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Editorial Reviews. Review. “Reggaeton is a truly important contribution to our understanding of the most pervasive and perhaps most misunderstood Latin. Deborah Pacini Hernandez: Published: April Pages: Illustrations: 36 illustrations: Sales/Territorial Rights: World: Series: Refiguring American Music.
How does a genre of music seem to appear suddenly, grow and develop, and be taken seriously by listeners, businesses, and scholars alike? Exceptional coverage of gender relationships, life in slums across these areas, and how young musicians have coped and created something new out of a variety of older music makes this a fascinating study. Kenz, Minnesota State Univ.
The editors are careful to place reggaeton as a substyle of Jamaican reggae and to credit reggae with the roots of reggaeton accomplished through creating Spanish-language "versions" of Jamaican dance-hall hits. In addition to discussing the Panamanian and Puerto Rican foundations of the style, the essays note the evolution of reggaeton as it went to New York City. Issues discussed include race, gender, origin, politics, language, text basis, public opinion, and sex.
A History of the Hip-Hop Generation. Tego Calderon, an Afro-Puerto Rican reggaetonero , is a good example: You already recently rated this item. Secondly, he is not from the barrio: Vazquez -- From hip-hop to reggaeton: More than an exciting, exhaustive treatment of this vital musical culture, this anthology is a fine blueprint for engaged cultural scholarship right now. These observations, however, have lead some aficionados of reggaeton to point out that other forms of music similarly reproduce exaggerated gendered representations and inequalities Munoz-Laboy et al.
Enhanced by numerous illustrations, this is a serious, well-written study that significantly enhances the literature on reggaeton style. Moskowitz University of South Dakota. Thank you for using the catalog.
Rivera -- Dominicans in the mix: Vazquez -- From hip-hop to reggaeton: While Cuban officials initially rejected rap as "the music of the enemy," leading figures in the hip hop scene soon convinced certain cultural institutions to accept and then promote rap as part of Cuba's national culture. Culminating in the creation of the state-run Cuban Rap Agency, this process of "nationalization" drew on the shared ideological roots of hip hop and the Cuban nation and the historical connections between Cubans and African Americans.
At the same time, young Havana rappers used hip hop, ""the music of urban inequality "par excellence," to critique the rapid changes occurring in Havana since the early s, when the Soviet Union fell, its subsidy of Cuba ceased, and a tourism-based economy emerged. Baker considers the explosion of reggaeton in the early s as a reflection of the "new materialism" that accompanied the influx of foreign consumer goods and cultural priorities into "sociocapitalist" Havana. Exploring the transnational dimensions of Cuba's urban music, he examines how foreigners supported and documented Havana's growing hip hop scene starting in the late s and represented it in print and on film and CD.
He argues that the discursive framing of Cuban rap played a crucial part in its success. Hopefully, this is the first of many books to tackle this complex and controversial musical phenomenon.
Enhanced by numerous illustrations, this is a serious, well-written study that significantly enhances the literature on reggaeton style. Most definitely an essential read for anyone interested in modern Caribbean popular culture. The blend of academic and journalistic writings with artistic statements, interviews and visual art offers the reader an extraordinary window into the complex landscape of reggaeton.
Rivera, Wayne Marshall, and Deborah Pacini Hernadez have established the foundation for the rich and productive academic conversation that the genre will still generate.
Overall the book is structured in much the same way as its subject reggaeton , as a series of overlapping, interconnected and often contradictory layers. This book is a tour de force of criticism and analysis which is relevant not only to the study of reggaeton but to the study of popular music in general. The authors in this volume extensively document the crossing of geographic, racial, ethnic and linguistic borders.
It captures the synergies of a musical and cultural movement that few have seriously grappled with, even as the sounds and styles of reggaeton have dominated the air space of so many urban locales. I hope people support this book so it can be translated into Spanish, and kids in Puerto Rico and Latin America can read it.
More than an exciting, exhaustive treatment of this vital musical culture, this anthology is a fine blueprint for engaged cultural scholarship right now. A History of the Hip-Hop Generation.
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Instructions for requesting an electronic text on behalf of a student with disabilities are available here. A hybrid of reggae and rap, reggaeton is a music with Spanish-language lyrics and Caribbean aesthetics that has taken Latin America, the United States, and the world by storm.