399
Speaker 4: names just because he'd been doing it for so long.

419
00:19:15,560 --> 00:19:18,199
Speaker 5: He had like a sort of like a duo like

420
00:19:18,280 --> 00:19:19,200
Speaker 5: super group.

421
00:19:18,960 --> 00:19:22,240
Speaker 4: With Nikiam for a while called Oskangi, And so by

422
00:19:22,280 --> 00:19:26,120
Speaker 4: the time Gasolina comes along, this is on Barrauffino, which

423
00:19:26,160 --> 00:19:28,280
Speaker 4: is his third album. So he's he's already had like

424
00:19:28,680 --> 00:19:31,080
Speaker 4: not only like all of the music that he's featured

425
00:19:31,080 --> 00:19:33,520
Speaker 4: on with like the Priato mixtapes and all the you know,

426
00:19:33,600 --> 00:19:35,680
Speaker 4: the music that's kind of being recorded in the club,

427
00:19:36,000 --> 00:19:38,920
Speaker 4: but he'd also had two albums before this, and he's

428
00:19:38,960 --> 00:19:41,399
Speaker 4: talked about how, you know, when he made Barrifino, he

429
00:19:41,480 --> 00:19:42,920
Speaker 4: kind of needed to win. Like it was like he

430
00:19:43,040 --> 00:19:45,320
Speaker 4: was popular Puerto Rico, but it still wasn't kind of,

431
00:19:45,440 --> 00:19:46,080
Speaker 4: you know, big.

432
00:19:46,000 --> 00:19:48,159
Speaker 5: Enough to break through. And so this was really the

433
00:19:48,200 --> 00:19:49,840
Speaker 5: album that like put him on the map.

434
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Speaker 4: And he talks about just like pouring everything in because

435
00:19:52,600 --> 00:19:54,960
Speaker 4: he like really needed, you know, he really needed to win,

436
00:19:54,960 --> 00:19:57,040
Speaker 4: and he really needed something to bring his career to

437
00:19:57,119 --> 00:19:57,720
Speaker 4: the next level.

438
00:19:57,720 --> 00:19:59,520
Speaker 5: And ultimately that's what this song did.

439
00:19:59,720 --> 00:20:02,159
Speaker 1: Yeah, what was sort of the impetus I guess for

440
00:20:02,240 --> 00:20:04,920
Speaker 1: Gosolena taking off the way it did? I mean, especially

441
00:20:05,119 --> 00:20:06,920
Speaker 1: given the I mean it's already a great song, it's

442
00:20:07,000 --> 00:20:10,560
Speaker 1: a wonderful album. Like what sort of helped kind of

443
00:20:10,640 --> 00:20:14,119
Speaker 1: give that song that edge to become this like larger

444
00:20:14,119 --> 00:20:15,239
Speaker 1: than life like global hit.

445
00:20:15,400 --> 00:20:17,399
Speaker 4: Yeah, well, I think part of it. One thing I

446
00:20:17,480 --> 00:20:20,360
Speaker 4: really love about Gasolina. It's almost like the snippet of

447
00:20:21,080 --> 00:20:24,000
Speaker 4: life in Puerto Rico, like even the name Gasolina. Daddy

448
00:20:24,040 --> 00:20:26,399
Speaker 4: Yankees talked about how the song came to him because

449
00:20:26,440 --> 00:20:29,199
Speaker 4: he was trying to write in his tiny apartment in

450
00:20:29,200 --> 00:20:31,880
Speaker 4: Puerto Rico, and some guy walked by and was kind

451
00:20:31,880 --> 00:20:33,120
Speaker 4: of joking to this girl and.

452
00:20:33,080 --> 00:20:35,879
Speaker 5: Said a which is sort of.

453
00:20:35,840 --> 00:20:39,480
Speaker 4: This slang term that means like, oh, like you like gasoline,

454
00:20:39,480 --> 00:20:41,680
Speaker 4: like you love fast cars and guys who drive fast cars,

455
00:20:41,680 --> 00:20:43,600
Speaker 4: and was kind of teasing this girl. And so I

456
00:20:43,600 --> 00:20:46,320
Speaker 4: think it was that mix of kind of how snappy

457
00:20:46,359 --> 00:20:52,520
Speaker 4: that you know, the actual choruses, and and it being

458
00:20:52,560 --> 00:20:54,359
Speaker 4: sort of this like little snippet of of life in

459
00:20:54,359 --> 00:20:57,720
Speaker 4: Puerto Rico. That with the production by Looney Tunes where

460
00:20:57,720 --> 00:21:00,240
Speaker 4: it actually sound, you know, they really did everything to

461
00:21:00,320 --> 00:21:02,959
Speaker 4: bring the idea of Gasolina and this sort of like

462
00:21:03,040 --> 00:21:07,000
Speaker 4: rubbed up, you know, hydraulic heavy sound.

463
00:21:06,880 --> 00:21:07,840
Speaker 5: To the song.

464
00:21:08,080 --> 00:21:09,800
Speaker 4: And then also it was like two thousand and five,

465
00:21:09,840 --> 00:21:12,200
Speaker 4: and I think at the time in pop music.

466
00:21:12,119 --> 00:21:14,920
Speaker 5: Like there was sort of like this, there was starting.

467
00:21:14,560 --> 00:21:17,479
Speaker 4: To be an interest in what was happening and in

468
00:21:17,480 --> 00:21:19,359
Speaker 4: Puerto Rico and more globally and in other.

469
00:21:19,240 --> 00:21:19,880
Speaker 5: Parts of the world.

470
00:21:20,040 --> 00:21:21,840
Speaker 4: You know, like just a couple of years before, you

471
00:21:21,880 --> 00:21:25,240
Speaker 4: had had you know, artists like Shakira and Ricky Martin

472
00:21:25,280 --> 00:21:28,040
Speaker 4: breaking through kind of earlier in the two thousands, and

473
00:21:28,119 --> 00:21:29,840
Speaker 4: this thing was bubbling in Puerto Rico that I think

474
00:21:29,840 --> 00:21:32,000
Speaker 4: people were interested in but hadn't really figured out how

475
00:21:32,040 --> 00:21:33,960
Speaker 4: to tap into. And you had songs that were starting

476
00:21:34,000 --> 00:21:37,240
Speaker 4: to kind of identify the song like Oyami Ganto I think,

477
00:21:37,320 --> 00:21:39,639
Speaker 4: is a really big one that kind of like hinted

478
00:21:39,640 --> 00:21:41,600
Speaker 4: where this was going, But I think there was still

479
00:21:41,640 --> 00:21:44,560
Speaker 4: some question at the time of you know, a song

480
00:21:44,600 --> 00:21:46,840
Speaker 4: fully in Spanish hadn't really been done yet. All of

481
00:21:46,840 --> 00:21:50,240
Speaker 4: these artists before, like Ricky, like Shakira, had done the

482
00:21:50,240 --> 00:21:52,119
Speaker 4: crossover thing where they had sang in English, and all

483
00:21:52,119 --> 00:21:53,680
Speaker 4: of a sudden, there was a song that was sort

484
00:21:53,720 --> 00:21:56,359
Speaker 4: of catchy and big and you didn't really need to

485
00:21:56,440 --> 00:21:58,720
Speaker 4: understand the lyrics to kind of get it. It was

486
00:21:58,720 --> 00:22:01,359
Speaker 4: more about sort of the them and the sound, and

487
00:22:01,400 --> 00:22:02,840
Speaker 4: so I think all of that sort of paved the

488
00:22:02,840 --> 00:22:05,080
Speaker 4: way for this song to become as big as it did.

489
00:22:05,240 --> 00:22:08,520
Speaker 1: Yeah, and like redefining that idea that a Spanish language

490
00:22:08,600 --> 00:22:11,880
Speaker 1: artists needed to release an English language hit or song

491
00:22:12,000 --> 00:22:15,120
Speaker 1: to cross over like it didn't didn't matter anymore.

492
00:22:14,800 --> 00:22:16,600
Speaker 4: Exactly, I think, And I think this is really the

493
00:22:16,640 --> 00:22:19,040
Speaker 4: precursor to what you see with you know, artists later

494
00:22:19,160 --> 00:22:21,520
Speaker 4: like Bad Bunny and kiol G and artists now who

495
00:22:21,560 --> 00:22:24,199
Speaker 4: are kind of realizing like, oh, actually you didn't you know,

496
00:22:24,240 --> 00:22:26,159
Speaker 4: you don't really need to sing in English to be

497
00:22:26,200 --> 00:22:29,040
Speaker 4: a massive global superstar. And I don't think enough people

498
00:22:29,040 --> 00:22:31,000
Speaker 4: give that song credit because you know, it is such

499
00:22:31,080 --> 00:22:33,200
Speaker 4: a song that is such sort of part of our

500
00:22:33,520 --> 00:22:35,800
Speaker 4: cultural lexicon now, and like I think people kind of

501
00:22:35,800 --> 00:22:38,240
Speaker 4: forget that it was a Spanish Like we act like

502
00:22:38,280 --> 00:22:40,560
Speaker 4: Bad Bunny and and all these artists are doing is

503
00:22:40,560 --> 00:22:42,399
Speaker 4: totally new, but actually this was a song in two

504
00:22:42,440 --> 00:22:45,680
Speaker 4: thousand and five that was completely in Spanish, and most

505
00:22:45,720 --> 00:22:48,919
Speaker 4: people kind of, you know, sing along and it's gibberish,

506
00:22:48,960 --> 00:22:53,320
Speaker 4: but you get the you get the main idea.

507
00:22:53,480 --> 00:22:57,600
Speaker 3: How do you think that Daddy Yanki saw himself as

508
00:22:57,760 --> 00:23:00,440
Speaker 3: breaking that mold, as he said he wanted that win,

509
00:23:00,720 --> 00:23:03,480
Speaker 3: but he didn't do any compromising. It doesn't sound like

510
00:23:03,520 --> 00:23:05,480
Speaker 3: somebody who's eager for a win. It sounds like somebody

511
00:23:05,520 --> 00:23:07,880
Speaker 3: who's super confident thinks he's won already.

512
00:23:08,040 --> 00:23:10,119
Speaker 4: Yeah, I think one thing is in Puerto Rico, by

513
00:23:10,160 --> 00:23:13,440
Speaker 4: the time the song Blew Upong had really started to consolidate.

514
00:23:13,600 --> 00:23:15,760
Speaker 4: I would even argue that, like as much of a

515
00:23:15,800 --> 00:23:18,480
Speaker 4: pioneer as Daddy Yanki is, he wasn't sort of the

516
00:23:18,520 --> 00:23:22,560
Speaker 4: first reggathong star. You know, you had Teoka Lerong before him,

517
00:23:22,640 --> 00:23:25,800
Speaker 4: who had made e Laayarde, which to me is the

518
00:23:25,840 --> 00:23:28,560
Speaker 4: greatest regatong record ever made. You had Dongo mad who

519
00:23:28,640 --> 00:23:30,919
Speaker 4: was his full rival. So you had had already like

520
00:23:30,960 --> 00:23:35,240
Speaker 4: these full on rivalries and storylines and characters in Reytong,

521
00:23:35,640 --> 00:23:37,080
Speaker 4: and so I do think there was an element of

522
00:23:37,080 --> 00:23:39,200
Speaker 4: it where Daddy Yanki was coming it from a perspective

523
00:23:39,200 --> 00:23:41,639
Speaker 4: of like he wanted to win and he knew that

524
00:23:41,680 --> 00:23:44,359
Speaker 4: there was a new level he could reach. But in

525
00:23:44,640 --> 00:23:47,719
Speaker 4: a certain way, he was already a star, you know,

526
00:23:47,760 --> 00:23:50,400
Speaker 4: in Puerto Rico, in Latin America, there had already been

527
00:23:50,440 --> 00:23:53,320
Speaker 4: this kind of history that had already unraveled.

528
00:23:52,760 --> 00:23:54,080
Speaker 5: With with Regyitong.

529
00:23:54,119 --> 00:23:55,480
Speaker 4: And I think it's one of the reasons that the

530
00:23:55,520 --> 00:23:59,119
Speaker 4: song feels so uncompromising and so, I mean it is

531
00:23:59,160 --> 00:24:01,719
Speaker 4: even strange, I think for a ragatung song. You know,

532
00:24:01,800 --> 00:24:04,679
Speaker 4: just the production of it and him kind of like

533
00:24:04,760 --> 00:24:07,320
Speaker 4: rapping super fast in it. It is a little bit

534
00:24:07,359 --> 00:24:09,320
Speaker 4: of a different take, I think on what was happening

535
00:24:09,359 --> 00:24:11,199
Speaker 4: in Ragatong at the time. I think one of the

536
00:24:11,200 --> 00:24:14,159
Speaker 4: best parts of the song is the female vocalist in

537
00:24:14,200 --> 00:24:17,480
Speaker 4: the background. That's Glodi, who also was starting to become

538
00:24:17,480 --> 00:24:21,280
Speaker 4: a reggaetong artist in her own way, and she wasn't

539
00:24:21,280 --> 00:24:23,040
Speaker 4: credited on the song for the longest time, which I

540
00:24:23,040 --> 00:24:25,040
Speaker 4: think also says a lot about, you know, the role

541
00:24:25,080 --> 00:24:26,960
Speaker 4: of women in this genre, which it was not. You know,

542
00:24:27,000 --> 00:24:30,280
Speaker 4: you had Evie Queen, but it was not the most

543
00:24:30,840 --> 00:24:33,320
Speaker 4: receptive toward women, and there was I think a lot

544
00:24:33,359 --> 00:24:37,040
Speaker 4: of like toxic masculinity and it was just like a

545
00:24:37,160 --> 00:24:39,840
Speaker 4: very very male heavy genre. But I do think that

546
00:24:39,920 --> 00:24:42,200
Speaker 4: like that addition of her voice on it is also

547
00:24:42,240 --> 00:24:44,160
Speaker 4: something that makes that song really unique. And I think

548
00:24:44,240 --> 00:24:46,639
Speaker 4: later that became something that sort of became like a

549
00:24:47,400 --> 00:24:51,159
Speaker 4: format for you know, adding more women and eventually like

550
00:24:51,240 --> 00:24:54,960
Speaker 4: people realizing they shouldn't just be an uncredited background vocalist,

551
00:24:55,000 --> 00:24:56,920
Speaker 4: they should kind of be at the center.

552
00:24:57,720 --> 00:24:59,720
Speaker 3: Did she have her own career was she now?

553
00:25:00,000 --> 00:25:01,480
Speaker 5: I feel like her career kind of came later.

554
00:25:01,520 --> 00:25:03,520
Speaker 4: She had a few songs, but she was she never

555
00:25:03,600 --> 00:25:06,200
Speaker 4: really got her do and I wouldn't I wouldn't say

556
00:25:06,200 --> 00:25:08,760
Speaker 4: that she was ever one of the biggest artists or

557
00:25:08,880 --> 00:25:11,240
Speaker 4: female artists in Durgotong. And I mean, I mean truly, like,

558
00:25:11,280 --> 00:25:12,960
Speaker 4: I think the only one that has had a lot

559
00:25:13,000 --> 00:25:16,280
Speaker 4: of longevity is Evie Queen, you know who, who was

560
00:25:16,320 --> 00:25:19,160
Speaker 4: also somebody that at the time was rapping in the clubs,

561
00:25:19,240 --> 00:25:22,000
Speaker 4: you know, with with Daddy Yankee and rapping with the Noise,

562
00:25:22,320 --> 00:25:23,560
Speaker 4: and they're really contemporaries.

563
00:25:23,640 --> 00:25:27,159
Speaker 5: But I mean it's really very few women, which sucks.

564
00:25:27,359 --> 00:25:30,159
Speaker 1: It feels like Evie's career even has gotten more of

565
00:25:30,160 --> 00:25:32,840
Speaker 1: its due in recent years too, like in terms of

566
00:25:32,960 --> 00:25:34,719
Speaker 1: you know, just like citing her as such like a

567
00:25:34,880 --> 00:25:38,240
Speaker 1: massive kind of fore mother in the in the genre exactly.

568
00:25:38,400 --> 00:25:38,600
Speaker 2: Yeah.

569
00:25:38,920 --> 00:25:41,600
Speaker 4: Yeah, I think I think it was an until like

570
00:25:41,760 --> 00:25:44,480
Speaker 4: much more recently that people have kind of discovered her

571
00:25:44,520 --> 00:25:46,879
Speaker 4: and and Gloria really didn't, you know, I don't. I

572
00:25:46,880 --> 00:25:48,720
Speaker 4: don't think she had nearly as many songs or as

573
00:25:48,760 --> 00:25:51,360
Speaker 4: many opportunities, but she's on this one, which is one

574
00:25:51,359 --> 00:25:53,320
Speaker 4: of the one of the biggest ones.

575
00:25:53,440 --> 00:25:56,720
Speaker 1: So yeah, And can you speak a little bit to

576
00:25:56,760 --> 00:25:59,399
Speaker 1: the evolution of Rakoton over the years, and especially becoming

577
00:25:59,640 --> 00:26:01,879
Speaker 1: one of the most dominant genres of music and one

578
00:26:01,920 --> 00:26:04,480
Speaker 1: of the most popular and kind of spawning some of

579
00:26:04,520 --> 00:26:08,480
Speaker 1: the biggest names in pop music even just right the second.

580
00:26:08,400 --> 00:26:10,640
Speaker 4: Yeah, I mean, I don't think that anybody really could

581
00:26:10,640 --> 00:26:15,520
Speaker 4: have predicted the commercial or global force that Regatoon would become.

582
00:26:15,800 --> 00:26:16,960
Speaker 5: We're talking now Latin music.

583
00:26:17,000 --> 00:26:19,840
Speaker 4: I think last year made a billion dollars, and so

584
00:26:19,960 --> 00:26:22,800
Speaker 4: much of that is for you know, by regaetong, by

585
00:26:22,920 --> 00:26:26,480
Speaker 4: how how massively popular it's gotten. And I think for

586
00:26:26,520 --> 00:26:29,359
Speaker 4: a long time it felt like something that it was

587
00:26:29,400 --> 00:26:31,480
Speaker 4: shunned in so many ways. You know, first it comes

588
00:26:31,480 --> 00:26:33,920
Speaker 4: out of Puerto Rico, and I think it's really seen

589
00:26:33,960 --> 00:26:36,320
Speaker 4: as sort of this like something from the streets. I

590
00:26:36,320 --> 00:26:37,800
Speaker 4: think even in Puerto Rico, there was a lot of

591
00:26:37,800 --> 00:26:41,199
Speaker 4: pushback toward it, like it was overly sexual, it was violent,

592
00:26:41,320 --> 00:26:43,159
Speaker 4: it was you know, all these things, a lot of

593
00:26:43,200 --> 00:26:45,160
Speaker 4: the same sort of attitudes that you got in early

594
00:26:45,240 --> 00:26:45,680
Speaker 4: hip hop.

595
00:26:45,800 --> 00:26:47,440
Speaker 5: It took into a gas solina.

596
00:26:47,160 --> 00:26:50,399
Speaker 4: For the Latin music industry to really accept it and

597
00:26:50,440 --> 00:26:52,360
Speaker 4: to kind of see it as a as a legitimate

598
00:26:52,440 --> 00:26:54,360
Speaker 4: art form. And then even then, I think it took

599
00:26:54,400 --> 00:26:56,600
Speaker 4: a long time to keep kind of bashing that door

600
00:26:56,640 --> 00:26:59,560
Speaker 4: down and get you know, people to really see it

601
00:26:59,600 --> 00:27:00,879
Speaker 4: as like as an art.

602
00:27:00,720 --> 00:27:02,360
Speaker 5: Form that you could you could take seriously.

603
00:27:02,920 --> 00:27:05,000
Speaker 4: And I want to say that Gasnina is the first

604
00:27:05,000 --> 00:27:07,640
Speaker 4: song that was ever nominated for a Latin Grammy, Andreetong

605
00:27:07,840 --> 00:27:11,879
Speaker 4: because of that song eventually like forced more Ragaton categories

606
00:27:12,160 --> 00:27:14,920
Speaker 4: in the Latin Grammys, which now there are several. I

607
00:27:14,960 --> 00:27:18,000
Speaker 4: think a lot of that started to change obviously with

608
00:27:18,040 --> 00:27:20,200
Speaker 4: like that. You know that that kind of golden era

609
00:27:20,240 --> 00:27:23,359
Speaker 4: of Reyzong when you had Daddy Yankee and Donga ma

610
00:27:23,720 --> 00:27:26,840
Speaker 4: Antheo Calerong and those all became influences. If you look

611
00:27:26,840 --> 00:27:31,280
Speaker 4: at the artist Andree Doong, now Bad Bunny, Carol G. J. Balman,

612
00:27:31,400 --> 00:27:33,520
Speaker 4: I think all of them cite those kind of four

613
00:27:33,560 --> 00:27:35,600
Speaker 4: bearers as you know, the reason that they started doing

614
00:27:35,640 --> 00:27:38,080
Speaker 4: this and the reason that they got interested in Regatong

615
00:27:38,119 --> 00:27:41,080
Speaker 4: to begin with. Bad Bunny has even said that Barruffino

616
00:27:41,240 --> 00:27:43,680
Speaker 4: is his favorite album, like of all time and one

617
00:27:43,680 --> 00:27:47,040
Speaker 4: of the albums that influenced him the most. It's definitely

618
00:27:47,040 --> 00:27:50,440
Speaker 4: had like a crazy evolution, and I think Daddy Yankee

619
00:27:50,480 --> 00:27:52,200
Speaker 4: has also had a crazy evolution because he was kind

620
00:27:52,200 --> 00:27:54,000
Speaker 4: of there for the whole thing. He's an artist that

621
00:27:54,080 --> 00:27:56,600
Speaker 4: sort of didn't go away the entire time, and sort

622
00:27:56,600 --> 00:27:59,480
Speaker 4: of in every stage of Regathong was there kind of.

623
00:27:59,400 --> 00:28:00,440
Speaker 5: Doing something different.

624
00:28:00,800 --> 00:28:03,119
Speaker 4: We're trying, you know, to to kind of move with

625
00:28:03,240 --> 00:28:05,119
Speaker 4: the genre, which I think you could. You saw it

626
00:28:05,200 --> 00:28:08,480
Speaker 4: kind of go from more of a hip hop street

627
00:28:08,520 --> 00:28:12,240
Speaker 4: style to then more of a commercial pop sound that

628
00:28:12,320 --> 00:28:14,840
Speaker 4: was really big and sort of like the mid like that,

629
00:28:15,119 --> 00:28:17,720
Speaker 4: you know, post Gasomnina era, to even like now.

630
00:28:17,760 --> 00:28:19,600
Speaker 5: I mean he just released like a song a couple

631
00:28:19,600 --> 00:28:20,040
Speaker 5: of years ago.

632
00:28:20,040 --> 00:28:22,880
Speaker 4: He's still I think pretty relevant, even though he has

633
00:28:23,040 --> 00:28:28,360
Speaker 4: since said that he's retiring, but.

634
00:28:27,480 --> 00:28:29,400
Speaker 2: Because did he release just a couple of songs this year.

635
00:28:29,520 --> 00:28:34,720
Speaker 5: Yeah, he's still going. I think that's the that's the

636
00:28:34,880 --> 00:28:35,680
Speaker 5: that's the funny thing.

637
00:28:35,760 --> 00:28:38,280
Speaker 4: It's interesting how that song in some ways, I think

638
00:28:38,400 --> 00:28:41,520
Speaker 4: has sort of become a novelty in some ways just

639
00:28:41,520 --> 00:28:43,840
Speaker 4: because you know, it's kind of everywhere, and I think

640
00:28:44,440 --> 00:28:46,560
Speaker 4: some people have kind of, you know, grown a little

641
00:28:46,560 --> 00:28:48,120
Speaker 4: tired of it. But in a lot of ways, I

642
00:28:48,120 --> 00:28:52,040
Speaker 4: think it still stands up. When we did our list

643
00:28:52,080 --> 00:28:54,400
Speaker 4: of Greatest song Songs, we took like a vote kind

644
00:28:54,400 --> 00:28:56,880
Speaker 4: of industry wide and it was number one, I would

645
00:28:56,880 --> 00:29:00,160
Speaker 4: say on like almost every person's list, And you know,

646
00:29:00,200 --> 00:29:03,880
Speaker 4: I think Gasolina has just like a really important role

647
00:29:03,920 --> 00:29:07,320
Speaker 4: I think, and what tongue is. I think twenty twenty

648
00:29:07,360 --> 00:29:10,680
Speaker 4: three was put on the on the Library of Congress's

649
00:29:11,280 --> 00:29:14,680
Speaker 4: National Recording Registry and is the first Rayton song to

650
00:29:14,680 --> 00:29:16,840
Speaker 4: ever get there. So I think it's one of those

651
00:29:16,960 --> 00:29:19,600
Speaker 4: songs that kind of stands the test of time and

652
00:29:20,280 --> 00:29:22,720
Speaker 4: really shows kind of how far this genre is come.

653
00:29:22,960 --> 00:29:25,120
Speaker 2: Yeah, thank you so much.

654
00:29:25,480 --> 00:29:27,840
Speaker 3: Thank you guys so much. I feel like I just like,

655
00:29:32,400 --> 00:29:35,360
Speaker 3: thanks so much for listening to Rolling Stone's five hundred

656
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Speaker 3: Greatest Songs. This podcast is brought to you by Rolling

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Speaker 3: Stone and iHeartMedia. Written and hosted by me, Rob Sheffield

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Speaker 3: and Britney Spanos. Executive produced by Gus Winner, Jason Fine,

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Speaker 3: Alex Dale, and Christian Horde, and produced by Jesse Cannon,

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Speaker 3: with music supervision by Eric Zeiler. Thanks for listening, Thanks

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Speaker 3: for watching.