The Enrique Iglesias Scholarship Presented by the Latin GRAMMY Cultural Foundation is now accepting applications from students who have been admitted to Berklee College of Music for the upcoming fall 2015 semester. The four-year scholarship, which will be awarded to one bachelor's degree student pursuing a career in Latin music, offers a maximum award of $200,000.

In an effort to promote music education within the Latin communities, the Latin GRAMMY Cultural Foundation partnered with four-time Latin GRAMMY winner Iglesias to present the scholarship, which will be partially financed by Iglesias, who will personally announce and present the scholarship to the recipient.

"The amazing musical talent that exists within Latin communities, not only in the U.S. but throughout the world, can only be maximized if institutions and individuals extend a helping hand as well as foster today's youth in a joint effort to work towards making dreams come true," said Manolo Diaz, Vice President of the Latin GRAMMY Cultural Foundation. "We are honored to partner with Enrique and Berklee to offer this scholarship to an exceptional student."

"I'm proud and humbled by the opportunity to give a deserving student the possibility of reaching their musical potential," said Iglesias. "Partnering with the Latin GRAMMY Cultural Foundation, whose mission is to support and foster the next generation of Latin musicians, is not only rewarding but also is aligned with my personal beliefs. Not everyone gets to do what they love, and to be able to help someone achieve their goals is extremely gratifying."

Students from the following 24 countries are encouraged to apply if they have been admitted to Berklee College of Music: Argentina, Bolivia, Brazil, Canada, Chile, Colombia, Costa Rica, Cuba, Dominican Republic, Ecuador, El Salvador, Guatemala, Honduras, Mexico, Nicaragua, Panama, Paraguay, Peru, Portugal, Puerto Rico, Spain, United States, Uruguay, and Venezuela.

The deadline to apply for the scholarship is April 10 at 11:59 p.m. ET. 

The Latin Recording Academy today announced that the 2024 Latin GRAMMYs, officially known as the 25th Latin GRAMMY Awards, will take place on Thursday, Nov. 14, in Miami at Kaseya Center, in partnership with Miami-Dade County and the Greater Miami Convention & Visitors Bureau (GMCVB). Additionally, the nominations for the 2024 Latin GRAMMYs will be announced Tuesday, Sept. 17.

The 2024 Latin GRAMMYs celebrate the 25th anniversary of the Latin GRAMMY Awards, a momentous milestone for the Latin Recording Academy. The show's return to Miami is also a homecoming for the Latin GRAMMYs, returning to the place it calls home, where the Latin Recording Academy's journey commenced and where its headquarters remain today. The 2024 Latin GRAMMYs mark the third time that the Latin GRAMMYs will be held in Miami: The first time took place in 2003 and the second time took place in 2020, when the show was closed to the public due to the COVID-19 pandemic.

The three-hour telecast of the 2024 Latin GRAMMYs, produced by TelevisaUnivision, will air live on Univision, Galavisión, and ViX on Thursday, Nov. 14, beginning at 8 p.m. ET/PT (7 p.m. CT), preceded by a one-hour pre-show starting at 7 p.m. ET/PT.

The 2024 Latin GRAMMYs will see the debut of a new Field and several new Latin GRAMMY Categories, including Best Latin Electronic Music Performance, housed within the new Electronic Music Field, and Best Contemporary Mexican Music Album (Regional-Mexican Field), among other changes.

Ahead of the 2024 Latin GRAMMYs, the Latin Recording Academy will host multiple official Latin GRAMMY Week 2024 events throughout Miami-Dade County, including marquee events like Leading Ladies of Entertainment, the Best New Artist Showcase, Special Awards Presentation, Nominee Reception, Person of the Year, and the Premiere Ceremony preceding the telecast. More details on the official Latin GRAMMY Week 2024 events and calendar will be announced in the coming months.

The news of the 2024 Latin GRAMMYs was announced via a press conference in Miami today. Watch the full press conference, featuring Latin Recording Academy CEO Manuel Abud, below.

"Since our first awards presentation in the year 2000, the Latin GRAMMYs have provided an international spotlight for Latin music second to none and provided iconic performances that have become part of global music and pop culture history.  We are thrilled to celebrate our 25th anniversary in Miami," Latin Recording Academy CEO Manuel Abud said. "Miami has evolved to become the epicenter of Latin entertainment and we are grateful for the community support and enthusiasm we have received."

"Welcome home, Latin GRAMMYs! As the cultural capital for Latinos in the United States, there's no better place than Miami-Dade to host the best of Latin music and entertainment," said Miami-Dade County Mayor Daniella Levine Cava. "It's a true honor to host this incredible event once again and welcome people from all over the world to enjoy the vibrant and diverse cultural hub we call home. This event celebrates the very best in music, and we are proud to showcase Miami's unique energy, where music and culture collide in the most spectacular way."

"We are excited to bring to life the landmark 25-year celebration of the Latin GRAMMYs from the city we call home – the city where Hispanic culture has flourished as a driving force of influence and impact globally," said Ignacio Meyer, President of Univision Television Networks Group at TelevisaUnivision. "As the Home of Latin Music, we're excited to deliver yet another unforgettable night of excellence in music, grounded in our passion and unwavering commitment to shining a bright light on the most culture-defining moments for Spanish-speaking audiences worldwide."

"This announcement underscores Greater Miami's status as a global hub at the intersection of multicultural music, entertainment, events and tourism," said David Whitaker, president and CEO of The Greater Miami Convention & Visitors Bureau. "On behalf of the travel and hospitality industry of Greater Miami, we are absolutely thrilled by the news that the 25th Latin GRAMMYs is returning home to Miami – bringing with it an influx of visitors eager to experience the excitement and energy of this iconic destination."

The Latin GRAMMY Awards are the preeminent international honor and the only peer-selected award celebrating excellence in Latin music worldwide.

Additional key dates for the 2024 Latin GRAMMYs include:

• July 24, 2024 — Aug. 5,2024:  First Round of Voting

• Sept. 17, 2024: Nominations Announcement

• Sept. 27, 2024 — Oct. 10, 2024: Final Round of Voting

Visit the Latin Recording Academy website for more information regarding the 2024 Latin GRAMMY Awards season.

Join the conversation online and share the official hashtags on all popular social media platforms: #LatinGRAMMY #25AñosDeExcelencia. 

The Latin GRAMMY Cultural Foundation Announces The 2024 Sebastián Yatra Scholarship

Latin music has gone global and Enrique Iglesias is one of the superstars who laid the foundation for that crossover. The Spanish pop icon's music career spans four decades of hits both in his native tongue and in English. Following his reign as Billboard’s Greatest Latin Artist of All-Time, Iglesias marks the end of an era with the last album of his career, Final Vol. 2.

Iglesias followed in the footsteps of his father, singer/songwriter Julio Iglesias, and made his own debut in the 1990s with Spanish-language love songs. He began singing in English at the end of the decade, and subsequently led an explosion of interest in Latin pop alongside acts like Ricky Martin, Jennifer Lopez, and later Shakira. 

As of writing, Iglesias has a record-breaking 27 No. 1 singles on Billboard's Hot Latin Songs chart, and solidified himself as a global heartthrob with an allure that defies language barriers. For his efforts, Iglesias has won one GRAMMY and five Latin GRAMMY Awards.

Enrique Iglesias will release what will likely be his final album on March 29, aptly titled Final (Vol. 2). Ahead of his final bow, here are 10 tracks that celebrate Iglesias' legacy in Latin music. 

"Experiencia Religiosa" (1995)

Iglesias made his debut in 1995 with a self-titled first album. Among the ballads on the10-track LP, the otherworldly "Experiencia Religiosa" best demonstrates the power of his charm.  

Backed by the piano with elements of gospel music, Iglesias belts his heart out about a night of passion that felt like spiritual awakening. To capture the energy of the sparks flying, an electric guitar solo rounded out his soulful yet sexy sermon. Iglesias demonstrated his knack for seamlessly blending together romance and sex appeal, which would go on to define his artistry and style.

Enrique Iglesias earned the singer his first golden gramophone at the 39th GRAMMY Awards for Best Latin Pop Performance.

"Nunca Te Olvidaré" (1997)

Iglesias proved that he was here to stay with his third album, 1997's Cosas Del Amor. The LP includes one of his signature love songs, "Nunca Te Olvidaré." 

Iglesias' voice reached angelic highs in the Spanish-language power ballad, which details  romance that left a lasting impression. No matter what happened, the love Iglesias shared with that person couldn't be forgotten — much like his impact on the Latin pop explosion that was brewing.

"Bailamos" (1999)

Proving he was so much bigger than the Iglesias last name, he crossed over into the English-language market with his 1999 album Enrique. Iglesias became a global Latin pop heartthrob with the sultry club banger "Bailamos." The song was featured on the Wild Wild West soundtrack, after Will Smith personally invited Iglesias to contribute music to the project.

Backed by the strum of the Spanish guitar with alluring synths, he invited the world to dance with him in English and Spanish. In a major moment for Latin acts at the time, the song topped the all-genre Billboard Hot 100 chart. The massive success of the song led Iglesias to sign with Interscope Records, where he released his breakthrough album. 

"Could I Have This Kiss Forever" (1999)

One of the underrated gems on Iglesias' Enrique album is his collaboration with six-time GRAMMY-winner Whitney Houston. 

The late pop legend joined forces with him for the sensual "Could I Have This Kiss Forever," making worlds collide with an irresistible mix of Latin percussion, Spanish guitar, and R&B. Houston also sang a bit in Spanish with Iglesias. His dreamy duet with Houston (who also sings in Spanish) broke down barriers for collaborations between Latin and English-language pop acts. In the years that followed, he collaborated with superstars like Kelis, Ciara, and Usher.  

"Hero" (2001)

Iglesias' love songs in English touched the hearts of millions around the world. One of his enduring classics is the empowering "Hero" from his 2001 album Escape. 

The beautiful ballad was released in both English and Spanish. In one of most tender vocal performances, Iglesias serenades his lover with sweet lyrics about always being by her side. After the song impressively peaked at No. 3 on Billboard's Hot 100 chart, Iglesias proved that his star power was here to stay. 

The song also became an anthem of hope for the U.S. following the Sept. 11 attacks, and Iglesias was invited to perform "Hero" for the broadcast special "America: A Tribute to Heroes." 

"Bailando" (2014)

After laying the foundation for the globalization of Latin music, Iglesias enjoyed one of his greatest career triumphs in 2014 — in both Spanish and English. 

The feel-good smash "Bailando" blended Caribbean rhythms with flamenco influences, bringing together Sean Paul and Cuba's Descemer Bueno and Gente De Zona. The Spanglish banger peaked at No. 12 on the Billboard Hot 100 chart. At the 2014 Latin GRAMMYs, Iglesias and his collaborators took home golden gramophones for Song Of The Year, Best Urban Performance, and Best Urban Song. 

The success of the song also helped usher in the reggaeton music revival of the last decade. Pop and reggaeton collaborations became more commonplace with songs like "Despacito" by Luis Fonsi and Daddy Yankee and J Balvin’s "Mi Gente" remix with Beyoncé later following suit.  

"Beautiful" (2014)

Iglesias joined forces with GRAMMY-winning dance-pop icon Kylie Minogue for "Beautiful," a  haunting love song about a formidable romance that could withstand the apocalypse. 

The electronic ballad was co-produced by Mark Taylor, who was also at the helm of Iglesias' collaboration with Houston. Iglesias and Minogue's voices melted together in a hypnotic harmony that made this song live up to its name. The song was included on Minogue’s Kiss Me Once album and deluxe edition of Iglesias’ Sex and Love LP.  

"El Baño" (2018)

Before he became a GRAMMY-winning global star, Puerto Rican singer Bad Bunny teamed up with Iglesias for a freaky reggaeton romp, "El Baño." 

Iglesias first turned up the heat by singing about getting intimate with his lover in the restroom. Bad Bunny dropped in that halfway point as his wingman with a fiery guest verse. The hypnotic collaboration was included on Iglesias' penultimate album Final (Vol. 1). 

Iglesias later added a woman’s perspective to the song, bringing on Dominican reggaeton star Natti Natasha joining them on the remix. As one of Latin pop’s most daring artists, he was never afraid to push boundaries with his risque tracks. 

"Space In My Heart" (2024)

After the release of his reggaeton-heavy Final (Vol. 1), Iglesias was ready to be more adventurous with the music that followed. In 2022, Iglesias ventured into country music for the first time with "Espacio En Tu Corazón." 

To bring some more authenticity to the English-language version of the song, "Space In My Heart," Iglesias teamed up with GRAMMY-winning country star Miranda Lambert. The breathtaking country-pop ballad features Iglesias and Lambert singing passionately about winning over the hearts of their crushes. 

The song is a highlight on the last album of his career, Final (Vol. 2). And while it seems like this may be the singer's final hurrah, Iglesias told PEOPLE in 2021: "No, I'm never gonna retire! I'm gonna keep on writing songs but that doesn't mean I need to be putting out albums every so often."

"Fría" (2024)

Iglesias is going out in style with "Fría." For the most vibrant song on Final Vol. 2,  Iglesias collaborates with Cuban singer/songwriter Yotuel on a frisky and refreshing banger, which blends reggaeton beats with elements of tropical music.

Iglesias sounds like he's having a blast with Yotuel as they try to convince their partners there was no infidelity at last night's wild party. "I just went out for a cold one," Iglesias winkingly sings in Spanish. Cheers to the legacy of one of Latin pop's greater stars.  

10 Women Artists Leading A Latin Pop Revolution: Kenia Os, Belinda & More

The Latin Recording Academy has announced significant updates to the eligibility guidelines for the 2024 Latin GRAMMYs, officially known as the 25th Latin GRAMMY Awards, introducing a new field and categories, and revising existing Category requirements to better reflect the evolving musical landscape.

To reflect the evolving landscape of Latin music, The Latin Recording Academy has introduced a new Electronic Music Field, highlighting a Category for Best Latin Electronic Music Performance tailored for singles and tracks, and a Best Contemporary Mexican Music Album Category in the Regional-Mexican Field for albums majorly featuring new material while retaining the core of Regional Mexican Music genres. 

Further adjustments include a renaming in the Portuguese Language Field to encompass Música Popular Brasileira and Afro-Portuguese-Brazilian Music, a refined definition for the Best Singer-Songwriter Song category, an update to the Best Long Form Music Video criteria allowing for shorter videos, and a new nominations protocol based on entry numbers, aiming to enhance the representation and recognition of diverse Latin music genres.

New Field & Category

FIELD: Electronic Music

CATEGORY: Best Latin Electronic Music Performance

For singles and tracks only (vocal or instrumental). Recordings must have 51 percent playing time of Latin Electronic music genres (as defined by the Latin Electronic Committee), as well as related emerging genres, and Latin elements, in order to accurately reflect the current trends in Latin electronic music. Recordings containing interpolations/sampling are eligible if the interpolation/sampling does not constitute more than 25 percent of the lyrics and/or 51 percent of the music of the original song. Latin electronic remixes are eligible. Award is presented to solo artists, duos or groups (for groups of more than 10 members, the statuette will be presented to the “leader” of the group). Winner’s Certificates are presented to producer(s), engineer(s), mixer(s), composer(s) and to the original recording artist, if applicable.

New Category

CATEGORY:  Best Contemporary Mexican Music Album (Regional-Mexican Field)

For vocal or instrumental albums of Contemporary Regional Mexican Music, in Spanish, which contain at least 51 percent of the total time recorded with new material, and which maintain at least 60 percent of the essence of the genres of Regional Mexican Music. Award is presented to solo artists, duos or groups, producer(s), recording engineer(s) and mixing engineer(s) of 51 percent or more of the total playing time of the album. Winner’s Certificates are presented to mastering engineer(s) and to producer(s), engineer(s), and mixer(s) of less than 51 percent of the total playing time (if not the artist).

Additional Category Amendments

CATEGORY NAME CHANGE: Best MPB (Música Popular Brasileira) / MAPB (Música Afro Portuguesa-Brasileira) Album (Portuguese Language Field)

For vocal or instrumental Música Popular Brasileira and Afro-Portuguese-Brazilian Music albums containing at least 51percent of total play time of new material.

AMENDMENT TO DEFINITION: Best Singer-Songwriter Song (Singer-Songwriter Field)

For singles or tracks that contain at least 60 percent of the lyrics in Spanish, Portuguese or any native regional dialect. Must be a new song composed and performed 100percent by the singer-songwriter(s). Award is presented to the songwriter(s). Winner’s Certificate presented to the music publisher.

NEW VIDEO ELIGIBILITY CRITERIA: Best Long Form Music Video Category (Music Video Field)

Eligible videos in Best Long Form Music Category consist of at least 12 minutes of duration (reduced from 20 minutes). 

AMENDMENT TO THE RULE REGARDING NUMBER OF NOMINATIONS: Number of nominations in a category will be based on the number of entries (All Fields)

Each category shall have at least 40 distinct artist entries. If a category receives between 25 and 39 entries, only three recordings will receive nominations in that year. Should there be fewer than 25 entries in a category, that category will immediately go on hiatus for the current year and entries will be screened into the next most logical category. If a category receives fewer than 25 entries for three consecutive years, the category will be discontinued, and submissions will be entered in the next most appropriate category.

Online Entry Process

NEW GUIDELINES FOR SUBMISSIONS: Single Submission Round

 All submissions for the Online Entry Process (for recordings released June 1, 2023 through May 31, 2024) will occur in one single round of entries, starting on April 1, 2024, and closing on April 30, 2024 at 6 p.m. (PT). Any releases scheduled for May 2024 must be submitted in April, before the Online Entry Process closes, and the streaming link and credits must be submitted by May 31, 2024.

REMOVAL OF FINAL SUBMIT CONCEPT

Submissions can be completed ‘as they go’, there is no need to hold on completion of all entries for a final submit, thus facilitating the submission of entries.

All updates go into effect immediately for the upcoming 25th Annual Latin GRAMMY Awards® taking place in November 2024. To view this year’s Awards calendar, visit https://www.latingrammy.com/en/awards/calendar.

Once a marginalized genre associated with lewdness and criminality — much like the genres from which it draws so much influence, dancehall and hip-hop —  reggaeton is now firmly in the mainstream. While dominant across Latin America in the new millennium, reggaeton has made huge inroads with English-speaking audiences in the past decade, particularly with crossover hits like "Bailando," "Despacito," and numerous Bad Bunny songs from the past three years.

Although many associate reggaeton with Puerto Rico, the roots of the genre can be found in Panama, with artists like El General and Nando Boom taking Jamaican dancehall riddims — like dembow, first introduced in the Shabba Ranks song of the same name — and rapping in Spanish over them in the early 1990s. In Puerto Rico, early reggaeton was called "underground," and gained popularity in the mid-1990s through mixtapes put out by DJs like Playero and Negro, who utilized hip-hop techniques to alter the dancehall riddims as an instrumental track for local rappers and singers like Daddy Yankee.

Reggaeton has long been a male-dominated genre (with Ivy Queen being the main exception to the rule), but in recent years female singers have become more prominent. Colombian singer Karol G, for example, is currently one of the genre’s biggest stars, and Spanish singer Rosalía pivoted to reggaeton for her 2022 album Motomami, which won a Latin GRAMMY for Album Of The Year. 

Colombian artists have also been making their way to the top of the reggaeton charts in recent years — alongside Karol G, there’s J Balvin and Maluma — although Puerto Rican artists still dominate the genre, with current stars like Rauw Alejandro and Anuel AA.

Reggaeton will only continue to evolve and develop; read on for 10 songs that represent the sonic and cultural evolution of the genre in the past three decades.

El General - "Tu Pum Pum" (1990)

Years before the term reggaeton was invented, Panamanian rapper El General (Edgardo Franco) was the first artist to gain recognition recording reggae en español. Given the history of West Indian immigration to Panama to build the Canal, it’s not surprising that the story of reggaeton begins there. This proto-reggaeton style emulated Jamaican dancehall much more closely than later styles would. El General and his friends got started by taking Jamaican riddims like the genre-defining dembow and rapping in Spanish over them; they used to board buses in Panama City and perform for fellow riders. El General was known as a skilled improvisor.

He moved to New York to study in the late 1980s, and hooked up with fellow Panamanian and producer Michael Ellis, who is said to have invented the term "reggaeton." El General’s first hit, "Tu Pun Pun" is a Spanish-language version of Jamaican dancehall artist Little Lenny’s 1990 song "Punnany Tegereg" that’s quite faithful musically to the original. 

The title of the song is slang for female genitals, and the lyrics chronicle El General’s sexual prowess in graphic detail. Its chorus chants, "Your pum pum, baby baby, won’t kill (tame) me." The song became a hit in the U.S. and El General went on to have a successful, albeit brief, career. 

Tego Calderón - "Pa’ Que Retozen" (2003)

One of the biggest tracks on Tego Calderón’s debut album, El Abayarde, "Pa’ Que Retozen" was a party anthem and one of the first reggaeton hits in the U.S. It represents the culmination of many musical shifts that took place during the 1990s in Puerto Rico. By the mid-1990s, the dembow riddim began to dominate the Puerto Rican underground scene. As the millennium approached, DJs and producers began to incorporate elements of Latin popular music genres as well.

"Pa’ Que Retozen" is a good example of this trend, as bachata-style guitar riffs play underneath Calderón’s rapping. The background track switches up several times in this song, including an incredibly catchy, high-pitched synth riff heard in the second verse. Other tracks on El Abayarde also incorporate Latin genres and instruments — like bongó drums on "Abayarde," Afro-Puerto Rican bomba percussion on "Loíza," and a full salsa orchestra and vocals on "Planté Bandera."

Ivy Queen - "Quiero Bailar" (2002)

Known as the "Queen of Reggaeton," Ivy Queen was the only prominent female reggaeton artist for nearly two decades. She released two albums in the late 1990s, but it was her third album, Diva, in 2003, that really broke through. Ivy Queen intentionally wrote from a female perspective, as she had come up in a male-dominated scene in San Juan where women were constantly being objectified.

With her deep, throaty vocal tone, Ivy Queen proclaims on "Quiero Bailar" that although she wants to dance — even in the sexualized perreo style that had become synonymous with reggaeton — that doesn’t necessarily mean she wants to have sex with her dance partner. The song is still an important anthem for women who want to feel free to bump and grind and express themselves on the dancefloor without men expecting a sexual encounter. 

Don Omar - "Dile" (2003)

Three of the genre’s most influential artists exploded on the scene at roughly the same time: Calderón, Daddy Yankee and Don Omar, with the latter two involved in a rivalry for the title of "King of Reggaeton." However, Don Omar always stood out among the three for the lyricism of his voice — he was a more gifted singer than many of his peers.

His debut album, The Last Don, is considered to be a classic, utilizing a similar approach as Calderón of injecting more melodic Latin styles, like bachata and salsa, into his music. The Dominican production team Luny Tunes, who was instrumental in expanding the sound of reggaeton and distinguishing it further from its Jamaican roots,  produced about half the album’s tracks.

Like "Pa’ Que Retozen," Don Omar’s first major single, "Dile" relies heavily on a bachata guitar line, but his vocal style is quite different from the deep, resonant rapping of Calderón. The combination of Don Omar’s tenor voice with the melodic instrumentals of "Dile" makes for a very aesthetically pleasing, yet danceable song. In addition, he interpolates a salsa song, Joe Arroyo’s "La Noche," into a bridge-like section in the middle of "Dile." 

The subject matter is also more emotional than many reggaeton songs had been up to this point, as he’s pleading with a woman to tell her boyfriend that she wants to be with someone else (Don Omar).  

 Daddy Yankee - "Gasolina" (2004)

The first reggaeton song to be nominated for Record Of The Year at the Latin GRAMMYs, "Gasolina" still stands as the genre’s most iconic and recognizable song. The song catapulted not only Daddy Yankee into the mainstream, but also the genre itself. It appeared on Daddy Yankee’s third studio album, Barrio Fino, which broke numerous records and won many awards.

Barrio Fino took a broad approach, which proved incredibly successful. Many of the album’s tracks were produced by Luny Tunes, including its two biggest hits, "Gasolina" and "Lo Que Pasó, Pasó." The album also features a salsa-reggaeton fusion and an R&B-inflected rap song that sounds like it could have been recorded by Big Pun.

As for the concept behind "Gasolina," Daddy Yankee was living in a San Juan housing project with his family, where he often heard people on the street shouting, "iComo le gusta las gasolina!" ("How she likes gasoline!"), referring to women who accept rides from men with nice cars. He took that phrase and ran with it, creating the famous hook "A mí me gusta la gasolina, dame más gasolina" ("I like gasoline, give me more gasoline"). A decade later he laughed at the idea that the term "gasolina" referred to drugs — as many people assumed — claiming that he used it literally, to refer to cars. 

"Oye Mi Canto" - N.O.R.E., feat. Nina Sky, Gem Star, Daddy Yankee, and Big Mato

Reggaeton exploded in popularity in the mid-aughts, which explains why there are so many classic songs from that time period. "Oye Mi Canto" was the first collaboration between an American rapper (N.O.R.E.) and reggaeton artists, and included verses in English and Spanish.

The song originally featured Tego Calderón but Daddy Yankee replaced him in the video. It also signaled an acceptance of reggaeton by New York hip hop artists — Fat Joe also appears in the video. It peaked at No. 12 on the Billboard Top 100, a first for a reggaeton song.

The song utilizes a common feature of commercial hip hop at the time, a catchy R&B hook sung by a female vocalist, Nina Sky. The hook borrows from and adapts the recognizable chorus "Boricua, morena, Boricua, morena," which was heard on Big Pun’s massive 1998 hit "Still Not A Player," but extends it to include other Latino ethnicities beyond "Boricua" (Puerto Rican).

Calle 13 -"Atrévete-te-te" (2005)

Hardly a traditional reggaeton group, Calle 13 nonetheless created one of the genre’s most popular, beloved songs in 2005 with their irreverent hit "Atrévete-te-te." Rapper Residente and instrumentalist/producer Visitante, step-brothers, founded the group in 2004, and gained fame with a song about the FBI killing of Puerto Rican independence leader Filiberto Ojeda Ríos called "Querido FBI."

Residente is the most politically outspoken rapper within reggaeton, a genre the two musicians have tended to distance themselves from, preferring not to be labeled. The group’s music has always been eclectic, using live instrumentation and unusual timbres. These elements undoubtedly relate to the fact that Visitante plays dozens of instruments. The brothers still hold the record for most Latin GRAMMY Awards in history, a whopping 27 each!

"Atrévete-te-te" is an infectious cumbia-reggaeton hybrid featuring an unforgettable high-register clarinet. Residente’s lyrics are raunchy, witty, and replete with American pop culture references and anglicisms. He dares a "Miss Intellectual" to get down off her culturally elitist high horse and let loose: "I know you like Latin pop rock, but reggaeton gets into your intestines, under your skirt like a submarine, and brings out your ‘Taino’ (indigenous people native to Puerto Rico)." He reinforces his point later, singing, "Who cares if you like Green Day? Who cares if you like Coldplay?"

"Bailando" - Enrique Iglesias feat.Descemer Bueno and Gente de Zona (2014)

In the 2010s reggaeton’s popularity continued to grow, and "Bailando" was one of the songs that significantly raised the genre’s visibility among English-language audiences. Nonetheless, Spanish pop singer Enrique Iglesias originally didn’t like the song.

"Bailando" was written and recorded by Cuban singer/songwriter Descemer Bueno and Cuban reggaeton duo Gente de Zona, who had become one of the island’s biggest musical groups. When Iglesias heard Bueno’s recording, he changed his mind and they added his vocals. 

Garnering many awards, and winning Song of the Year at the 2014 Latin GRAMMYs, "Bailando" was flamenco-infused reggaeton designed for mass appeal. It follows a traditional pop song format, with Iglesias singing the verses and trading off with Gente de Zona and Bueno in the extended chorus sections. The lyrics are standard love song fare, and don’t include any of the rapped vocals or Cuban slang that had made Gente de Zona so popular in Cuba. Nonetheless, it peaked at No. 2 on the Billboard Hot 100 and spent a record-breaking 41 weeks at the top of the U.S. Latin charts. 

"Despacito" - Luis Fonsi featuring Daddy Yankee, with a remix feat. Justin Bieber (2017)

Love it or hate it, it’s impossible to ignore the cultural impact of "Despacito." It was already a huge hit in its original version, by Puerto Rican singer Luis Fonsi and Daddy Yankee. But when Justin Bieber called Fonsi up to inquire about doing a remix, it became 2017’s song of the summer.

Like "Bailando," the original version was already as much Latin pop as it was reggaeton, and although Daddy Yankee has some rapped vocals in the second verse, he’s mainly singing as well. The producers decided to use a Puerto Rican cuatro, which opens the song, in addition to an acoustic guitar in order to give the song a more local feel. One unique element was the insertion of a rhythmic break right before the chorus "Despacito" (which translates to "slowly") comes in. The way Fonsi breaks up the three syllables in the title word, taking his time with them, is a nice touch.

The Justin Bieber remix was released three months later, and maintained the song’s original rhythms and Daddy Yankee’s verses. An English verse was added for Bieber at the beginning of the song, and he sang the "Despacito" choruses in Spanish — the first time he’d ever sung in Spanish. It quickly rose to No. 1 on the Hot 100 charts, which gave Fonsi and Daddy Yankee their first No. 1 hit. It stayed at the top of the charts for 16 weeks, tying with "One Sweet Day," by Mariah Carey and Boyz II Men, and remained the longest-leading No. 1 single until 2019. "Despacito" also won Song and Record Of The Year at the Latin GRAMMYs.  

"Titi Me Preguntó" - Bad Bunny (2022)

Bad Bunny is not only the most prominent artist in contemporary reggaeton — he was the biggest artist in the world in 2022. It’s impossible to list all of the accolades Benito Antonio Martínez Ocasio has attained in his short career, but here are a few: His latest, Un Verano Sin Tí, was the first Spanish-language one to be nominated for Album Of The Year at the 2023 GRAMMYs, he's been Spotify's most streamed artist in the world for three straight years.

Un Verano Sin Tí was a masterful achievement, showcasing a wide variety of contemporary Latin music beyond reggaeton, including Dominican dembow and mambo, bachata, electro-cumbia, and even indie rock — all anchored by Bad Bunny’s emo vocal style. The album is a celebration of Spanish Caribbean identity, paying homage as much to Dominican as to Puerto Rican music.

"Titi Me Preguntó" is not only one of the album’s biggest hits, but also one of its most complex tracks, featuring several discrete sections. It begins with a bachata guitar intro, followed by Bad Bunny’s rapped vocals accompanied by a sparse backbeat. His aunt is asking why he goes out with so many girls and won’t settle down. The body of the song speeds way up, keeping a sparse accompaniment, as Bad Bunny lists the names and cities of different girlfriends. 

But there’s an interesting shift at the 2:15 mark, where the bachata guitar returns and we hear a woman’s voice admonishing him for being an f-boi. It’s followed by anguished Bad Bunny vocals singing, "I’d like to fall in love but I can’t." The music changes back to the sparse backbeat accompaniment when he sings: "I don’t even trust myself," and notes how many women say they want to have his first-born child. The singing returns, as a spooky electronica melody is added into the background mix: "Listen to your friend, I’ll only break your heart…I don’t know why I’m like this." 

This is a man struggling with interpersonal demons, and this vulnerable masculinity (and his past refusal to conform to rigid gender norms) is precisely why Bad Bunny is so beloved by his female fans.  

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