Ortiz Díaz on Lebrón, 'Policing Life and Death: Race, Violence, and Resistance in Puerto Rico'

Total Page:16

File Type:pdf, Size:1020Kb

Ortiz Díaz on Lebrón, 'Policing Life and Death: Race, Violence, and Resistance in Puerto Rico' H-LatAm Ortiz Díaz on LeBrón, 'Policing Life and Death: Race, Violence, and Resistance in Puerto Rico' Review published on Monday, July 27, 2020 Marisol LeBrón. Policing Life and Death: Race, Violence, and Resistance in Puerto Rico. Berkeley: University of California Press, 2019. xv + 301 pp. $29.95 (paper),ISBN 978-0-520-30017-0. Reviewed by Alberto Ortiz Díaz (University of Iowa)Published on H-LatAm (July, 2020) Commissioned by Casey M. Lurtz (Johns Hopkins University) Printable Version: http://www.h-net.org/reviews/showpdf.php?id=54245 In recent years, scholars across fields have developed a rich literature on policing in the United States, and increasingly, the world over. Historians, social scientists, activists, and others are interrogating the violence of the carceral state along racial, class, gendered, immigration status, and political lines at an exponential rate. The growth of this scholarship reflects the urgency of our times, namely massive protests unfolding in the US and elsewhere in response to racialized police and broader structural violence. Marisol LeBrón’s gripping book, Policing Life and Death, traces the rise and excesses of punitive governance in contemporary Puerto Rico, and powerfully contributes to the burgeoning scholarship on policing and state violence. Policing Life and Death is an ambitious study about how different constituencies—including housing project residents, rappers, university students, community activists, and others—have narrated racialized policing and attempted to problem-solve policing inequalities. LeBrón argues that “punitive governance has left an indelible mark on how life and death are understood and experienced in Puerto Rico and has done so in a way that reinforces societal inequality along lines of race, class, spatial location, gender, sexuality, and citizenship status” (p. 3). Decades of violent policing in poor communities of color have conditioned Puerto Ricans to equate poverty, blackness, and spatial location with crime and danger, and exhibit how harm and death are distributed according to prevailing hierarchies. However, far from being mere victims, Puerto Ricans have also resisted deadly punitive logics and practices by forging alternative understandings of justice, safety, and accountability. LeBrón understands punitive governance in the archipelago of Puerto Rico as a form of crisis management and situates its growth within ongoing US colonization, especially the US-led development efforts that accelerated after World War II.[1] Despite some initial success, Operation Bootstrap, which transformed Puerto Rico’s economy from one based on sugar to one based on manufacturing, displaced rural workers and spurred massive migration to the US mainland. The collapse of manufacturing, and then the petrochemical sector by the 1970s, helped propel Puerto Rico’s informal economy in the 1980s and beyond. LeBrón claims that the rise of a drug economy, specifically, was the product of failed colonial economic planning. The drug economy thus became one way for marginalized young people to address the socioeconomic woes impacting their everyday lives. Punitive solutions imagined and materialized by the state emerged as another response, only Citation: H-Net Reviews. Ortiz Díaz on LeBrón, 'Policing Life and Death: Race, Violence, and Resistance in Puerto Rico'. H-LatAm. 07-27-2020. https://networks.h-net.org/node/23910/reviews/6285963/ortiz-d%C3%ADaz-lebro%CC%81n-policing-life-and-death-race-violence-and Licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. 1 H-LatAm these promised to shield the middle and upper classes from the vulnerability and insecurity introduced by the informal economy. According to LeBrón, the Puerto Rican state strengthened its security apparatus in the late twentieth century to “suture the ruptures of colonial capitalism” and maintain preexisting political, economic, and social relations of power (p. 11). Punitive governance has also produced and reinforced discriminatory understandings of race in Puerto Rico. LeBrón shows how dark-skinned Puerto Ricans are associated with crime and frequently exposed to disproportionate levels of exclusion and harm. She asserts that although Puerto Rico is imagined as a harmonious racial democracy (which is true of many Latin American societies), race and racial formation there have been structured by histories of violent conquest, enslavement, and colonization. Puerto Ricans are positioned as racially and culturally mixed, but a white, Hispanic identity is often invoked to create a unified Puerto Rican identity under continued US colonization. Therefore, blackness is policed in Puerto Rico, but how exactly it is policed can be hidden in plain sight given “adherence to color-blind, racist discourses and ideologies in the public sphere” (p. 13). What is more, race is interchangeable with class and space. Police racialize black Puerto Ricans through perceived and real connections to the informal economy, public housing, and other low- income communities. This racial common sense can be so powerful that it annuls racial self- identification or actual differences in skin color. Class and space complicate how many Puerto Ricans understand and discuss race by becoming coded extensions of race. Policing in contemporary Puerto Rico, LeBrón vehemently contends, operates as a cannibalistic structure. The vulgarity of this structure, not the multitude of nuanced individual agencies comprising it, is her focus. LeBrón makes clear that Policing Life and Death is less about rank-and-file police officers and “more about how policing functions as a structure” that shapes Puerto Rican social institutions, relationships, and norms (p. 16). The book does not intend to map the race and class positions of police officers, their narratives, or their justifications. Instead, LeBrón explains how policing functions as a “race-making institution that upholds white supremacy” and “creates, maintains, and reinforces deeply exclusionary structures” (p. 17). In casting policing as mechanistic and emphasizing a structural repression-popular resistance dichotomy, however,Policing Life and Death largely sidesteps the interpersonal policing dynamics and power relations at work within marginalized communities. LeBrón recognizes that such fault lines and tensions exist. She just does not subject them to the same scrutiny as the police structure. To shed light on the experiences of people often silenced in official narratives, LeBrón deploys a transdisciplinary approach, making deft use of interviews with activists, participant observation of protests, and informal conversations with locals about how they view policing. She also relies on external investigations and evaluations of the Puerto Rican police department, internal police memos, government and legal records, political speeches, demographic data, song lyrics, news outlets, and social media, among other materials. LeBrón maintains that the transdisciplinarity of her work, and “the secretive nature” of police and her position as a research “outsider,” obligated her to integrate “incongruous sources” to document punitive governance and its effects in modern Puerto Rico (pp. 18-19). The result is a creative “alternative archive of policing” that clarifies how Puerto Ricans experience punitive measures, how policing works through cultural ideologies and social inequalities, and how locals adopt, negotiate, or spurn state forms of justice and safety (p. 20). LeBrón organizes Policing Life and Death chronologically. The first three chapters trace the Citation: H-Net Reviews. Ortiz Díaz on LeBrón, 'Policing Life and Death: Race, Violence, and Resistance in Puerto Rico'. H-LatAm. 07-27-2020. https://networks.h-net.org/node/23910/reviews/6285963/ortiz-d%C3%ADaz-lebro%CC%81n-policing-life-and-death-race-violence-and Licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. 2 H-LatAm emergence and consolidation of mano dura contra el crimen (iron fist against crime) in the 1990s. The remaining four chapters cover the afterlife of mano dura and more recent bottom-up visions for the future of policing in Puerto Rico. As LeBrón illustrates in chapter 1, mano dura was refined by the New Progressive Party (PNP) Pedro Rosselló administration and sought to eliminate drug trafficking by deploying police and military forces in public housing and other low-income communities. The implementation of mano dura rendered “marginalized populations vulnerable to harm and premature death through logics and practices of dehumanization and criminalization” (p. 25). The police occupation of public housing complexes marked residents as both vectors of harm and “unruly subjects,” which hardened existing prejudices and made it more difficult for them to access opportunities (p. 50). In chapter 2, LeBrón examines how mano dura traveled between Puerto Rico and the US, as well as between Puerto Rico and other corners of Latin America and the Caribbean. As neoliberal trade and continued hostility toward Puerto Rico’s full incorporation into the US nation- state weakened its privileged status vis-à-vis the , the Rosselló administration projected itself as a facilitator of US capital expansion and a model for policing and public housing policies across the Americas, especially in the realm of privatization. In chapter 3, LeBrón explores how underground rap music and the drug economy were mutually constituted. The circulation of people,
Recommended publications
  • Music 6581 Songs, 16.4 Days, 30.64 GB
    Music 6581 songs, 16.4 days, 30.64 GB Name Time Album Artist Rockin' Into the Night 4:00 .38 Special: Anthology .38 Special Caught Up In You 4:37 .38 Special: Anthology .38 Special Hold on Loosely 4:40 Wild-Eyed Southern Boys .38 Special Voices Carry 4:21 I Love Rock & Roll (Hits Of The 80's Vol. 4) 'Til Tuesday Gossip Folks (Fatboy Slimt Radio Mix) 3:32 T686 (03-28-2003) (Elliott, Missy) Pimp 4:13 Urban 15 (Fifty Cent) Life Goes On 4:32 (w/out) 2 PAC Bye Bye Bye 3:20 No Strings Attached *NSYNC You Tell Me Your Dreams 1:54 Golden American Waltzes The 1,000 Strings Do For Love 4:41 2 PAC Changes 4:31 2 PAC How Do You Want It 4:00 2 PAC Still Ballin 2:51 Urban 14 2 Pac California Love (Long Version 6:29 2 Pac California Love 4:03 Pop, Rock & Rap 1 2 Pac & Dr Dre Pac's Life *PO Clean Edit* 3:38 Promo Only Rhythm Radio December 2006 2Pac F. T.I. & Ashanti When I'm Gone 4:20 Away from the Sun 3 Doors Down Here Without You 3:58 Away from the Sun 3 Doors Down Bailen (Reggaeton) 3:41 Tropical Latin September 2002 3-2 Get Funky No More 3:48 Top 40 v. 24 3LW Feelin' You 3:35 Promo Only Rhythm Radio July 2006 3LW f./Jermaine Dupri El Baile Melao (Fast Cumbia) 3:23 Promo Only - Tropical Latin - December … 4 En 1 Until You Loved Me (Valentin Remix) 3:56 Promo Only: Rhythm Radio - 2005/06 4 Strings Until You Love Me 3:08 Rhythm Radio 2005-01 4 Strings Ain't Too Proud to Beg 2:36 M2 4 Tops Disco Inferno (Clean Version) 3:38 Disco Inferno - Single 50 Cent Window Shopper (PO Clean Edit) 3:11 Promo Only Rhythm Radio December 2005 50 Cent Window Shopper
    [Show full text]
  • Title Artist Gangnam Style Psy Thunderstruck AC /DC Crazy In
    Title Artist Gangnam Style Psy Thunderstruck AC /DC Crazy In Love Beyonce BoomBoom Pow Black Eyed Peas Uptown Funk Bruno Mars Old Time Rock n Roll Bob Seger Forever Chris Brown All I do is win DJ Keo Im shipping up to Boston Dropkick Murphy Now that we found love Heavy D and the Boyz Bang Bang Jessie J, Ariana Grande and Nicki Manaj Let's get loud J Lo Celebration Kool and the gang Turn Down For What Lil Jon I'm Sexy & I Know It LMFAO Party rock anthem LMFAO Sugar Maroon 5 Animals Martin Garrix Stolen Dance Micky Chance Say Hey (I Love You) Michael Franti and Spearhead Lean On Major Lazer & DJ Snake This will be (an everlasting love) Natalie Cole OMI Cheerleader (Felix Jaehn Remix) Usher OMG Good Life One Republic Tonight is the night OUTASIGHT Don't Stop The Party Pitbull & TJR Time of Our Lives Pitbull and Ne-Yo Get The Party Started Pink Never Gonna give you up Rick Astley Watch Me Silento We Are Family Sister Sledge Bring Em Out T.I. I gotta feeling The Black Eyed Peas Glad you Came The Wanted Beautiful day U2 Viva la vida Coldplay Friends in low places Garth Brooks One more time Daft Punk We found Love Rihanna Where have you been Rihanna Let's go Calvin Harris ft Ne-yo Shut Up And Dance Walk The Moon Blame Calvin Harris Feat John Newman Rather Be Clean Bandit Feat Jess Glynne All About That Bass Megan Trainor Dear Future Husband Megan Trainor Happy Pharrel Williams Can't Feel My Face The Weeknd Work Rihanna My House Flo-Rida Adventure Of A Lifetime Coldplay Cake By The Ocean DNCE Real Love Clean Bandit & Jess Glynne Be Right There Diplo & Sleepy Tom Where Are You Now Justin Bieber & Jack Ü Walking On A Dream Empire Of The Sun Renegades X Ambassadors Hotline Bling Drake Summer Calvin Harris Feel So Close Calvin Harris Love Never Felt So Good Michael Jackson & Justin Timberlake Counting Stars One Republic Can’t Hold Us Macklemore & Ryan Lewis Ft.
    [Show full text]
  • El Rap De Calle 13: El Discurso Político En Su Música Artículo Académico
    UNIVERSIDAD SAN FRANCISCO DE QUITO USFQ Colegio de Ciencias Sociales y Humanidades El Rap de Calle 13: el Discurso Político en su Música Artículo Académico . Lilián Carolina Segovia Cabrera Relaciones Internacionales Trabajo de titulación presentado como requisito para la obtención del título de Licenciada en Relaciones Internacionales Quito, 15 de enero de 2016 2 UNIVERSIDAD SAN FRANCISCO DE QUITO USFQ COLEGIO DE CIENCIAS SOCIALES Y HUMANIDADES HOJA DE CALIFICACIÓN DE TRABAJO DE TITULACIÓN El Rap de Calle 13: el Discurso Político en su Música Lilián Segovia Calificación: Pablo Fernando Orellana Matute, Nombre del profesor, Título académico M.A. Firma del profesor Quito, 15 de enero de 2016 3 Derechos de Autor Por medio del presente documento certifico que he leído todas las Políticas y Manuales de la Universidad San Francisco de Quito USFQ, incluyendo la Política de Propiedad Intelectual USFQ, y estoy de acuerdo con su contenido, por lo que los derechos de propiedad intelectual del presente trabajo quedan sujetos a lo dispuesto en esas Políticas. Asimismo, autorizo a la USFQ para que realice la digitalización y publicación de este trabajo en el repositorio virtual, de conformidad a lo dispuesto en el Art. 144 de la Ley Orgánica de Educación Superior. Firma del estudiante: _______________________________________ Nombres y apellidos: Lilián Carolina Segovia Cabrera Código: 201510_00115021 Cédula de Identidad: 1719463323 Lugar y fecha: Quito, enero de 2016 4 El Rap de Calle 13: el Discurso Político en su Música Lilián Segovia Universidad San Francisco de Quito La música, como mecanismo de protesta social, ha sido utilizada en distintas épocas de la historia de la humanidad.
    [Show full text]
  • Guide to the Raquel Z. Rivera Hip Hop/ Reggaetón Collection
    Guide to the Raquel Z. Rivera Hip Hop/ Reggaetón Collection Archives of the Puerto Rican Diaspora Centro de Estudios Puertorriqueños Hunter College, CUNY 2180 Third Avenue @ 119th St., Rm. 120 New York, New York 10035 (212) 396-7877 www.centropr.hunter.cuny.edu Descriptive Summary Resumen descriptivo Creator: Raquel Z. Rivera, 1972- Creador: Raquel Z. Rivera, 1972- Title: The Raquel Z. Rivera Hip Hop/ Reggaetón Título: The Raquel Z. Rivera Hip Hop/ Reggaetón Collection Collection Inclusive Dates: 1977-2008 Años extremos: 1977-2008 Bulk Dates: 1995-2003 Período principal: 1995-2003 Volume: 9 cubic feet Volumen: 9 pies cùbicos Repository: Archives of the Puerto Rican Diaspora, Repositorio: Archives of the Puerto Rican Diaspora, Centro de Estudios Puertorriqueños Centro de Estudios Puertorriqueños Abstract: The Raquel Z. Rivera Hip Hop/ Reggaetón Nota de resumen: La Colección de Hip Hop y Collection helps document Puerto Rican contributions Reggaetón de Raquel Z. Rivera, documenta la to the creation and development of hip hop and contribución puertorriqueña a la creación y el reggaetón both in the United States and Puerto Rico. desarrollo del hip hop y el reggaetón tanto en los Highlights of the collection include an extensive Estados Unidos como en Puerto Rico. Parte importante audiocassette and compact disc collection, essays de la colección incluye una extensa compilación de written by Rivera on hip hop and reggaetón and paper cintas de audio y discos compactos, ensayos sobre hip documentation on numerous artists. hop y reggaetón escritos por Rivera y documentación en papel sobre varios artistas. Administrative Information Información administrativa Collection Number: 2005-07 Número de colección: 2005-07 Provenance: Raquel Z.
    [Show full text]
  • Immigration and Globalization at the Turn of the 21St Century
    Image from US Library of Congress. 1 Student Group #4 Photo by NASA. Images removed due to copyright restrictions. Please see: Sign reading "No Illegals -> No Burritos (You Better Think Twice America)“; Irish immigrant family, 1929; Kal Penn speaking at the University of Maryland, 2008; Graph of Asian immigration to America, 1820-2000 2 Images removed due to copyright restrictions. Please see: Cover, Live Your Best Life. Birmingham, AL: Oxmoor House, 2005. First national broadcast of the Oprah Winfrey Show, 1986. 3 4 Cartoon removed due to copyright restrictions. 5 6 http://www.migrationinformation.org/usfocus 7 http://www.migrationinformation.org/usfocus Movie posters removed due to copyright restrictions. Please see: Dhoom 2: Back In Action, 2006; Don, 2006; Taare Zameen Par, 2007; Life in a Metro, 2007; Race, 2008. 8 Success of “Slumdog Millionaire” in Hollywood Movie was made for the American audience Accurately captures the poverty, the pace, and luck in life in Mumbai Image removed due to copyright restrictions. Please see Slumdog Millionaire, 2008. Elements of Bollywood films: 1. Beat in the music 2. Vibrant colors 3. Bollywood item song ‘Jai Ho,’ (fusion of PCD and Indian composer A. R. Rahman) 9 Photos of Irfan Khan, Anil Kapoor, and A. R. Rahman removed due to copyright restrictions. 10 ……&& HHoollllyywwoooodd Jessica Alba in this still from “The Love Guru” wearing a traditional Indian dress and dancing a Bollywood- type item song shows Photos of Jessica Alba and Aishwarya Rai removed due to copyright restrictions. the influence of Bollywood elements. Aishwarya Rai in “Pink Panther 2” shows the influence of Bollywood Actors in Hollywood Movies 11 The poet-prophet of alternative medicine Published over 50 books translated into 35 different languages US President Bill Clinton said, "My country has Photo of Deepak Chopra removed due to copyright restrictions.
    [Show full text]
  • Redefining Mainstream: Effects of Contemporaneous Reggaeton Analysis
    UNIVERSIDAD TECMILENIO PREPARATORIA BILINGÜE Redefining mainstream: effects of contemporaneous Reggaeton analysis. THESIS TO OBTAIN THE CREDIT OF SCIENTIFIC THOUGHT PRESENTS: IXIM QUITZE SALINAS AGUIRRE COUNSELOR: Q.F.B. MARCO ANTONIO RAMÍREZ PORRAS 1 CONTENT ABSTRACT ...................................................................................................... 4 INTRODUCTION ............................................................................................. 5 JUSTIFICATION OF THE INVESTIGATION ............................................... 7 Research: .......................................................................................................................................... 7 Objectives: ....................................................................................................................................... 7 General objective: ...................................................................................................................................... 7 Specific objective: ...................................................................................................................................... 7 Hypothesis: ...................................................................................................................................... 7 Main hypothesis: ........................................................................................................................................ 7 Alternative hypothesis: .............................................................................................................................
    [Show full text]
  • “Orgulloso De Mi Caserío Y De Quien Soy”: Race, Place, and Space in Puerto Rican Reggaetón by Petra Raquel Rivera a Disser
    “Orgulloso de mi Caserío y de Quien Soy”: Race, Place, and Space in Puerto Rican Reggaetón By Petra Raquel Rivera A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in African American Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Percy C. Hintzen, Chair Professor Leigh Raiford Professor Joceylne Guilbault Spring 2010 “Orgulloso de mi Caserío y de Quien Soy”: Race, Place, and Space in Puerto Rican Reggaetón © 2010 By Petra Raquel Rivera Abstract “Orgulloso de mi Caserío y de Quien Soy”: Race, Place, and Space in Puerto Rican Reggaetón by Petra Raquel Rivera Doctor of Philosophy in African American Studies University of California, Berkeley Professor Percy C. Hintzen, Chair My dissertation examines entanglements of race, place, gender, and class in Puerto Rican reggaetón. Based on ethnographic and archival research in San Juan, Puerto Rico, and in New York, New York, I argue that Puerto Rican youth engage with an African diasporic space via their participation in the popular music reggaetón. By African diasporic space, I refer to the process by which local groups incorporate diasporic resources such as cultural practices or icons from other sites in the African diaspora into new expressions of blackness that respond to their localized experiences of racial exclusion. Participation in African diasporic space not only facilitates cultural exchange across different African diasporic sites, but it also exposes local communities in these sites to new understandings and expressions of blackness from other places. As one manifestation of these processes in Puerto Rico, reggaetón refutes the hegemonic construction of Puerto Rican national identity as a “racial democracy.” Similar to countries such as Brazil and Cuba, the discourse of racial democracy in Puerto Rico posits that Puerto Ricans are descendents of European, African, and indigenous ancestors.
    [Show full text]
  • Zumba Vayamundo Reggaeton Rebellion
    SESSION HANDOUT Reggaeton Rebellion Loretta Bates & Marcie Gill Zumba Education Specialists, USA SESSION HANDOUT Presenter Loretta Bates and Marcie Gill Schedule 45 min: Reggaeton Masterclass 5 min: Break 25 min: History 10 min: New Steps 15 min: Modification of basic Steps: how to “Reggaetonize” movement 15 min: Choreography Breakdowns/Review of Zumba® Formula 5 min: Closing Remarks/Thanks (Total: 2 hours) Session Objective -The objective of Reggaeton Rebellion is to Educate ZIN members on the history and background of the Rhythm as well as offering new steps and choreography that can be immediately incorporated into classes. History & Background A. What is Reggaeton? 1. Reggaeton: (also spelled reguetón or reggaetón) is a style of music that gained popularity in the early 1990’s. Reggaeton takes elements of Reggae (or Dancehall) “riddims”, Latin American Rhythms (Salsa, Bomba, Plena, Bachata, etc), and Hip-Hop and blends them into a unique musical genre with a style of it’s own. B. Where is if from? 1. Panama a. Spanish Reggae (1970’s) (El General) 2. Puerto Rico a. Spanish Hip-Hop and Rap (Vico C-Pioneer of Rap en Espagnol/Producer DJ Playero) (Late1980‘s/Early 1990’s) b. Nuyorican Influences (Reggae/Dancehall) c. Underground (Early-1990’s) (DJ Playero) i. Outlaws (February 1995: Drugs and Vice Control Bureau raids in San Juan begin) ii. Purer & Exploitation of Women ii. Outlaws (February 1995: Drugs and Vice Control Bureau raids in San Juan begin) 3. Crossover to US a. N.O.R.E. (Featuring Nina Sky and Daddy Yankee) Oye Mi Canto (2004) b. Gasolina-Daddy Yankee (2004) C.
    [Show full text]
  • Title Artist Gangnam Style Psy Thunderstruck AC /DC Crazy In
    Title Artist Gangnam Style Psy Thunderstruck AC /DC Crazy In Love Beyonce BoomBoom Pow Black Eyed Peas Uptown Funk Bruno Mars Old Time Rock n Roll Bob Seger Forever Chris Brown All I do is win DJ Keo Im shipping up to Boston Dropkick Murphy Now that we found love Heavy D and the Boyz Bang Bang Jessie J, Ariana Grande and Nicki Manaj Let's get loud J Lo Celebration Kool and the gang Turn Down For What Lil Jon I'm Sexy & I Know It LMFAO Party rock anthem LMFAO Sugar Maroon 5 Animals Martin Garrix Stolen Dance Micky Chance Say Hey (I Love You) Michael Franti and Spearhead Lean On Major Lazer & DJ Snake This will be (an everlasting love) Natalie Cole OMI Cheerleader (Felix Jaehn Remix) Usher OMG Good Life One Republic Tonight is the night OUTASIGHT Don't Stop The Party Pitbull & TJR Time of Our Lives Pitbull and Ne-Yo Get The Party Started Pink Never Gonna give you up Rick Astley Watch Me Silento We Are Family Sister Sledge Bring Em Out T.I. I gotta feeling The Black Eyed Peas Glad you Came The Wanted Beautiful day U2 Viva la vida Coldplay Friends in low places Garth Brooks One more time Daft Punk We found Love Rihanna Where have you been Rihanna Let's go Calvin Harris ft Ne-yo Shut Up And Dance Walk The Moon Blame Calvin Harris Feat John Newman Rather Be Clean Bandit Feat Jess Glynne All About That Bass Megan Trainor Dear Future Husband Megan Trainor Happy Pharrel Williams Can't Feel My Face The Weeknd Work Rihanna My House Flo-Rida Adventure Of A Lifetime Coldplay Cake By The Ocean DNCE Real Love Clean Bandit & Jess Glynne Be Right There Diplo & Sleepy Tom Where Are You Now Justin Bieber & Jack Ü Walking On A Dream Empire Of The Sun Renegades X Ambassadors Hotline Bling Drake Summer Calvin Harris Feel So Close Calvin Harris Love Never Felt So Good Michael Jackson & Justin Timberlake Counting Stars One Republic Can’t Hold Us Macklemore & Ryan Lewis Ft.
    [Show full text]
  • Representando Al 'Barrio Fino': Un Análisis Del Video Musical De Gasolina
    PERSPECTIVES ON REGGAETON Representando al ‘Barrio Fino’: un análisis del video musical de Gasolina Por Omar Ruiz Vega Los artistas de reggaetón en Puerto Rico han cultivado desde los inicios del género un vínculo muy estrecho con las comunidades pobres de los barrios y residenciales públicos o caseríos de Puerto Rico (Rosa Thillet; Pérez). Es muy común escuchar en canciones de básicamente cualquier artista de reggaetón alguna referencia a un barrio o caserío de Puerto Rico, en ocasiones aquel en el cual el artista se crió o con el cual tiene algún tipo de vínculo emocional, como es el caso de Cosculluela y el residencial Jardines de Quintana en Hato Rey. Alusiones a la vida dentro de estos espacios marginados forman también un tema recurrente en las canciones del género, aun cuando estas tienden a enfatizar (y exagerar) los aspectos vinculados al narcotráfico y a la violencia en estos sectores (Ruiz Vega). Esta presencia tan marcada del barrio y el caserío puertorriqueño en el reggaetón ha ayudado a proyectar y a mercadear el género y a sus artistas como “la voz del barrio y el caserío”, o sea como símbolos identitarios de las comunidades más pobres de la isla. Muchos videos de reggaetón contribuyen grandemente a este discurso identitario promovido en el género a través de sus imágenes y mensajes visuales. En este artículo analizaré el video de la canción “Gasolina” de Daddy Yankee, una de las canciones más famosas en la historia del reggaetón (Cobo), y mostraré cómo el video representa a los sectores marginados y cómo se intenta establecer un vínculo emotivo con ellos.
    [Show full text]
  • Vico C 2 Singles Mp3, Flac, Wma
    Vico C 2 Singles mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop / Latin Album: 2 Singles Country: US Released: 2003 Style: Reggaeton MP3 version RAR size: 1463 mb FLAC version RAR size: 1868 mb WMA version RAR size: 1623 mb Rating: 4.6 Votes: 955 Other Formats: AA AC3 AHX MOD MP4 VQF DMF Tracklist Hide Credits "El Bueno, El Malo Y El Feo"... (The Good, The Bad And The Ugly) (Album Version) 1 4:18 Featuring – Eddie Dee, Tego Calderón "El Bueno, El Malo Y El Feo"... (The Good, The Bad And The Ugly) (Reggaeton Remix) 2 4:29 Featuring – Eddie Dee, Tego Calderón "El Bueno, El Malo Y El Feo"... (The Good, The Bad And The Ugly) (A Capellas) 3 3:37 Featuring – Eddie Dee, Tego Calderón "Para Mi Barrio"... (Album Version) 4 5:49 Featuring – D'Mingo, Tony Touch "Para Mi Barrio"... (Radio) 5 3:57 Featuring – D'Mingo, Tony Touch "Para Mi Barrio"... (A Capellas) 6 4:56 Featuring – D'Mingo, Tony Touch Barcode and Other Identifiers Label Code: 7087 6 18251 2 1 Matrix / Runout: 70 8761825121AV Matrix / Runout (Stamped/Mirrored ): 1-1-1 Matrix / Runout: MASTERED BY EMI MFG. Mould SID Code: IFPI 1656 Mastering SID Code: IFPI L044 Other versions Category Artist Title (Format) Label Category Country Year H1 7087 6 18251 El Bueno, El Malo Y El Feo H1 7087 6 18251 Vico C EMI Latin US 2003 1 4 / Para Mi Barrio (12") 1 4 Related Music albums to 2 Singles by Vico C Tego Calderón - [Exclusives] The Underdog / El Subestimado Frank Zappa & The Mothers Of Invention Featuring Flo & Eddie - Ugly Noises Ice Of The 4 Corner Hustluz - Frozen Dreams DJ Nelson And Flow Music Presentan Luny Tunes - La Trayectoria Various - This Is Reaggaeton Vol.3 Earatik Statik - The Good The Bad And The Ugly Eddie Hardin, Zak Starkey - Wind In The Willows Sabor Featuring Piero El Malo - Quiere Me.
    [Show full text]
  • Treball De Fi De Grau
    Facultat de Ciències de la Comunicació Treball de Fi de Grau Títol Autoria Professorat tutor Grau Tipus de TFG Data Universitat Autònoma de Barcelona Facultat de Ciències de la Comunicació Full resum del TFG Títol del Treball Fi de Grau: Català: Castellà: Anglès: Autoria: Professorat tutor: Curs: Grau: Paraules clau (mínim 3) Català: Castellà: Anglès: Resum del Treball Fi de Grau (extensió màxima 100 paraules) Català: Castellà: Anglès: Universitat Autònoma de Barcelona AGRADECIMIENTOS A mi madre, por aguantar mis bailes. A mi padre, por seguir mis improvisaciones. A Xènia, por darme la gasolina que necesito. A mi hermano, por ser mi remix. A Nicolás, por dejarme hacer freestyle y ayudarme con todas las estructuras. ¡Mil gracias por este año lleno de música! “La educación en todo país es la base y el fundamento ​ para poder crear un cambio en la sociedad” ​ Daddy Yankee ÍNDICE Página 1. INTRODUCCIÓN 5 1.1. Objeto de estudio 5 1.2. Objetivos de la investigación 6 2. CONTEXTUALIZACIÓN 7 2.1. El reggaetón 7 2.1.1. Orígenes del reggaetón 7 2.1.2. El reggaetón en la década de 1990 8 2.1.3. La etapa de los temas clásicos (2000 – 2010) 11 2.1.4. Despacito, el reggaetón llega a la cima (2011-2020) 13 2.2. Cantantes boricuas de éxito mundial 14 2.3. El género urbano en Latinoamérica 15 2.4. El reggaetón como movimiento sociopolítico 17 2.4.1. La renuncia del gobernador de Puerto Rico 18 3. HIPÓTESIS Y PREGUNTAS DE INVESTIGACIÓN 20 4. MARCO TEÓRICO 21 4.1.
    [Show full text]