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Exploring The GRAMMYs' Latin Field Nominees

Go inside the nominations in the Latin categories for the 54th Annual GRAMMY Awards

GRAMMYs/Dec 3, 2014 - 05:06 am

(For a complete list of 54th GRAMMY Awards nominees, click here.)

You've seen the list of nominees, now take a closer look at the artists nominated in the Latin Field for the 54th Annual GRAMMY Awards.

From the progressive urban beats of a politically charged Puerto Rican outfit and a rousing tribute to Mexican ranchera to the jazzy soundscapes of a late mambo king, the nominated recordings in the four Latin categories reflect the depth and richness of the expansive Latin music genres.

Best Latin Pop, Rock, Or Urban Album

After picking up a record nine awards at the recent 12th Annual Latin GRAMMY ceremony last November, Calle 13 is attempting to take home their third GRAMMY statue. The Puerto Rican duo's latest studio album, Entren Los Que Quieran, combines infectious hip-hop beats with the shimmering beauty of Latin folklore. Also making the grade is Mexican-American singer Gustavo Galindo. His debut album, Entre La Ciudad Y El Mar, was produced by Latin rock godfather Gustavo Santaolalla, who is a two-time GRAMMY winner. Hailing from Caracas, Venezuela, La Vida Bohème concoct an infectious blend of salsa with disco, punk and dance on the riveting Nuestra. Also from Venezuela, Los Amigos Invisibles sets an experimental mood on Not So Commercial. The veteran sextet creates explosive contrasts between lounge instrumentals and funk workouts throughout. Rounding out the category is Mexico's Maná. The three-time GRAMMY-winning quartet returns to arena-rock action with the appropriately titled Drama Y Luz (Drama And Light).









Best Regional Mexican Or Tejano Album

The son of ranchera icon Luis Aguilar, singer/songwriter Pepe Aguilar has found his true calling in the regional Mexican genre. His latest album, Bicentenario, celebrates the recent bicentennial of Mexico's independence. Brimming with texture and bravado, the voice of Paquita La Del Barrio is especially effective whenever she chastises deceitful men on her tragicomic hit singles. Eres Un Farsante (You Are A Fraud) finds her at the top of her game. One of Mexican music's most prolific songwriters, Joan Sebastian has composed songs in the ranchera, norteño, banda sinaloense, and Latin pop genres. Huevos Rancheros demonstrates the four-time GRAMMY winner's penchant for penning memorable songs. The all-female ensemble Mariachi Divas De Cindy Shea earned a nod for Órale. Founded in 1999 by trumpeter Shea, the ensemble picked up a GRAMMY in 2008 for Best Regional Mexican Album for Canciones De Amor. Texas-based ensemble Mariachi Los Arrieros Del Valle rounds out the category, receiving their first GRAMMY nomination for Amor A La Música.

Best Banda Or Norteño Album

The zesty accordion lines of norteño and the epic tuba riffs of banda sinaloense are ever present in this year's race. Three genre heavyweights come face-to-face this year: Five-time GRAMMY winners Los Tigres Del Norte with the star-studded live recording Los Tigres Del Norte And Friends; Tijuana superstars Los Tucanes De Tijuana with the roots-laden corrido collection El Árbol; and two-time GRAMMY winners Intocable with the more gentle norteño ballads featured on Intocable 2011. El Güero Y Su Banda Centenario are looking to add to their GRAMMY trophy case, having won for Best Banda Album for Enamórate De Mí in 2010. Their album Estare Mejor is filled with lush banda orchestrations. The old-fashioned norteño goodness of Tejano artist Michael Salgado is on full display on No Vengo A Ver Si Puedo... Si Por Que Puedo Vengo. Salgado is looking to win his first GRAMMY to go with his 2007 Latin GRAMMY Award for Best Norteño Album for En Vivo.



Best Tropical Latin Album

Cachao's The Last Mambo is a glowing collection of nostalgic danzones and jazzy descargas. The album was recorded in concert by the late Latin GRAMMY-winning Cuban bassist at the Ziff Opera House in Miami in 2007. Edwin Bonilla's Homenaje A Los Rumberos pays tribute to the New York salsa explosion of the '70s with vibrant new versions of dance-floor scorchers by the likes of Rubén Blades and Tite Curet Alonso. José Rizo's Mongorama features the finest players from today's Latin jazz circuit: conguero Poncho Sanchez, saxophonist Justo Almario and pianist Oscar Hernández, among others. Mongorama is a swinging homage to the deep Latin jazz aesthetic of groundbreaking Cuban percussionist Mongo Santamaría.

Who will take home the awards in the Latin Field categories? Tune in to the 54th Annual GRAMMY Awards on Feb. 12, taking place at Staples Center in Los Angeles and airing live on CBS from 8–11:30 p.m. (ET/PT).

(Note: The videos embedded reflect official videos available through official artist and record label Web channels.)


 

7 Incredible Sets From L.A.'s Bésame Mucho Fest: Maná, Natalia Lafourcade, Paquita La Del Barrio & More
Maldita Vecindad perform at L.A.'s Besame Mucho Fest

Photo: Justin James

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7 Incredible Sets From L.A.'s Bésame Mucho Fest: Maná, Natalia Lafourcade, Paquita La Del Barrio & More

More than 60 acts performed at the Bésame Mucho Festival, held Dec. 2 at Dodger Stadium in Los Angeles. From Amanda Miguel to Pepe Aguilar, revisit a handful of the sets from the leading lights in Latin music.

GRAMMYs/Dec 4, 2023 - 08:04 pm

Diverse genres within Latin music were celebrated at the Bésame Mucho Festival on Dec. 2 at Dodger Stadium in Los Angeles, where more than 60 acts performed. At the second edition of the festival — which will boast an Austin, Texas edition in March 2024 —   artists performed an array of música Mexicana, rock en español, and Latin pop hits to a multi-generational crowd.

Iconic artists and bands performed on four massive stages: The Rockero, Las Clásicas, Te Gusta El Pop? and the Beso stages. Headliners included Cafe Tacvba, Los Bukis and Reik, while major acts such as Bomba Estereo, Los Angeles Azules, and Jesse & Joy added to the fest's wide-ranging sounds.

While a majority of acts were from Mexico, artists from Argentina, Colombia, and Spain were also in the mix. "It was nice to be considered part of such a cool catalog of bands," Luis Humberto Navejas, the lead singer of Latin rock group Enjambre, told GRAMMY.com.

The festival especially highlighted Mexican culture with giant installations of Maria rag dolls and colorful skeletons that are typical of the traditional Day of the Dead holiday. 

Read on to learn about what went down during seven standout sets at the Bésame Mucho Festival.

Enjambre Represented The Future Of Latin Rock

Enjambre was one of the first bands to hit the Rockero stage. While most of the Latin rock groups on the line-up predated the 2000s, Enjambre broke through in 2010 with their album Daltónico. Since, the Mexican group have charmed fans in their home country, the U.S. and beyond with their electronica-infused rock.

The band captivated the crowd and had them dancing to their futuristic rock anthems, including "Y La Esperanza," "Divergencia," and "Elemento." With a swagger (and black suit and black pair sunglasses for extra cool) lead singer Luis Humberto Navejas commanded the stage while wielding the microphone stand. Even as the band rocked out, Navejas' otherworldly voice cut through to capture the emotional depth behind each song, especially the nostalgic "Dulce Soledad." 

For their latest album Noches De Salón, Enjambre re-recorded their past hits with retro sounds. "We're shedding some light on these old and beautiful rhythms, like the cha-cha, danzón, bolero, and rancheras, that we love so much," Navejas told GRAMMY.com backstage. 

Amanda Miguel Ruled the Stage With Her Románticas

One of Mexico's most beloved pop icons is Amanda Miguel, who drew cheers from the crowd as she hit the Te Gusta El Pop? in a bright golden pantsuit. After growing up in Argentina, she became a naturalized citizen of Mexico and later made an impact throughout Latin America and the U.S. thanks to her collection of hit romantic songs. 

 "It's music that thanks to my fans keeps transcending generations," Miguel told GRAMMY.com backstage. "It's music that's very healing and beautiful. It's music that promotes love, which is what we need the most in the world."

While other acts brought out pyrotechnics and other visual attractions, Miguel relied solely on her powerhouse voice to command the stage. She seamlessly glided between her love songs, such as the sweet "Hagamos Un Trato" and heartbreak anthems like "Dudas." The pain behind "Él Me Mintió" was especially palpable in her emotional performance, though Miguel lightened the mood during the sensual "El Gato y Yo," where she wailed like a rocker.

Paquita La Del Barrio Didn’t Let Illness Slow Her Down

Even before Paquita La Del Barrio hit the Clásicas stage, the crowd was chanting her name. A pioneer for women in música Mexicana, the legend pushed back on machismo ingrained in Latinx culture with her female empowerment anthems.

Paquita La Del Barrio performed her biggest hits while seated, revealing that she was suffering from a throat illness, but that didn't stop her sticking it to the men that wronged her in the classics like "Cheque en Blanco" and "Me Saludas a la Tuya." The crowd went wild when she yelled her famous phrase in Spanish, "Are you listening to me, you good-for-nothing?"

Paquita La Del Barrio brought down the house with her emotional performance of "Rata De Dos Patas," in which she compares a cheating lover to a rat. At the end of her set, she stood up to say, "Since 1947, I’ve received more applause than money and that’s what matters most."

Gloria Trevi Put on an Unforgettable Pop Spectacle 

Gloria Trevi is one of Mexico's biggest pop icons and previously ranked as the most successful touring Mexican female artist. The 55-year-oldTrevu left it all on the stage during her larger-than-life pop spectacle and hits-filled set.

Trevi descended down a metal staircase that was uniquely part of her production in a fluffy pink coat. She revealed a white dress underneath that was studded with the colors of Mexico (Trevi's hour-long set included three costume changes). Singing and dancing with a team of male dancers, Tevi flipped around in the arms of her dancers to the glorious "Gloria" and later performed a split while singing "La Papa Sin Catsup." Trevi then crowd surfed while singing a rock-infused version of "Dr. Psiquiatra." 

She got the crowd going wild when she belted out her breakthrough hit "Pelo Suelto," concluding her set in a blaze of rainbow lasers with her fierce performance of "Todos Me Miran," an anthem for the LGBTQIA+ community. Trevi's Bésame performance was a preview of next year's Mi Soundtrack World Tour. 

Natalia Lafourcade Showed There’s No Limits To Latin Music

Natalia Lafourcade is known for infusing Latin music with elements of jazz, folk and alternative music — a style that has netted the Mexican singer\songwriter three GRAMMY awards and 17 Latin GRAMMYs. 

Lafourcade got to prove that her beloved songs are even more breathtaking in a live setting, arriving on the Rockero stage with guitar in hand. While performing a stirring rendition of "María La Curandera," she broke out into a jam session with her band. Lafourcade sang her breezy title track from De Todas Las Flores, which won Record Of The Year at the 2023 Latin GRAMMYs and is nominated for Best Latin Rock or Alternative Album at the 2024 GRAMMYs. Fellow nominees are Leche De Tigre by Diamante Eléctrico, Cabra's MARTÍNEZ, Vida Cotidiana by Juanes and Fito Paez's EADDA9223. 

When addressing the crowd, Lafourcade was notably inclusive with using "todes," which is a progressive and gender-neutral way of saying "everybody" in Spanish. She got the crowd dancing when she performed the cumbia version of her hit "Nunca Es Suficiente." Lafourcade drew cheers when she said in Spanish that toxic partners belonged in the trash. 

Maná Performed an Incredible Career-Spanning Set 

Maná is one of the most-celebrated Mexican acts with four GRAMMY awards and eight Latin GRAMMY awards. After wrapping up a sold-out 16 show residency at the Forum last month, the legendary rock group serenaded Bésame Mucho with its timeless classics.

In his black leather jacket and leather pants, lead singer Fher Olvera and his bandmates ripped through their greatest hits, including "Corazon Espinado" and the funky "Hechicera." The band struck a fine balance between their raucous classics like the unruly "Me Vale" and the heartfelt power ballads like "Mariposa Traicionera" and "Labios Compartidos."

Maná also performed rock-infused covers of "Bésame Mucho" in honor of the festival and "El Rey" by the late ranchera icon Vicente Fernández. The latter was done to pay homage to Fernández and the band's Mexican roots. A full-on dance party erupted in the crowd when Maná performed a fired-up rendition of "Oye Mi Amor."

Pepe Aguilar Serenaded Concert-Goers With His Love Songs

Over the course of his career, Pepe Aguilar has won four GRAMMYs and five Latin GRAMMYs. He proudly represented his country and mariachi music during his hour-long set.

Aguilar appeared on the Clásicas stage in his Mexican charro suit, which is typical of mariachi singers. While performing the sweeping ballad "Directo al Corazón," he removed his giant sombrero to place it over his heart. "After this medley, you'll fall in love with someone," Aguilar promised in Spanish. "Open your heart and let yourself go." Then he continued to touch the hearts of his fans as he belted out his classics like "Perdóname" and "Me Vas A Extrañar." 

Aguilar is known for his arena tours that embrace the Mexican tradition of jaripeo, or performances on horseback. While he couldn't bring the full jaripeo experience to Bésame Mucho, vivid images of Mexico and horses appeared behind him as he performed his biggest hits. He closed out his set with a heartfelt rendition of his signature love song "Por Mujeres Como Tú."

8 Latinx Rappers To Know: Eladio Carrion, Young Miko, Akapellah & More

10 Facts About Latin Music At The GRAMMYs: History-Making Wins, New Categories & More
Aida Cuevas, Natalia Lafourcade and Ángela Aguilar perform during the 2019 GRAMMYs

Photo: Jeff Kravitz/FilmMagic

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10 Facts About Latin Music At The GRAMMYs: History-Making Wins, New Categories & More

For decades, Latin music has been an indispensable part of the GRAMMYs landscape. Ahead of the 2024 GRAMMYs nominations, here are some milestones in Latin music at Music’s Biggest Night.

GRAMMYs/Oct 18, 2023 - 03:42 pm

The 2024 GRAMMY nominations are right around the corner — and as always, inspired Latin musical offerings will lie within the heart of the list.

While the Recording Academy’s sister academy, the Latin Recording Academy, naturally honors this world most comprehensively, it plays a crucial role in the GRAMMYs landscape just as in that of the Latin GRAMMYs — and there’s been crossover time and time again!

On Nov. 10, the world will behold nominations in all categories — including several within the Latin, Global, African, Reggae & New Age, Ambient, or Chant field. Within the world of Latin music, the awards are: Best Latin Pop Album, Best Música Urbana Album, Best Latin Rock or Alternative Album, Best Música Mexicana Album (Including Tejano), and Best Tropical Latin Album. The Recording Academy also offers a GRAMMY Award for Best Latin Jazz album, though that award is a part of a different field. 

Like the Recording Academy and GRAMMYs themselves, these categories have evolved over the years. Along the way, various Latin music luminaries have forged milestones in Academy history.

Ahead of the 2024 GRAMMYs nominations, here are some key facts to know about Latin music’s history at the GRAMMYs.

The First Award For Latin Music At The GRAMMYs Was Given In 1975

The first winner for Best Latin Recording was pianist and composer Eddie Palmieri, for 1974’s The Sun of Latin Music. Now an eight-time GRAMMY winner, Palmieri took home the golden gramophone in this category at both the 1976 GRAMMYs and the following year for Unfinished Masterpiece.

At the 1980 GRAMMYs, the first group winner was the thrice nominated Afro-Cuban jazz band Irakere, for their 1978 self-titled debut.

Percussionist Mongo Santamaria holds the record for the most nominations within the Best Latin Recording category.

The Sound Of Latin Pop — And The Title Of The Award — Has Shifted Over 40 Years  

Back in 1983, this category was called Best Latin Pop Performance. The first winner was José Feliciano, who took home the golden gramophone for his album Me Enamoré at the 26th GRAMMY Awards.

Best Latin Pop Performance eventually pivoted to Best Latin Pop Album and Best Latin Pop or Urban Album, then back to Best Latin Pop Album — just another example of how the Academy continually strives for precision and inclusion in its categories.

As for most wins, it’s a tie between Feliciano and Alejandro Sanz, at four. Feliciano also holds the distinction of having two consecutive wins, at the 1990 and 1991 GRAMMYs.

The Best Latin Urban Album Category Was Introduced In 2007

The first winner in this category was the urban hip-hop outfit Calle 13, for their 2007 album Residente o Visitante.

The first female nominee was Vanessa Bañuelos, a member of the Latin rap trio La Sinfonia, who were nominated for Best Latin Urban Album for their 2008 self-titled album at the 2009 GRAMMYs.

Here’s Who Dominated The Best Norteño Album Category

The first GRAMMY winner in the Best Norteño Album category was Los Tigres Del Norte, for their 2006 album Historias Que Contar, at the 2007 GRAMMYs. To date, they have landed four consecutive wins — at the 2007, 2008, 2009, and 2010 GRAMMYs.

The Intersection Between Latin, Rock & Alternative Has Shifted

Best Latin Rock Or Alternative Album; Best Latin Rock, Alternative Or Urban Album; Best Latin Rock/Alternative Performance… so on and so forth.

If that’s a mouthful, again, that shows how the Academy continually hones in on a musical sphere for inclusion and accuracy’s sake.

Within this shifting category, the first winner was Los Fabulosos Cadillacs, who won Best Latin Rock/Alternative Performance for 1997’s Fabulosos Calavera at the 1998 GRAMMYs.

At the 2016 GRAMMYs, there was a tie for the golden gramophone for Best Latin Rock, Urban Or Alternative Album, between Natalia Lafourcade and Pitbull. Overall, the most wins underneath this umbrella go to Maná, with a total of three.

These Artists Made History In Tropical Latin Categories

Over the years, this component of Latin music has been honored with GRAMMYs for Best Traditional Tropical Latin Performance, Best Traditional Tropical Latin Album, Best Tropical Latin Performance, and Best Tropical Latin Album.

The first winner of a GRAMMY for Best Tropical Latin Performance was Tito Puente & His Latin Ensemble, for "On Broadway," from the 1983 album of the same name.

Under the same category, the first female winner was Celia Cruz, for "Ritmo En El Corazón." Overall, Rubén Blades has taken home the most GRAMMYs under this umbrella, with a total of six.

This Was The First Latin Artist To Win Album Of The Year

Ten-time GRAMMY winner and 14-time nominee Carlos Santana holds this distinction for 1999’s "Supernatural," at the 2000 GRAMMYs.

This Was The First Spanish-Language Album To Be Nominated For Album Of The Year

That would be Bad Bunny’s Un Verano Sin Ti, at the 2023 GRAMMYs; Bad Bunny also performed at the ceremony, but Harry Styles ended up taking home that golden gramophone.

Ditto Música Mexicana — Formerly Known As Best Regional Mexican Music Album

Música mexicana — a broad descriptor of regional sounds, including Tejano — is having a moment in recent years, which points to the incredibly rich GRAMMYs legacy of these musical worlds.

The first winner for Best Mexican-American Performance was Los Lobos, for 1983’s "Anselma." For Best Regional Mexican or Tejano Album, that was Pepe Aguilar, for 2010’s "Bicentenario."

The Inaugural Trophy For Best Música Urbana Album Went To…

The one and only Bad Bunny, for 2020’s El Último Tour Del Mundo. He took home the golden gramophone again at the 2023 GRAMMYs for Un Verano Sin Ti

Keep checking back as more information comes out about the 2024 GRAMMYs — and how the Recording Academy will honor and elevate Latin genres once again!

What's Next For Latin Music? A Roundtable Discussion About Reggaetón, Indie Acts, Regional Sounds & More

The Sonic And Cultural Evolution Of Reggaeton In 10 Songs
Bad Bunny performs during the 65th GRAMMY Awards

Photo: Timothy Norris/FilmMagic

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The Sonic And Cultural Evolution Of Reggaeton In 10 Songs

Reggaeton is now firmly in the mainstream, with stars like Bad Bunny and Karol G topping charts with consecutive hits. But the genre has had a complex history and development over decades; read on for 10 songs that track reggateon's evolution.

GRAMMYs/Oct 17, 2023 - 01:41 pm

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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GRAMMY Rewind: Kendrick Lamar Honors Hip-Hop's Greats While Accepting Best Rap Album GRAMMY For 'To Pimp a Butterfly' In 2016
Kendrick Lamar

Photo: Jeff Kravitz/FilmMagic

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GRAMMY Rewind: Kendrick Lamar Honors Hip-Hop's Greats While Accepting Best Rap Album GRAMMY For 'To Pimp a Butterfly' In 2016

Upon winning the GRAMMY for Best Rap Album for 'To Pimp a Butterfly,' Kendrick Lamar thanked those that helped him get to the stage, and the artists that blazed the trail for him.

GRAMMYs/Oct 13, 2023 - 06:01 pm

Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.

A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.

This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system. 

"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."

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He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.

"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly.

"Hip-hop. Ice Cube. This is for hip-hop," he said. "This is for Snoop Dogg, Doggystyle. This is for Illmatic, this is for Nas. We will live forever. Believe that."

To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood." 

Lamar has since won Best Rap Album two more times, taking home the golden gramophone in 2018 for his blockbuster LP DAMN., and in 2023 for his bold fifth album, Mr. Morale & the Big Steppers.

Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes. 

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