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If you looked at the crowd, you could see what this brief move away from reggaetón had cost him: no one was dancing. The video screens filled with passionate though vague slogans (about the prevalence of crime and the need for change, ending with a one-word plea: "paz"), and he delivered his lyrics from behind a podium.
He delivered rhymes over the beat from "Outta Control," by 50 Cent and Mobb Deep, and he turned his own hip-hop track, "Corazones," into a political-minded set piece. But near the end, he also made a foray into the slower, more deliberate rhythms of hip-hop. His reggaetón hits (the serpentine "Mírame," the singalong "Lo Que Paso, Paso" and, more than anything, the worldwide club smash "Gasolina") inspired the biggest frenzies, and the best moves from his nine-member dance troupe. On Saturday night, Daddy Yankee emerged in a white suit, atop a shiny throne, delivering the frenetic lyrics to "King Daddy." (Perhaps you were expecting peasant rags and a tribute to the joys of serfdom?) Tego Calderón, a reggaetón pioneer, has a slow-motion drawl that matches the leisurely reggaetón rhythm, but Daddy Yankee attacks his beats with double-time shouts, which creates a pleasing contrast: the music asks you to sway side to side, but the voice commands you to jump up and down. Who wants to be the next Bounty Killer when you can be - or try to be - the next Jay-Z? But if reggaetón's musical roots are largely reggae, its cultural aspirations are strictly hip-hop. Reggaetón got its name and much of its sound from the Jamaican genre known as dancehall reggae, in which nimble vocalists ride propulsive, spring-loaded electronic rhythms. And if New York street-corner vendors are any guide, he may be one of the country's most heavily bootlegged artists in any genre. His excellent 2004 album, "Barrio Fino" (VI/Universal), has almost no lyrics in English, yet it has earned a platinum plaque, for shipping more than one million copies to record shops.
Last summer, it seemed likely that Daddy Yankee would become a crossover star, though now that's beside the point. (And rappers think calling out New York's five boroughs is hard work?)
Whenever there was a spare moment (and sometimes when there wasn't), he ran down the list that usually begins with Puerto Ricans, Dominicans, Mexicans and Colombians, and ends only when he runs out of places or breath. His brief but effective set mixed crowd-pleasing hits with crowd-pleasing freestyles and, most of all, crowd-pleasing tributes. So Daddy Yankee spent about an hour proving he didn't need any help. Daddy Yankee has emerged as the biggest name in the booming Puerto Rico-based genre known as reggaetón, an addictive form of hip-hop that Latino listeners can call their own hip-hop stars like Lil Jon have acknowledged his popularity by bringing him in for remixes.īut the tour began on Saturday, when much of the hip-hop world was gathered in Miami for the MTV Video Music Awards. If Daddy Yankee had picked a different weekend to begin his "Who's Your Daddy" tour, then the Madison Square Garden stage might have been packed with special guest rappers, eager to do some cross-marketing.