WEBVTT - Daddy Yankee: The World Before Reggaeton

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<v Speaker 1>Joseph, I think we're about to usher in a becoming

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<v Speaker 1>an icon.

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<v Speaker 2>First, wait, the first time that we've not had Margarita's

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<v Speaker 2>before starting?

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<v Speaker 1>Okay, stop, we do not drink Margarita's before we record

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<v Speaker 1>the podcast. Okay, we don't. Don't listen to him, y'all,

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<v Speaker 1>he's been drinking. The first time we've covered an artist

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<v Speaker 1>who's currently retired.

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<v Speaker 2>Whoa well, I mean, Nikki retired, Doja retired? Then they

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<v Speaker 2>kept making music? How long is that gonna last?

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<v Speaker 1>Facts? But this artist made a promise to Baby Jesus

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<v Speaker 1>about it?

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<v Speaker 2>Right? I believe it when I see it, or when

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<v Speaker 2>I don't hear anything, I guess. But shouldn't we introduce

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<v Speaker 2>who we're talking about?

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<v Speaker 1>A good call? So today's icon is the King of

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<v Speaker 1>Regathon a big Box, otherwise known as Daddy Yankee, who

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<v Speaker 1>announced his retirement from the biz back in twenty twenty two.

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<v Speaker 2>And then said it goodbye to a roaring crowd at

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<v Speaker 2>his final clonsert in its native Puerto Rico. Last year.

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<v Speaker 1>He said that he's stepping away from music to focus

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<v Speaker 1>on his Christianity, which sounds a little surprising coming from

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<v Speaker 1>the guy who wrote saban as Blancas along.

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<v Speaker 2>We've countless other booty shaking bangers over the course of

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<v Speaker 2>three whole decades and over thirty million albums sold.

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<v Speaker 1>It's more than enough success to totally justify hanging it up.

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<v Speaker 1>But you know us, we are never ready to say

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<v Speaker 1>goodbye to our icons again.

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<v Speaker 2>I will believe it when I don't hear it, all right,

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<v Speaker 2>don't see it.

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<v Speaker 1>Point is possibly more than I think any other icon

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<v Speaker 1>we've covered. We're living in the world Daddy Yankee built

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<v Speaker 1>right now. Irl.

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<v Speaker 2>That is a very bold statement, Chica.

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<v Speaker 1>I know, but think about it, Okay, just like stay

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<v Speaker 1>with me here. There is the world before Reggaton and

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<v Speaker 1>the world after Reggathon, and who was right there when

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<v Speaker 1>we changed over?

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<v Speaker 2>Who else but El exactly.

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<v Speaker 1>And to be clear, it's not to say that he

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<v Speaker 1>invented reggathon. We're going to have more on that in

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<v Speaker 1>just a little bit for all you music historians.

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<v Speaker 2>But basically, without Daddy Yankee, your weekly New Music Friday

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<v Speaker 2>playlist would look very different.

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<v Speaker 1>My workout playlist would basically be unrecognizable. I mean, like

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<v Speaker 1>my get Ready remix Forgetting Done Done. So my point

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<v Speaker 1>is this, Daddy Yankee brought Reggaton to the masses and

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<v Speaker 1>played a massive role in shaping the genre.

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<v Speaker 2>Let's take a look at how the King of Reggathon

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<v Speaker 2>earned his thrown.

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<v Speaker 1>I'm your host Lillianavasquez and I'm Joseph Carrio and this

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<v Speaker 1>is Becoming an Icon Week, the podcast where we give

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<v Speaker 1>you the rundown on how today's most famous Latin X

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<v Speaker 1>stars have shaped pop culture.

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<v Speaker 2>And given the world some extra couple.

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<v Speaker 1>Sit back and get comfortable.

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<v Speaker 2>Because we are going in the only way we know

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<v Speaker 2>how with when I view us, when assays.

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<v Speaker 1>And a lot of opinions as we relive their greatest

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<v Speaker 1>achievements on our journey to find out what makes them

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<v Speaker 1>still iconic.

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<v Speaker 3>Before we dive in, let's mix it up a little

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<v Speaker 3>bit remake to understand how Daddy Yankee became the icon

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<v Speaker 3>that he is today, you kind of need to understand

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<v Speaker 3>when and where he came of age Puerto Rico's underground

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<v Speaker 3>music scene of the nineteen nineties.

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<v Speaker 2>Daddy Yankee didn't invent Ragaeton. Rayton is a product of

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<v Speaker 2>the MC and DJ's remixing and experimenting with dancehall beats

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<v Speaker 2>that originated in Jamaica and other largely Afro Caribbean islands.

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<v Speaker 1>Hence the reggae part of Reggathon.

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<v Speaker 2>I actually didn't know that really.

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<v Speaker 1>See listen, always learning, always learning, forever a student. Okay,

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<v Speaker 1>So from there you would think that the music just

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<v Speaker 1>kind of like made its way across Haiti in the

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<v Speaker 1>dr and landed smack dab in Puerto Rico. But it's

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<v Speaker 1>a little bit more roundabout than that.

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<v Speaker 2>Before we keep going, this is just going to be

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<v Speaker 2>a quick primer for the non Regaton scholars. Listen. If

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<v Speaker 2>you really want to go deep, you'll want to check

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<v Speaker 2>out loud The History of Reggaeton, another great podcast hosted

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<v Speaker 2>by Regaeton Roy y'll t lativ coween.

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<v Speaker 1>And by the way, like I'm not asking you to

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<v Speaker 1>turn off our podcast right now, but as soon as

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<v Speaker 1>ours is over, goes straight to that immediately. What we're

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<v Speaker 1>about to give you is just a little Regaton appetizer,

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<v Speaker 1>just a little app you know, to give you a

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<v Speaker 1>sense of the singular moment in musical history that Daddy

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<v Speaker 1>Yankee was a part of. So before where too Rican reggaethon,

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<v Speaker 1>there was reggae in Espanol and that came from Panama.

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<v Speaker 2>What a twist, Okay.

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<v Speaker 1>So here's how it happened. So, the famous Panama Canal

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<v Speaker 1>was dug largely by West Indian and especially Jamaican immigrant labor,

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<v Speaker 1>and after the canal was finished, the workers and their

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<v Speaker 1>families settled down in Panama City and formed a really

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<v Speaker 1>tight immigrant community.

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<v Speaker 2>The clubs or dance halls all of this community played

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<v Speaker 2>music that was similar to reggae, but a few ticks

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<v Speaker 2>faster and with harder beats.

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<v Speaker 1>And at these dance halls, young artists like DJ Renato,

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<v Speaker 1>Reggae Sam and DJ Franchito hyped the crowd in Spanish.

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<v Speaker 1>Thus reggae in Espanol was born.

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<v Speaker 2>Soon they started recording Spanish language covers of popular dancehall

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<v Speaker 2>songs along with original tracks, and just like that, reggae

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<v Speaker 2>en Espanol found its way to Spanish speaking islands like

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<v Speaker 2>Puerto Rico.

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<v Speaker 1>Just as Ramon Ayala Junior, the boy who would go

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<v Speaker 1>on to be known as Daddy Yankee, was beginning to

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<v Speaker 1>develop an interest in American hip hop, which you might

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<v Speaker 1>say is the second ingredient in Puerto Rican reggaton, but

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<v Speaker 1>more on that later.

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<v Speaker 2>So that's the short one.

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<v Speaker 1>Was beginning to develop an interest in America.

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<v Speaker 2>In Hi regaton will cross borders and become something else entirely. Now,

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<v Speaker 2>without further ado, let's your turn to our leading man.

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<v Speaker 1>Ramon Ayala Junior was born in San Juan, Puerto Rico,

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<v Speaker 1>on February third, nineteen seventy six. Joseph, want to go

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<v Speaker 1>like full flow Alder Mercado on this one for bodingen.

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<v Speaker 4>Maybe okay ah Caia, you little rule breaker with your

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<v Speaker 4>son in Aquarius, you're not afraid to push the envelope

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<v Speaker 4>in the name of innovation.

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<v Speaker 2>You want to do things your way, and your fullest

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<v Speaker 2>surprise is hi berro mira la lunin pieces with your

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<v Speaker 2>moon in Pisces. You're not above insecurity and passivity, but

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<v Speaker 2>don't wait and see embrace your creativity and you'll reap

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<v Speaker 2>the rewards of your imagination.

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<v Speaker 1>The cape suits you, Joseph, it really does you know

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<v Speaker 1>what I mean? I mean we're looking for two point zero.

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<v Speaker 1>We're looking for two point zero now. Ramon Ayala's father,

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<v Speaker 1>Ramon Senior, was a bongo player for salsa artists in

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<v Speaker 1>the area, making Daddy Yankee. I think our third icon

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<v Speaker 1>in a row this season to have a musician as

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<v Speaker 1>a parent.

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<v Speaker 2>Mm hmm. His mother Rosa. Meanwhile, was a beautician who

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<v Speaker 2>also came from a family of musicians. Ramond Junior, aka

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<v Speaker 2>future Daddy Yankee, would years later describe his mother as

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<v Speaker 2>a fighter.

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<v Speaker 1>And she's the one who actually introduced him to American

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<v Speaker 1>pop artist of the nineteen eighties, most importantly, Michael Jackson.

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<v Speaker 2>Perhaps even more than his music, the King of Pop's

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<v Speaker 2>lavish cinema videos made a huge impression on Dramon Junior.

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<v Speaker 2>He cites Jackson as an artist who showed him what

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<v Speaker 2>it meant to be an entertainer, from his work ethic

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<v Speaker 2>to his charisma.

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<v Speaker 1>Just picture young little Daddy Yankee. Like that sounds so weird,

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<v Speaker 1>Little Daddy Yankee. Okay, so the picture a young Ramon

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<v Speaker 1>huddled around the TV set with his two brothers. This

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<v Speaker 1>family of five lived in a small Gasaillon or housing

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<v Speaker 1>project named Via Kennedy.

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<v Speaker 2>Jac Kennedy was and is one of the many housing

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<v Speaker 2>projects throughout someone.

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<v Speaker 1>The Gasadiels tended to be heavily policed and subject to prejudice.

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<v Speaker 2>Still, Ramon Junior's family managed to get by, but that

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<v Speaker 2>doesn't mean they avoided all the pitfalls of poverty.

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<v Speaker 1>At Ramond Senior struggled with addiction all throughout his son's childhood,

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<v Speaker 1>turning to alcohol as well as illegal drugs.

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<v Speaker 2>Eventually he would get clean, but his addiction would leave

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<v Speaker 2>a significant impact on his son's life. An addiction wasn't

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<v Speaker 2>the only way the shadow of poverty would darken Ramond

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<v Speaker 2>Junior's child.

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<v Speaker 1>Ramond Junior was a lover of the great American pastime baseball.

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<v Speaker 1>As early as the age of six, he dreamt of

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<v Speaker 1>playing for who else, the New York Yankees.

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<v Speaker 2>He was just a peewee ball player in the middle

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<v Speaker 2>of a game when suddenly a gunman strode from the

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<v Speaker 2>stands to the home plate and shot Ramond's coach point blank.

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<v Speaker 1>Reflecting on this experience as an adult, daddy, Yankee would say,

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<v Speaker 1>I went to his burial and seeing him right there,

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<v Speaker 1>I couldn't sleep. Back in those days, a manager or

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<v Speaker 1>coach for a kid represents a role model, and you

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<v Speaker 1>don't understand what really happened until you get to a

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<v Speaker 1>certain age.

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<v Speaker 2>Nonetheless, Ramon Junior continued to find joy and escape through baseball.

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<v Speaker 2>More and more. He would show immense talent as a

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<v Speaker 2>third baseman.

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<v Speaker 1>And all the while he also showed he had a

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<v Speaker 1>knack for music. When the family went caroling during the holidays,

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<v Speaker 1>he would make up rhymes on the spot just for fun,

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<v Speaker 1>which would probably they earned most Latino kids a strung

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<v Speaker 1>pinch on the back on the arm from Abuela So

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<v Speaker 1>I guess Yankee was lucky in some ways.

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<v Speaker 2>Not surprisingly as a teenager, his natural talent for music

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<v Speaker 2>and improvisation would lead to his next great love rap.

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<v Speaker 1>Around the age of fourteen, Ramon fell in love with

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<v Speaker 1>now Classic Queen's hip hop group Run DMC Run DMC.

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<v Speaker 2>Michael Jackson. Obviously dadd Yankee spent his weekday afternoons glued

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<v Speaker 2>to MTV. He's one of all us.

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<v Speaker 1>But perhaps most importantly, Ramond Junior's biggest hip hop influence

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<v Speaker 1>was one of Puerto Rico's own, Vico C. Born in

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<v Speaker 1>Brooklyn and raised just ten miles from Daddy Yankee's barrion,

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<v Speaker 1>San Juan, Vico C inspired a whole generation of Puerto

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<v Speaker 1>Rican rappers.

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<v Speaker 2>Before vicoc rap in Espanol wasn't really a thing in

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<v Speaker 2>Puerto Rico. Vico C made home recordings straight to storebock

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<v Speaker 2>cassette tapes and distributed him himself.

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<v Speaker 1>Original mixtape Call It Right. Like the original mixtape Now

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<v Speaker 1>When young Puerto Ricans like Ramond Junior heard Vigo see,

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<v Speaker 1>it was a revelation. He showed them what they were

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<v Speaker 1>capable of, and from there young DJs and empces spread

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<v Speaker 1>like wildfire.

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<v Speaker 2>Often the emceeeds would rhyme over beats reminiscent of hip

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<v Speaker 2>hop from New York. By the nineties, the Brooklyn's boombob sound.

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<v Speaker 1>Was a very on trend, which is to say that

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<v Speaker 1>from early on, Puerto Rican's relationship with New Aricans and

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<v Speaker 1>other Latinos in the northeastern US is a key part

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<v Speaker 1>of the story. But remember, La Isla had beats of

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<v Speaker 1>its own.

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<v Speaker 2>By the time Daddy Yankee was wrapping, reggae Espanol had

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<v Speaker 2>evolved throughout the eighties and was beginning to sound like

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<v Speaker 2>what we now call reggaeton thanks to the iconic dem

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<v Speaker 2>bo rhythm.

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<v Speaker 1>The youth of poor barrios like Ramond Juniors couldn't get

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<v Speaker 1>enough of it. But the authorities, well, they had some

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<v Speaker 1>other feelings.

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<v Speaker 2>Much like dancehall and Panama, Puerto Rican reggaeton and rap

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<v Speaker 2>Espanol was quickly marginalized and heavily policed, and in the nineties,

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<v Speaker 2>the police in Puerto Rico were super militarized.

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<v Speaker 1>Oh yeah, they conducted raids on music stores and confiscated

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<v Speaker 1>reggaeton cassette tapes. With the backing of laws against obscenity,

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<v Speaker 1>rapperos like Daddy Yankee were subject to fines and vilified

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<v Speaker 1>on local TV and radio.

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<v Speaker 2>But this didn't stop youth culture from doing its thing.

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<v Speaker 2>That Raperos just took the culture further underground, recording music

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<v Speaker 2>in garages with minimal equipment and selling music out of

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<v Speaker 2>the trunks of cars.

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<v Speaker 1>And even with Los Federals breathing down their necks, there

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<v Speaker 1>was one place young regaton fans could gather, a now

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<v Speaker 1>legendary club called The Noise.

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<v Speaker 2>Located in La Perla, the poorest neighborhood in San Juan.

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<v Speaker 2>The Noise was founded by DJ Negro, the producer who

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<v Speaker 2>worked with Daddy Yankee's favorite Raperro Vicosi. See guys, It's

0:12:58.320 --> 0:12:59.520
<v Speaker 2>all connected.

0:12:59.280 --> 0:13:03.920
<v Speaker 1>It's all all connected. It's here at the Noise where

0:13:04.040 --> 0:13:07.560
<v Speaker 1>Daddy Yankee, at sixteen, gets on stage and begins to

0:13:07.559 --> 0:13:10.680
<v Speaker 1>make a name for himself, along with other pioneering reggaeton

0:13:10.679 --> 0:13:15.480
<v Speaker 1>netos like Deego Calleron We see Nyandell and Spoiler Future

0:13:15.559 --> 0:13:18.319
<v Speaker 1>front of me Nikki jam Jeoze.

0:13:18.880 --> 0:13:22.000
<v Speaker 2>But every rapper needs a producer, and Daddy Yankee's man

0:13:22.040 --> 0:13:25.119
<v Speaker 2>behind the deck was one DJ Plaeto.

0:13:25.920 --> 0:13:29.400
<v Speaker 1>DJ Plato began releasing mixtapes of original beats that range

0:13:29.400 --> 0:13:32.040
<v Speaker 1>from the boom up of the nineties Brooklyn to upbeat

0:13:32.080 --> 0:13:33.800
<v Speaker 1>reggaeton of his own scene.

0:13:34.280 --> 0:13:37.400
<v Speaker 2>These tapes also feature local rappers, and the standout was

0:13:37.440 --> 0:13:39.600
<v Speaker 2>the teenage Daddy Yankee.

0:13:39.920 --> 0:13:43.240
<v Speaker 1>If you guys have not taken a moment down music

0:13:43.360 --> 0:13:46.720
<v Speaker 1>history lane, go back to this song right. This is

0:13:46.800 --> 0:13:51.200
<v Speaker 1>called so fer Sigemn not de thingas and this truly

0:13:51.400 --> 0:13:55.800
<v Speaker 1>is the first Daddy Yankee as we know him song.

0:13:56.800 --> 0:13:59.040
<v Speaker 1>What did you think when you first heard it? And

0:13:59.080 --> 0:14:01.120
<v Speaker 1>does it sound like today is regeton? Or does it

0:14:01.160 --> 0:14:03.200
<v Speaker 1>sound like old people's ragaton.

0:14:04.640 --> 0:14:08.080
<v Speaker 2>Not the old people's rageton? You know what, I'm not

0:14:08.120 --> 0:14:10.960
<v Speaker 2>going to be able to tell you honestly what the

0:14:11.000 --> 0:14:14.400
<v Speaker 2>first thing I heard? I naturally started moving my hips

0:14:14.440 --> 0:14:17.960
<v Speaker 2>and gyrating in my seat, so like I just wanted

0:14:18.000 --> 0:14:20.320
<v Speaker 2>to dance. You know. It kind of gave me this

0:14:20.480 --> 0:14:22.800
<v Speaker 2>like Afrikaans dance, Like I just kind of wanted to

0:14:22.840 --> 0:14:25.920
<v Speaker 2>like shake my body. So I wasn't necessarily listening, I

0:14:25.920 --> 0:14:27.480
<v Speaker 2>could just feel the beat.

0:14:28.160 --> 0:14:30.520
<v Speaker 1>Now, let's talk about what Daddy Yankee's actually saying in

0:14:30.600 --> 0:14:33.480
<v Speaker 1>this song, because for reference, you guys, you might hear

0:14:33.480 --> 0:14:35.760
<v Speaker 1>the song and think that he sounds like a mature man.

0:14:35.840 --> 0:14:37.480
<v Speaker 1>Like you hear the song, you're like, oh, he's like

0:14:37.520 --> 0:14:39.760
<v Speaker 1>in his twenties, or he's like twenty two or twenty

0:14:39.760 --> 0:14:43.760
<v Speaker 1>four thirty. But Joseph, did you know that this is

0:14:43.800 --> 0:14:48.000
<v Speaker 1>a teenage Daddy Yankee. He is fifteen years old rapping

0:14:48.000 --> 0:14:48.520
<v Speaker 1>on this song.

0:14:48.800 --> 0:14:52.240
<v Speaker 2>This is little Sun Yankee. Oh my god, he's fifteen?

0:14:52.600 --> 0:14:55.720
<v Speaker 2>Wait is it is? That's not illegal? Right? Like fifteen?

0:14:56.280 --> 0:14:59.760
<v Speaker 2>I don't know. How can you work? You can't do

0:14:59.800 --> 0:15:01.840
<v Speaker 2>some You could do a whole bunch of shit.

0:15:01.920 --> 0:15:04.440
<v Speaker 1>I'll tell you that these nineties kids, the people that

0:15:04.440 --> 0:15:06.520
<v Speaker 1>are born in the eighties and nineties are wild. You

0:15:06.560 --> 0:15:08.880
<v Speaker 1>and I are a testament. We were left at home alone.

0:15:08.960 --> 0:15:11.320
<v Speaker 1>We were making our own Wow, we were making our

0:15:11.320 --> 0:15:15.160
<v Speaker 1>own TV dinners. We were rapping on albums like come On.

0:15:15.840 --> 0:15:18.000
<v Speaker 1>Children of the eighties and nineties are wild. But yes,

0:15:18.120 --> 0:15:20.280
<v Speaker 1>Daddy Yankee was only fifteen years old when he recorded

0:15:20.280 --> 0:15:23.640
<v Speaker 1>this song. But you can already hear how advanced he

0:15:23.720 --> 0:15:26.200
<v Speaker 1>is lyrically, you could already hear the style that would

0:15:26.240 --> 0:15:28.760
<v Speaker 1>become synonymous with his music. And we talked about what

0:15:28.800 --> 0:15:32.120
<v Speaker 1>Daddy Yankee was saying in the song. Supposedly, and I

0:15:32.120 --> 0:15:33.680
<v Speaker 1>don't want to get too deep in the weeds on

0:15:33.720 --> 0:15:36.080
<v Speaker 1>this because there's a lot of controversy about this, but

0:15:36.680 --> 0:15:41.000
<v Speaker 1>supposedly they say that this is the first time anyone

0:15:41.160 --> 0:15:47.440
<v Speaker 1>ever used the word reggaeton ever in the history of music.

0:15:47.880 --> 0:15:50.520
<v Speaker 1>But again, people get upset about it because obviously Daddy

0:15:50.600 --> 0:15:54.080
<v Speaker 1>Yankee did not invent regaton. We're all saying that we

0:15:54.080 --> 0:15:56.000
<v Speaker 1>can all agree, correct, right.

0:15:56.320 --> 0:15:58.120
<v Speaker 2>Okay, But you know what, I'm going to tell you

0:15:58.160 --> 0:16:01.240
<v Speaker 2>something with that. It's just funny because it doesn't mean

0:16:01.240 --> 0:16:03.600
<v Speaker 2>that people said that before. Because I said the word

0:16:03.760 --> 0:16:06.680
<v Speaker 2>shut your butt a long, long time ago, and all

0:16:06.720 --> 0:16:10.880
<v Speaker 2>of a sudden, someone of the Kardashians, they said, shut

0:16:10.880 --> 0:16:13.080
<v Speaker 2>your butt, And I'm just I'm using that as a phrase.

0:16:13.480 --> 0:16:16.160
<v Speaker 2>But Chloe said, shut your butt. I been saying shut

0:16:16.200 --> 0:16:18.720
<v Speaker 2>your butt for a very long time. In this recent season,

0:16:18.880 --> 0:16:21.480
<v Speaker 2>she said shut your butt. So people say other words

0:16:21.480 --> 0:16:24.840
<v Speaker 2>like reggaeton. They could say all those words before someone

0:16:24.920 --> 0:16:26.800
<v Speaker 2>actually says it on a microsphone and it seems like

0:16:26.800 --> 0:16:29.000
<v Speaker 2>it's the first time it's ever been heard exactly, do

0:16:29.040 --> 0:16:31.120
<v Speaker 2>you know what I'm saying? So it's like, no, maybe

0:16:31.200 --> 0:16:33.880
<v Speaker 2>reggaeton was used before. Do we think that he made

0:16:34.040 --> 0:16:36.440
<v Speaker 2>up the word? No, right, we don't.

0:16:36.280 --> 0:16:39.040
<v Speaker 1>Know if he was the first person or the guy

0:16:39.080 --> 0:16:43.800
<v Speaker 1>that invented the phrase reggaeton, But previous to this, people

0:16:43.800 --> 0:16:47.240
<v Speaker 1>were calling it reggae and espanol, which is a little cumbersome,

0:16:47.280 --> 0:16:50.120
<v Speaker 1>like it doesn't quite roll off the tongue the same

0:16:50.120 --> 0:16:53.360
<v Speaker 1>way that reggaeton does. So thank you Daddy Yankee for

0:16:53.360 --> 0:16:55.960
<v Speaker 1>putting it in a song and for changing the title,

0:16:56.040 --> 0:16:58.400
<v Speaker 1>because we don't need to be saying reggae and espanol

0:16:58.600 --> 0:17:01.320
<v Speaker 1>like too long. Nobody got time for that. At the

0:17:01.400 --> 0:17:03.720
<v Speaker 1>end of the day, we saw how gifted he was

0:17:03.880 --> 0:17:07.600
<v Speaker 1>as an MC rap was neither Ramon Junior's only love

0:17:07.960 --> 0:17:09.200
<v Speaker 1>nor his first love.

0:17:09.720 --> 0:17:11.800
<v Speaker 2>And for as much attention as he was getting in

0:17:11.880 --> 0:17:14.800
<v Speaker 2>the underground as a RAPPERO Ramon was also getting a

0:17:14.840 --> 0:17:18.439
<v Speaker 2>reputation as a star athlete. Soon after Pa and Ta

0:17:18.480 --> 0:17:22.720
<v Speaker 2>Cuadro dropped, Ramon was about to receive the opportunity of

0:17:22.800 --> 0:17:31.080
<v Speaker 2>a lifetime Liliana.

0:17:31.600 --> 0:17:33.760
<v Speaker 1>That's so formal. Why are you being so formal?

0:17:33.840 --> 0:17:36.200
<v Speaker 2>Right? Now are you there? Okay, listen, I have to

0:17:36.200 --> 0:17:40.280
<v Speaker 2>ask you something. What have you ever experienced a blessing

0:17:40.320 --> 0:17:40.800
<v Speaker 2>in disguise?

0:17:41.080 --> 0:17:41.760
<v Speaker 1>Oh my god?

0:17:42.280 --> 0:17:46.400
<v Speaker 2>Yes, of course, like someone who's like shut the door

0:17:46.440 --> 0:17:49.080
<v Speaker 2>on you and then it turns into something else. Yes.

0:17:50.320 --> 0:17:54.840
<v Speaker 1>When I had just moved to Philadelphia, I auditioned to

0:17:54.960 --> 0:17:59.280
<v Speaker 1>be a host on QBC stop. Yes I did, Yes,

0:17:59.320 --> 0:18:02.960
<v Speaker 1>I did. And I went for weeks. It was rounds

0:18:02.960 --> 0:18:06.359
<v Speaker 1>and rounds of interviews and auditions and live selling and

0:18:06.440 --> 0:18:09.600
<v Speaker 1>training and fittings. And I got to the last round

0:18:10.920 --> 0:18:13.960
<v Speaker 1>and I didn't get it. Wow, And I got the news.

0:18:14.040 --> 0:18:15.600
<v Speaker 1>I was leaving the doctor's office. I was in a

0:18:15.600 --> 0:18:17.320
<v Speaker 1>hallway about to get on an elevator, and I broke

0:18:17.359 --> 0:18:20.040
<v Speaker 1>down in tears. I was like, my life on television

0:18:20.359 --> 0:18:23.800
<v Speaker 1>is over. I will never be on TV. I will NET,

0:18:23.960 --> 0:18:26.399
<v Speaker 1>I swear to God. I cooked like what I called Patrick,

0:18:26.440 --> 0:18:27.600
<v Speaker 1>and I was like, this is it. This is the

0:18:27.680 --> 0:18:29.800
<v Speaker 1>end for me. I will never have a career in television.

0:18:29.880 --> 0:18:33.080
<v Speaker 1>And well we know how that worked out, so yes,

0:18:33.320 --> 0:18:36.960
<v Speaker 1>for sure, I think. Listen, it's very much like old school.

0:18:37.000 --> 0:18:41.439
<v Speaker 1>It's like sliding doors, right, I mean when one closes.

0:18:40.960 --> 0:18:44.159
<v Speaker 2>Another one opens, right, Yeah, if not, you just go

0:18:44.240 --> 0:18:45.920
<v Speaker 2>in through the window. That's what I did.

0:18:46.720 --> 0:18:50.520
<v Speaker 1>And that's kind of what's about to happen to Daddy Yankee,

0:18:50.600 --> 0:18:53.680
<v Speaker 1>because in nineteen ninety four, Ramond drew the attention of

0:18:53.720 --> 0:18:56.919
<v Speaker 1>a scout from the Seattle Mariners. At the age of seventeen,

0:18:57.320 --> 0:18:59.119
<v Speaker 1>he was on the verge of signing a contract to

0:18:59.200 --> 0:19:01.280
<v Speaker 1>join the team's third baseman.

0:19:01.880 --> 0:19:04.439
<v Speaker 2>Everyone who had seen him play knew that he was

0:19:04.520 --> 0:19:07.240
<v Speaker 2>going places, and his dream of joining the major leagues

0:19:07.359 --> 0:19:09.000
<v Speaker 2>was about to become a reality.

0:19:09.400 --> 0:19:13.119
<v Speaker 1>Still, he continues to record with Playerro. One day, the

0:19:13.119 --> 0:19:14.840
<v Speaker 1>two get together to work on a new mixtape in

0:19:14.880 --> 0:19:19.720
<v Speaker 1>Dramond's neighborhood via Kennedy. It's January sixth, which is Three

0:19:19.840 --> 0:19:22.440
<v Speaker 1>Kings Day for all of you non practicing Catholics.

0:19:23.760 --> 0:19:26.600
<v Speaker 2>So Ramond decides to take a break and heads outside.

0:19:26.760 --> 0:19:30.399
<v Speaker 2>He greets his neighbors and it seems like any other afternoon.

0:19:30.640 --> 0:19:35.639
<v Speaker 1>When suddenly, gunshots split the air. Dramond sees bullets flying

0:19:35.680 --> 0:19:40.960
<v Speaker 1>in opposite directions. Violence has erupted on his street. He sprints,

0:19:41.400 --> 0:19:45.439
<v Speaker 1>desperate to get himself out of the crossfire. He's running, running,

0:19:45.520 --> 0:19:48.280
<v Speaker 1>running as fast as he can, and in an instant,

0:19:48.600 --> 0:19:50.360
<v Speaker 1>his leg crumbles underneath him.

0:19:50.880 --> 0:19:53.520
<v Speaker 2>He's been hit by a stray bullet, which ends up

0:19:53.600 --> 0:19:56.680
<v Speaker 2>being lodged in his hip. He stumbles to the ground

0:19:56.720 --> 0:20:00.080
<v Speaker 2>and crawls underneath a parked van. To this day, he

0:20:00.119 --> 0:20:02.240
<v Speaker 2>says the shelter of the van is the one thing

0:20:02.320 --> 0:20:03.960
<v Speaker 2>that kept him alive amid the shooting.

0:20:04.600 --> 0:20:08.240
<v Speaker 1>After the gunfire ceases, but Ramons hospitalized and it takes

0:20:08.320 --> 0:20:11.640
<v Speaker 1>him over a year to recover from his injury. Over

0:20:11.680 --> 0:20:15.240
<v Speaker 1>a year spent in a wheelchair and on crutches, steadily

0:20:15.280 --> 0:20:19.359
<v Speaker 1>regaining his string, but he never fully regains his mobility,

0:20:19.680 --> 0:20:21.040
<v Speaker 1>meaning he'll never dawn.

0:20:21.400 --> 0:20:25.719
<v Speaker 2>An MLB uniform Lying in the hospital at Ramon fixates

0:20:25.760 --> 0:20:28.560
<v Speaker 2>on his dash dreams. He had proven that he had

0:20:28.600 --> 0:20:31.199
<v Speaker 2>what it takes. Everyone had been rooting for him, and

0:20:31.240 --> 0:20:33.920
<v Speaker 2>his big chance was gone in an instant.

0:20:34.040 --> 0:20:37.400
<v Speaker 1>Today, Daddy Yankee says he thanks God for that bullet.

0:20:37.840 --> 0:20:40.480
<v Speaker 1>It remains lodged in his hip. Doctors have determined that

0:20:40.520 --> 0:20:42.840
<v Speaker 1>it would be riskier to remove it than to leave

0:20:42.880 --> 0:20:45.440
<v Speaker 1>it be. A metal pres thesis in his leg helps

0:20:45.480 --> 0:20:48.600
<v Speaker 1>him walk, but his mobility has been limited since that

0:20:48.640 --> 0:20:49.360
<v Speaker 1>fateful day.

0:20:50.440 --> 0:20:53.040
<v Speaker 2>His dreams of playing the major leagues had slipped through

0:20:53.080 --> 0:20:55.920
<v Speaker 2>his fingers, but in the years that followed he would

0:20:55.920 --> 0:20:58.960
<v Speaker 2>find a new dream and grab on with both hands.

0:21:00.880 --> 0:21:04.640
<v Speaker 1>Shortly after Ramon's recovery, he became a father. At nineteen,

0:21:04.960 --> 0:21:08.800
<v Speaker 1>he married his high school sweetheart, Mireds Gonzalez, with whom

0:21:08.840 --> 0:21:10.640
<v Speaker 1>he remains married to until this.

0:21:10.720 --> 0:21:14.160
<v Speaker 2>Day, oh Wow, And upon the birth of his first daughter,

0:21:14.280 --> 0:21:17.000
<v Speaker 2>yami Let, Ramon decided to put all of his focus

0:21:17.080 --> 0:21:19.240
<v Speaker 2>on what he was good at, rapping.

0:21:20.000 --> 0:21:23.680
<v Speaker 1>After years of mixtapes, he again got together with DJ

0:21:23.800 --> 0:21:27.000
<v Speaker 1>Plaiero and put out a proper debut album in nineteen

0:21:27.040 --> 0:21:28.600
<v Speaker 1>ninety five called No Mercy.

0:21:29.240 --> 0:21:32.120
<v Speaker 2>The name of the cover simply reads a yank. At

0:21:32.119 --> 0:21:35.840
<v Speaker 2>the time, Ramon went by names like Winchester Trentai Trienta

0:21:35.920 --> 0:21:37.359
<v Speaker 2>and winchesta Yankee.

0:21:37.520 --> 0:21:39.880
<v Speaker 1>The album features a couple of old school sounding rap

0:21:39.920 --> 0:21:43.919
<v Speaker 1>tracks with boombab beats, but the overwhelmingly majority of the

0:21:43.960 --> 0:21:47.040
<v Speaker 1>tracks are classic dance hall style reggaeton.

0:21:47.920 --> 0:21:51.000
<v Speaker 2>After Ramon's injury, the album was an opening sobo for

0:21:51.040 --> 0:21:54.920
<v Speaker 2>his commitment to music. Reggaton was quickly becoming the prevailing

0:21:54.960 --> 0:21:58.280
<v Speaker 2>sound of the Sanjuan underground and Young Yankee and DJ

0:21:58.400 --> 0:22:00.800
<v Speaker 2>Plaiero were staking their claim.

0:22:01.480 --> 0:22:05.320
<v Speaker 1>And soon they would find themselves making noise outside of

0:22:05.400 --> 0:22:06.119
<v Speaker 1>Puerto Rico.

0:22:13.960 --> 0:22:17.199
<v Speaker 2>Ramon hustled selling cassette copies of No Mercy, just like

0:22:17.280 --> 0:22:20.880
<v Speaker 2>his hero Vicosi had done. The buzz grew bigger and bigger,

0:22:21.240 --> 0:22:24.280
<v Speaker 2>but he wasn't the only one hustling. In fact, a

0:22:24.320 --> 0:22:26.400
<v Speaker 2>few key members of this scene were working to make

0:22:26.480 --> 0:22:28.119
<v Speaker 2>ripples beyond the island.

0:22:28.560 --> 0:22:32.120
<v Speaker 1>The same year, Daddy Yankee dropped his debut, formative Puerto

0:22:32.160 --> 0:22:35.840
<v Speaker 1>Rican reggaton producer Nico Canada teamed up with New York's

0:22:35.840 --> 0:22:38.800
<v Speaker 1>Tony Touch for nineteen ninety five's Watauba.

0:22:39.200 --> 0:22:42.800
<v Speaker 2>It was a mixtape featuring Puerto Rican drapertos like Daddy Yankee,

0:22:42.880 --> 0:22:45.960
<v Speaker 2>Alberto Style, and don Cezina, as well as New York

0:22:46.000 --> 0:22:48.160
<v Speaker 2>rappers like Matt Lyon and Karas One.

0:22:49.280 --> 0:22:52.440
<v Speaker 1>On a single disc, Reggaeton and nineties Boom Bob stood

0:22:52.440 --> 0:22:55.400
<v Speaker 1>shoulder to shoulder. These were the most cutting edge sounds

0:22:55.560 --> 0:22:58.720
<v Speaker 1>coming out of two different underground scenes that were more

0:22:58.760 --> 0:23:02.920
<v Speaker 1>than fifteen hundred miles apart. He had somehow still connected

0:23:03.160 --> 0:23:05.760
<v Speaker 1>because of the love between Neu Urrikans and their motherland.

0:23:06.200 --> 0:23:09.040
<v Speaker 2>But for Daddy Yankee, wa would prove to be a

0:23:09.080 --> 0:23:13.320
<v Speaker 2>warm up. Nineteen ninety seven's Bodicua Guerreno First Combat would

0:23:13.359 --> 0:23:17.040
<v Speaker 2>up the antie with two full discs, one boombab one.

0:23:17.000 --> 0:23:23.240
<v Speaker 1>Regaton Nkokanada linked up with DJ Playerro Yankee's longtime collaborator,

0:23:23.480 --> 0:23:25.440
<v Speaker 1>and the pair spent two months in a hotel room

0:23:25.480 --> 0:23:29.000
<v Speaker 1>in New York City for yet another crossover between Puerto

0:23:29.080 --> 0:23:32.680
<v Speaker 1>Rico's top reggazoneros and New York's best and brightest.

0:23:32.440 --> 0:23:37.720
<v Speaker 2>MCS Mexicano seven seven seven Eddie d Daddy Yankee Busta Rhymes,

0:23:37.800 --> 0:23:40.080
<v Speaker 2>Q tip that Joe was even there.

0:23:40.359 --> 0:23:44.040
<v Speaker 1>Everybody was there, but the biggest name of the bunch,

0:23:44.240 --> 0:23:46.680
<v Speaker 1>the one that you're like gonna be like wit what

0:23:46.840 --> 0:23:47.440
<v Speaker 1>he was there?

0:23:47.680 --> 0:23:49.680
<v Speaker 2>Who Nas what?

0:23:50.200 --> 0:23:52.720
<v Speaker 1>Uh huh? Nas was hot off the success of his

0:23:52.800 --> 0:23:56.760
<v Speaker 1>nineteen ninety four debut Illmatic. His nineteen ninety six follow up,

0:23:56.840 --> 0:23:59.920
<v Speaker 1>It Was Written, had sold a quarter of a million copies.

0:24:00.480 --> 0:24:04.240
<v Speaker 2>Where hip hop was concerned, Nas was the artist to watch,

0:24:04.480 --> 0:24:07.280
<v Speaker 2>and on Brigua Guerrero he split a track with Daddy

0:24:07.320 --> 0:24:09.000
<v Speaker 2>Yankee titled The Prophecy.

0:24:09.560 --> 0:24:12.840
<v Speaker 1>Yankee intros the track with a classic dancehall affect, wrapping

0:24:12.880 --> 0:24:15.480
<v Speaker 1>the island and shouting out Knos, who shouts him back

0:24:15.480 --> 0:24:18.240
<v Speaker 1>from New York, saying, Puerto Rico, we roll.

0:24:18.080 --> 0:24:21.040
<v Speaker 2>In with you. NAS's verse is a hip hop anthem

0:24:21.080 --> 0:24:25.080
<v Speaker 2>about surviving and thriving. He uses gangster vibes to show

0:24:25.080 --> 0:24:27.560
<v Speaker 2>how he overcomes tough times and ends up on top

0:24:27.800 --> 0:24:29.440
<v Speaker 2>of La Pablo escomar.

0:24:29.440 --> 0:24:32.359
<v Speaker 1>But Yankeees verse turns that gangster imagery on his head.

0:24:32.760 --> 0:24:35.200
<v Speaker 1>He calls out those who aspire to live large, only

0:24:35.240 --> 0:24:37.399
<v Speaker 1>to be done in by their own deeds. He quotes

0:24:37.440 --> 0:24:41.880
<v Speaker 1>his mother, your.

0:24:41.680 --> 0:24:44.680
<v Speaker 2>Future depends on the sowing of your works. He continues,

0:24:44.960 --> 0:24:48.440
<v Speaker 2>Live by the sword, Die by the sword. Another wordrds,

0:24:48.640 --> 0:24:55.080
<v Speaker 2>make no enemies, trust no bitch, and I am not

0:24:55.240 --> 0:24:59.040
<v Speaker 2>looking to make enemies with him. On Brigua Guerrero. It

0:24:59.280 --> 0:25:03.520
<v Speaker 2>just gives me this dark and over policed sound, like

0:25:03.600 --> 0:25:08.800
<v Speaker 2>I feel like this was definitely He's coming for you.

0:25:08.800 --> 0:25:11.159
<v Speaker 1>You know what's fuddy is? I do think in my

0:25:11.480 --> 0:25:14.600
<v Speaker 1>head there is a sound to Daddy Yankee. So when

0:25:14.600 --> 0:25:16.840
<v Speaker 1>we were researching this episode and we're listening to some

0:25:16.880 --> 0:25:21.920
<v Speaker 1>of these older discs, I don't associate that sound with him, right,

0:25:21.960 --> 0:25:24.400
<v Speaker 1>It's really different, Like I know it pops up here

0:25:24.440 --> 0:25:27.359
<v Speaker 1>and there but for the most part, like you like

0:25:27.440 --> 0:25:29.960
<v Speaker 1>to always say, Regaeton is like music you can shake

0:25:29.960 --> 0:25:32.960
<v Speaker 1>your ass too. I mean, I'm sure you could shake

0:25:33.000 --> 0:25:35.120
<v Speaker 1>your ass to this song.

0:25:35.040 --> 0:25:37.960
<v Speaker 2>But it'd be a little different, right, you know, It's

0:25:37.960 --> 0:25:40.320
<v Speaker 2>funny hearing Daddy Yankee like, I mean, yes, it's kind

0:25:40.320 --> 0:25:42.520
<v Speaker 2>of similar. But like if I heard this first from

0:25:42.600 --> 0:25:44.480
<v Speaker 2>Daddy Yankee, I would be like, whoa, this is kind

0:25:44.480 --> 0:25:46.880
<v Speaker 2>of from a dark place. Like I wouldn't associate this

0:25:46.960 --> 0:25:50.479
<v Speaker 2>with the ass shaking Daddy Yankee. If you heard this first,

0:25:50.520 --> 0:25:51.600
<v Speaker 2>like I would be like, oh, I'm not going to

0:25:51.680 --> 0:25:54.320
<v Speaker 2>listen to his music. That's just not my vibe. So

0:25:54.520 --> 0:25:56.679
<v Speaker 2>it's cool that he dabbled with this, but it's just very,

0:25:56.760 --> 0:25:57.400
<v Speaker 2>very different.

0:25:57.600 --> 0:25:59.159
<v Speaker 1>It is different, and I think it just shows you

0:25:59.240 --> 0:26:02.359
<v Speaker 1>his range, right, and I think the entire project, I

0:26:02.359 --> 0:26:04.280
<v Speaker 1>think what's so special about this, and we talk about

0:26:04.280 --> 0:26:07.639
<v Speaker 1>this all the time, is that there is such a

0:26:07.720 --> 0:26:13.760
<v Speaker 1>connection between Puerto Rico and New York City, right specifically

0:26:13.880 --> 0:26:18.600
<v Speaker 1>like the Bronx, they just share so much. And obviously

0:26:18.680 --> 0:26:21.199
<v Speaker 1>they share an island, but they share music, they share culture,

0:26:21.320 --> 0:26:24.400
<v Speaker 1>they share you know, an underground hip hop scene. They're

0:26:24.440 --> 0:26:28.240
<v Speaker 1>really both products of this kind of over police, underserved

0:26:28.440 --> 0:26:31.160
<v Speaker 1>neighborhood vibe that you see in both of these places,

0:26:31.200 --> 0:26:35.600
<v Speaker 1>despite being so far away from each other geographically. The

0:26:35.600 --> 0:26:38.480
<v Speaker 1>first disc of Bricoa Guerero showed New York hip hop

0:26:38.520 --> 0:26:41.720
<v Speaker 1>heads that Puerto Ricos rapperos could flow with the best

0:26:41.760 --> 0:26:42.040
<v Speaker 1>of them.

0:26:42.640 --> 0:26:46.600
<v Speaker 2>Then, on the second disc, Di and Nicocanada brought their

0:26:46.760 --> 0:26:51.040
<v Speaker 2>reggaeton a game from start to finish, introducing New York's

0:26:51.080 --> 0:26:53.040
<v Speaker 2>underground to the sound of Puerto.

0:26:52.840 --> 0:26:56.600
<v Speaker 1>Ricos, and Daddy Yankee is there on both discs, first

0:26:56.720 --> 0:26:59.760
<v Speaker 1>going toe to toe with hip hop's biggest rising star

0:27:00.160 --> 0:27:02.960
<v Speaker 1>before showing how it's done down in the Tropics.

0:27:03.960 --> 0:27:07.240
<v Speaker 2>This was crucial to Daddy Yankee's success and to the

0:27:07.280 --> 0:27:11.160
<v Speaker 2>coming success of reggaeton as a whole. From Jamaica to Kanama,

0:27:11.320 --> 0:27:14.200
<v Speaker 2>to Puerto Rico to New York and back again. It

0:27:14.240 --> 0:27:17.920
<v Speaker 2>was clear that reggaeton wasn't a fact, but a part

0:27:18.000 --> 0:27:19.440
<v Speaker 2>of something deeper.

0:27:19.320 --> 0:27:22.680
<v Speaker 1>And by helping establish the genre's credibility in New York,

0:27:23.080 --> 0:27:26.000
<v Speaker 1>Daddy Yankee had all but set the stage for himself

0:27:26.119 --> 0:27:28.520
<v Speaker 1>to dominate but stardom.

0:27:28.720 --> 0:27:36.520
<v Speaker 2>Kintestovitch, for example, could Daddy Yankee really make no enemies.

0:27:35.840 --> 0:27:39.680
<v Speaker 1>On the next Becoming an Icon Daddy Yankees rise from

0:27:39.680 --> 0:27:46.560
<v Speaker 1>the underground to the top. Becoming an Icon is presented

0:27:46.600 --> 0:27:50.960
<v Speaker 1>by Sonoo and Iheart's Michael Duda podcast Network. Listen to

0:27:51.080 --> 0:27:55.200
<v Speaker 1>Becoming an Icon on the iHeartRadio app, Apple podcast, or

0:27:55.240 --> 0:27:57.119
<v Speaker 1>wherever you get your podcast