Latin

A little over two decades ago, Ramón Luis Ayala Rodríguez sat in the tiny apartment he shared with his wife and three children in Villa Kennedy, a housing project in San Juan, Puerto Rico.

“¡Cómo le encanta la gasolina! (She really likes gasoline!),” shouted the voices beneath his window, taunting the pretty girls who accepted rides from guys with flashy cars. 

“’A ella le gusta la gasolina, dame más gasolina.’ I had the phrase, I had the chorus,” Ayala, better known as Daddy Yankee, would tell me a decade later. “I sat in my studio there in Villa Kennedy and started to harmonize the flow.”

Back then, in 2004, Ayala was already Daddy Yankee inside Puerto Rico, the leader of a new musical movement born in the barrios and connecting with hundreds of thousands of fans who identified with a message created in their streets. But outside of Puerto Rico, Yankee and reggaetón were little known. Until “Gasolina” and Barrio Fino. 

“Gasolina” would become the first single off Barrio Fino, which debuted at No. 1 on Billboard‘s Top Latin Albums charts on July 31, 2004, becoming the first reggaetón album to hit No. 1. The set would become the top-selling Latin album of 2005 and of that decade, making Daddy Yankee the Messiah of reggaetón — a genre that would revive sales of Latin music, usher in a new radio format in the U.S. (Latin Rhythm Airplay) and for the next decade would evolve to provide the urban base that dominates much of Latin music to this day.

And while “Gasolina” was the big motor behind Barrio Fino, the entire album was chock full of groundbreaking hits. With features by the likes of Wisin & Yandel, Zion & Lennox and salsa star Andy Montañez, Barrio Fino — in its blend of styles and personalities within urban music — was a harbinger of things to come. It not only opened the door to collaborations from within and outside the realm of urban music, the album intuitively commercialized a genre that had lived largely locally and underground. 

“I had a really different vision,” Yankee said in 2004. “I could feel the impact reggaetón was having in the streets, in South America, in the streets of the United States. I knew we were close to exploding. So I said, ‘OK, I’m going to be the one to do it.’ All the money I had, I invested in Barrio Fino.”

Two decades years after its release, Barrio Fino continues to be a definitive album that still sounds and feels radical, and is acknowledged as one of the great inspirations behind the rise of reggaetón. Barrio Fino ushered in not just a musical movement but a lifestyle, built on a beat with irresistible global appeal that would eventually be the basis for other movements, from Medellín’s romantic reggaetón to Argentine trap. 

Celebrating its impact and enduring appeal, we at Billboard have ranked its 18 tracks (excluding the intro and outro) with a rare caveat: Every track in this set deserves more than one listen. — Leila Cobo

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From career milestones to new music releases to major announcements and those little important moments, Billboard editors highlight uplifting moments in Latin music. Here’s what happened in the Latin music world this week.

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Premios Juventud’s 2024 Lineup

Earlier this week, Univision announced a new wave of artists confirmed for the 2024 Premios Juventud set to take place Thursday, July 25 in San Juan, Puerto Rico via Univision. Farruko, Lenny Tavárez, Joss Favela, Chris Jedi, Gaby Music, and Corina Smith, who will make her PJs debut, will all take the stage at the coveted awards show. This year’s nominations are led by top nominees Maluma, Carin Leon, and Peso Pluma, with seven nods each. Premios Juventud recognizes artists and young people for their “extraordinary accomplishments in society, celebrating music, new artists, community and creators,” according to a press release.

The Good Bunny Foundation

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Bad Bunny’s “Good Bunny Foundation” continues its mission to educate the youth in Puerto Rico through art, music, and sports. For a second consecutive year, the foundation returned with its “Un Verano Contigo” summer camp in San Juan and Ponce. In Ponce, the camp included interactive activities with the Juan Morell Campos Institute, the Charles H. Terry Sports Complex, and the Escuela Libre de Música. In San Juan, the camp included workshops at the Puerto Rico Museum of Art, the Puerto Rico Conservatory of Music and the San Juan Sports School / Rebekah Colberg Sports Center, among other destinations.

“For us at the Good Bunny Foundation, it’s a priority to identify talents in our society who can imagine a professional future in their area of ​​interest, whether in the arts, sports or music,” said José “Che Juan” Torres, Director of the Good Bunny Foundation in a press statement. “We want to inspire young people through a fun summer, while continuing to provide them with the support, resources, contacts and connections to continue their development. Even providing them with extracurricular experiences that serve as a reference in a university application.”

Bad Bunny’s “Good Bunny Foundation” offers educational “Un Verano Contigo” initiatives in Puerto Rico

Fundación Good Bunny

Selena Foundation Gives Back

In other positive news, The Selena Foundation has teamed up with the Corpus Christi Police Department to help give school supplies to students of all ages and grades in the community. “The Selena Foundation is honored to be the main sponsor for this amazing program called ‘Operation Safe Return,’” Selena’s sister, Suzette Quintanilla, shared the news on her Instagram account, and in a video message, she encouraged Corpus Christi locals to donate supplies such as paper, crayons, notepads, and pencils. Watch the video below.

Fania Records’ 60th Anniversary

This year marks the 60th anniversary of the iconic Latin label Fania Records, and in celebration, El Museo del Barrio in Manhattan, New York will host a one-day, free community event called “Fania Mania.” On Thursday, July 25, from 6 to 9 p.m., people of all ages will be able to enjoy Afro-Latin and salsa music by DJ Gia Fu. New York City will also declare a special “Fania Day” with a Proclamation presentation in honor of the label’s impact and history. For more information, visit here.

Fania All Stars

Courtesy of Craft Latino

This week, Billboard’s New Music Latin roundup and playlist — curated by Billboard Latin and Billboard Español editors — features fresh new music from artists such as Domelipa, Ivan Cornejo, Danny Ocean, Sofía Reyes with Lasso and more. Mexican influencer Domelipa, who recently signed to Sony Music Latin, released “Ese Vato” with Puerto Rican hitmaker Ozuna. Produced by Ovy on the Drums, the song […]

New Music Latin is a compilation of the best new Latin songs and albums recommended by Billboard’s Latin and Billboard Español editors. Check out this week’s picks below.

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Rauw Alejandro, “Déjame Entrar” (Sony Music Latin)

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Returning to the sultry depths of his musical roots, Rauw Alejandro seduces with “Déjame Entrar,” blending tropical beats with longing lyrics reminiscent of his raunchy yet simmering 2020 debut, Afrodisiaco. This second single from his upcoming album showcases the craftsmanship of super producer MAG, musician Mick Coogan, Tyler Spry and additional talents, creating a lush soundscape for Rauw’s melodious pleas.

The track gains a dancehall-inflected intensity as it progresses, illustrating the Puerto Rican star’s plea for a deeper connection. By the four-minute mark, the reggaetón rhythms climax alongside a luminous steel-string guitar. In its accompanying music video, starring Adrian Brody, Rauw (a.k.a. El Zorro) switches from a suave, hopeless romantic lounging in a jacuzzi to dancing in an equestrian field — perfect visuals to complement the song’s passionate, evolving sounds and his consistent, flirtatious essence. — ISABELA RAYGOZA

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Danny Ocean, venequia. (Warner Music Latin)

With just a few days left before the presidential elections in Venezuela — which he had already referred to during his performance at the Latin AMAs with a t-shirt with the date July 28 — Danny Ocean surprises his fans with a seven-song EP dedicated to his native country, from the perspective of an emigrant. Driven by electronic rhythms that merge with reflective lyrics, the album opens with “A Mí También Me Duele,” which according to press notes he wrote thinking about the authorities who are suddenly not on your side, perhaps as seen in the many demonstrations in the South American country over the years.

While some of the tracks can easily pass for love songs, Ocean’s intention runs deeper. He says he made “Por Siempre y Para Siempre,” for example, “thinking that Venezuela will not forget those of us who are outside.” Other titles are more direct: In “Por la Pequeña Venecia” (Venezuela means “little Venice”), he admits he is willing to exchange justice for peace; in “Una Niña de Venezuela” he talks about the women who had to leave their home behind; and in “Dime Tú” he imagines what would be the first thing he would do if there was a change of government in his country. The EP closes with an acoustic version of his 2016 hit “Me Rehúso,” “for all those loves that have been forced to be separated,” as he says at the beginning of the song.

The cover of venequia. is also deeply significant: A broken fragment of Carlos Cruz-Diez’s emblematic work “Couleur Additive” that covers the floor of the Simón Bolívar International Airport lobby, and which has become a symbol of Venezuela’s emigration. It is, from start to finish, a well-produced and thought-out EP. — SIGAL RATNER-ARIAS

Ivan Cornejo, Mirada (Zaragoza Records/Interscope Records)

There’s an elegance to Ivan Cornejo’s music, as he meticulously crafts songs that are profound, both lyrically and sonically. Perhaps Cornejo’s best album to date (also his major-label debut), the songs on MIRADA showcase a maturity to the Mexican-American’s songwriting, with lyrics about heartbreak that are more refined, poetic and less trite. It’s been two years since Cornejo’s last album (Dañado), and he’s now 20 years old — so this album totally captures this coming-of-age narrative that Cornejo puts on full display, just as he offers a first-row seat to his display of emotions.

Powered mainly by traditional Mexican guitars, which have given Cornejo his signature sierreño sound, he also takes on a corrido tumbado (“Herida Abierta”) fueled by slapping tolocoche strings and wailing trombones. There’s another standout track that totally captures just how innovative Cornejo can be in his genre (música Mexicana). He takes Emmanuel’s brass-driven pop anthem “Quiero Dormir Cansado” from the 1980s, and makes it sound like a completely new song with a riveting electric guitar solo mid-song. Throughout MIRADA, Cornejo’s commanding vocals shine, even when he’s singing in a whisper-like tone he demands attention.

Overall, Cornejo sounds more confident in who he is and can be as an artist in regional Mexican music, a style that’s been generally confined to a sound and an audience. His role today in the genre is more clear than ever with this album — and that’s to keep evolving and revolutionizing a style that’s been a fountain of inspiration for him and a new generation of hitmakers. — GRISELDA FLORES

Lasso & Sofia Reyes, “Siempre Llegas Tarde” (Universal Music Latin)

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Lasso is primarily known for his sometimes feel-good, sometimes thought-provoking lyrics and melodies. With “Siempre Llegas Tarde” (you’re always late), his new collaboration with Sofia Reyes, he’s showcasing his versatility that goes beyond the Latin ballad and pop realms. Produced by Andres “Chano” Guardado, we find the Venezuelan artist immersing himself in the cumbia world — a sound that’s already familiarly linked to Reyes—and ever-so-often flaunting his charismatic lyricism. “You’re always late, tell me where you are?/ Every time that I feel lonely and need you more/ You’re never here,” goes the chorus. The soft-yet-catchy cumbia-pop tune talks about a couple who loves and cares for each other but simply doesn’t understand each other. A playful music video shot in the middle of the desert details the frustration of the “relationship” between Lasso and the Mexican pop artist. — JESSICA ROIZ

DOMELIPA & Ozuna, “Ese Vato” (Lipa Music/Sony Music Latin)

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Domelipa and Ozuna collaborate to release a new track with chill summer vibes. “Ese Vato,” Mexican slang for “that guy,” is about enjoying an uncomplicated relationship without formal commitment: “Let’s make love, but without a contract/ Baby, I’ve liked you for a while.” Produced by Colombian hitmaker Ovy on the Drums, this retro-pop track is driven by smooth drums and groovy bass, while an acoustic guitar adds soft harmonies that connect with the beauty of the long summer sunsets. “This is an incredible opportunity that helps both of us — Ozuna on the influencer side because it’s very popular right now, and me on the music side,” Domelipa previously told Billboard. “It was cool being able to meet him and talk to him. I admire him a lot, and these are things that a young Dome wouldn’t believe yet.”  — INGRID FAJARDO

Ela Taubert, “¿Para Qué?” (Universal Music Latino / Art House)

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Pop artist Ela Taubert releases her new single “Para Qué”, the follow-up to her previous theme “Cómo Pasó?” The melody, loaded with acoustic guitars and fusing folk with pop elements, presents a sound that evokes Taylor Swift and Maggie Rogers. In the lyrics, Taubert reflects on a failed relationship, concluding that it is too late to return, even if the other person wants it. “I want my fans to feel the song, to make it their own, to make it their anthem and to accompany them a throughout their journey,” she commented on the release. The Colombian rising star has found her signature sound and stays true to it, bringing a new nuance to the current music scene. — LUISA CALLE

Listen to more editors’ Latin recommendations in the playlist below: