This is a brief history of Regueton 1989-2005, not El Movimiento and not Reggaeton, note the differences.
1989: Internationally known
El General is the breakout artist of the quartet called: Los cuatro potencias Renato, Reggae Sam, Gaby ‘El Menaito’ and El General. El General would rise to international prominence. His hit songs ‘Rica Y Apretadita’ and ‘Muevelo’ would rock Latinos worldwide influencing his award for Best Video of the year at the 1992 MTV Awards and for Rapper of the year at the Premio lo Nuestro awards being the first artist to win in this brand new category. Others nominated include Vico C, Lisa M, and Francheska.
El General was a part of Prime Entertainment where his music producer Michael Ellis created music in genres: Reggae, Reggaeton, Rap, and even Salsa. Puerto Rican Rap Legend Vico C was signed or heavily associated with Prime Ent, El General & Vico would cross paths.
Vico C is notorious for having innovated unique rap styles with storytelling based on the Puerto Rican experience. For many Boricuas, it was the first time they saw themselves reflected in ‘urban’ music in Spanish–PLEASE NOTE the distinction since Nuyoricans were involved in the creation of Hip-Hop in the Bronx. His songs ‘Viernes 13’ (Friday the 13th) would captivate the youth on the island del encanto. Vico briefly formed part of a duo with Regueton Legend DJ Negro, it wouldn’t last long.
In the mid 1990s Puerto Ricans on the island were creating hip-hop en Español and like Panamanians, creating Dancehall en Español as well.
Artists like DJ Blass, Maicol Y Manuel, Ivy Queen, Nicky Jam, Alberto Stylee and Daddy Yankee would travel to Panama, link with Panamanians like ‘El Chombo’, La Atrevida, and El General and learn how Panamanians created Dancehall and or our plena, what many today call Reggaeton. Source: DJ Blass.
DJ Negro would go on to create a nightclub called ‘The Noise’ with a band ‘The Noise Band’ including pioneers like Ivy Queen, Baby Rasta Y Gringo, and countless others. Simultaneously Figures like DJ Playero, like Panamanian-Jamaicans, would use instrumentals of riddims and invite rappers like Daddy Yankee, and countless others to record at his home studio. Playero would go on to publish several mixtapes, Playero 37, 38, 40, 41, 42. DJ Negro’s Band and Playero’s crew had beef, but nothing violent. So naturally DJ Negro would release tapes as well, Series: The Noise totaling 10 discs.
This is when I say check out Dr. Marisol Lebron’s amazing book Policing Life And Death, detailing the violent socio political issues during this decade.
In brief, Governor Pedro Rosello implemented a racist policy called “Mano Dura Contra El Crimen” which targeted poor Black Puerto Ricans living in public housing to be policed by the National guard. They were targeted for their music, and the government was adamant about limiting the sexual lyrics and music videos that were going “viral” (on tv) at the time.
I’m also going to plug Academics: Raquel Cepeda, Wayne Marshall, Dr. Petra Rivera Rideau, check out their work I’ve learned a great ton from them and am so grateful for it. Giving people their flowers!
2000: Reggaeton Sex
In the 2000s artists would combine both genres Dancehall, Hiphop, Pop elements from House, as well as with Puerto Rican Bomba and essences of other genres to create their Perreo and or their Regueton (not Reggaeton) that was inherently Boricua.
And thus Perreo was born. During this time , In Puerto Rico–producers like DJ Blass, Rafi Mercenario, DJ Joe would create mixtapes featuring legends like Chencho Y Maldy Plan B, Las Guanabanas, Trebol Clan, OG Black & Master Joe, Maicol Y Manuel, And Countless others.
The music was without a doubt Pornographic. Women moaned, sounds of a bed creaking was in the breaks, the instrumentation now complimented the movements of sex by BPM, yes, literally.
Get a more exclusively detailed history in one place via www.perreo.academy or Perreo 101 or the LOUD Podcast I helped produce.