Why aren't Jamaican Dancehall artists blowing up like spanish reggaeton artists have the past year?

[AB Ziggy]

Literally the only song that pops in my head when I think reggaeton

Not if you live in NYC. That music was EVERYWHERE here back then.

 

[IllmaticDelta]

a few reasons

1. the entire "spanish latin american world" youth->30 year olds all listen to the same latin artists in part because most latin american nations lack their own mainstream youth genres vs the "global black world" which are more individualistic (aframs with hiphop and R&B vs jamaicans with dancehall vs africans with afrobeats)

2. jamaican music has never had that many singular artists blow up outside of handfull on a global scale.

3. the NEWER spanish reggaeton (not those repetitive dembow reggaeton acts) artists have a more diverse/relevant/modern (trap influences for example) sound than the stricter jamaican dancehall artists out side of the edm + dancehall hybrids from people/groups like major lazor

 

[IllmaticDelta]

Reggaeton? Big? I can't even name 1 artist.

The OG dembow reggaeton is dead

 

[Amestafuu (Emeritus)]

Aye man just cause you don't know don't mean it's not big breh. It's taking over. They've been had a heavy presence on youtube, and now that streaming and Youtube hits can count towards charting, we might see and hear a bit more from dudes like Luis Fonsi(Despacito is the most viewed video ever right now at close to 5 billion views) and J Balvin (Mi Gente actually did and charted well on radio and still does). When dudes like Ozuna and Maluma get that radio love out here to it's gonna be a wild time for reggaeton artists.

Reggaeton will always have some songs that hit but overall the genre is trash and will remain that for lack of originality and vision. Brehs ride the same beat to death and will continue to do so, they are not innovative.

Same with Spanish trap. It's just putting a twist on things that already exist and riding that wave till it's beat to death. Nothing has changed from the times of gasolina to despacito.

 

[IllmaticDelta]

They don't play dancehall on the same platforms (pop) that will play reggaeton and b*stardized tropical house music aka white dancehall.

Dancehall artists are marginalized but the genre is heavily looted. I don't fukk with the Latin version on principle that those brehs stole a whole sound but never reached back for some collabos. And now they merging trap sounds with reggaeton...

Dancehall artists also have to stop being super vulgar with the music. That trend of speaking very crudely about sex and violence hurt their marketability. Nothing will ever beat a good lovers rock tune when it comes to capturing an audience with women on the dancefloor. Brehs used to have the summer on smash with them tunes but now it's all about fukk up the pump pum....

yup this is one of the biggest factors. The OG reggaton is dead...they are now going more trappish and that makes their sound more modern and others are more tropical house (dancehall + deep house).Fat Joe touched on this in his latest Drink Champs when he explained why he hated the OG reggaeton from the early to mid 2000's but why he' like what they're doing now with the sound.

 

[THEREALBRAND]

I just know that "Spanish Trap" is . Bad Bunny


Who are some dancehall artists we need to know these days?

Bad Bunny is always blessing the streets with fire

 

[Harry B]

The Carribean is the same size as like Brooklyn and Queens, Latin America + some other countries around the world are like 2x US. And that garbage ass music is the only thing they have.

Other than that, we've seen Canadian, British and Bardbadian artists drop big songs that are heavily influenced like Drake, Rihanna, Tory Lanez, J Hus and more

 

[606onit]

Look at the views of this TRASH ASS SONG! 110M views in ONE MONTH....That's why. U dont understand...These songs also get played in discos in SPAIN, ITALY, FRANCE, and PORTUGAL......ALL OF SOUTH AMERICA.....PLUS LATINOS LOVE TO PARTY.

When I was drinking and partying in Iberia, we would always pregame to reggaeton and they always had HUNDREDS of MILLIONS of views.

 

[THEREALBRAND]

yup this is one of the biggest factors. The OG reggaton is dead...they are now going more trappish and that makes their sound more modern and other's are more tropical house (dancehall + deep house).Fat Joe touched on this in his latest Drink Champs when he explained why he hated the OG reggaeton from the early to mid 2000's but why he's like what they're doing now with the sound.

Props for this.

NORE Y La Familia is one of my favorite albums ever. I listen to that at least once a week. I wished he would drop a follow up for years. Cool hearing him talking about modern stuff.

 

[IllmaticDelta]

beenie man wasn't light, he was popping.
It's not colorism.
Dancehall is also "locked" into riddims with minimal variance...moreso than the worst cloned trap "type beat".
They got whole albums of one riddim.

facts

 

[Art Barr]

All pop domesticated music is a ripoff of vybz kartel based dance hall.

They just not marketing it as such but all music in domestic pop sectors are ripoff of vybz kartel based dancehall.


Art Barr

 

[IllmaticDelta]

You know how big Latin America is?

West Indians aren't that big compared to them

If you notice dancehall blows up once someone from America gets down with it. It happened in the late 80's, early 90's. And its happening again after Drake did it, but because as black people we separate ourselves, dancehall won't get as big as it could without an attachment to someone else, unless its in certain cities. Plus most people don't understand the language.

yup...all latino youth pretty much listen to the same latin pop music regardless of the latin origin if it's popping while "black" people globally are more individualistic and about their own cultures music, first

 

[BaRRyG]

Culture rip offs?

Some of you dudes are buggin... Some of them Latin Trap dudes are really MCs and they really care about the craft. Most of u can't understand it, but it is what it is.

And they do give back and show Hiphop crazy love...

 

[Poitier]

Because it doesn't sound good.

 

[IllmaticDelta]

It's Probably a issue of being marketable in Amerikkka

If a lot of these dancehall artist was light skin like Sean Paul, Shaggy, Damian Marley we would probably see more blowing

it's not about being light skinned. Elephant Man, Beenie Man, Patra, Wayne Wonder and many similar looking types had crossover hits in the USA. The real key IMO is for the dancehall artists to have a more hybrid sound so it appeals to americans ears. Something like R&B type singing-hooks (beenie man and wayne wonder) or even hiphop'ish type influenced beats-riddims (patra and elephant man). Sean Paul, Shaggy and Damian all would take advantage of those hybrid sounds. ut's called reggae-fusion

Reggae fusion is a fusion genre of reggae that mixes reggae or dancehall with other genres, such as pop, rock, R&B, jazz and drum and bass.[1][4][5]

Although artists have been mixing reggae with other genres from as early as the early 1970s, no official term had been used to describe this practice. Artists such as UB40 were described using terms that joined the various genres they performed (e.g. "reggae funk", "reggae pop", "reggae-disco"). It was not until the late 1990s when the term was coined.[6]

The subgenre predominantly evolved from late 1980s and early 1990s dancehall music which instrumentals or "riddims" contained elements from the R&B and hip hop genres. Due to this, some consider dancehall artists such as Mad Cobra, Shabba Ranks, Super Cat, Buju Banton and Tony Rebel as pioneers of reggae fusion.[7] For some of these artists, such as Buju Banton, reggae fusion became a staple throughout their careers. However, reggae fusion can be traced back to before the success of these artists, as far back as the late 1970s and early 1980s, where songs such as "Pass the Dutchie" and the band Third World blazed the trail finding international success with songs such as "Now That We Found Love" and "Try Jah Love".[8] Therefore, Third World can be seen as arguably the original pioneers of reggae fusion leading the way for groups such as UB40 and Steel Pulse.

Although there were a few recognized reggae fusion artists in the late '80s to mid-1990s, such as the aforementioned acts in addition to others such as Sublime, Maxi Priest, Shinehead, 311, First Light, The Police and Inner Circle, their style of fusing genres was subtly done.[9][10] Artists such as Diana King, Patra, Buju Banton, Ini Kamoze, Snow and Shabba Ranks followed in their footsteps, however, creating a less subtle fusion by further blending heavier Jamaican dialect as well as more hardcore and sexual lyrics in their songs.[11] This led to a lot of crossover success for these artists with songs such as "Informer" and "Here Comes the Hotstepper" reaching number one on the Billboard Hot 100 as well as topping charts all around the world. As the subgenre began to take shape, the mid to late 1990s saw artists becoming more innovative as many began to mix genres that were not similar nor typically associated with reggae, such as techno and house, leading to the subgenre gaining a more distinctive following and really beginning to grow.[7] Ironically, however, a major contributing factor to the subgenre garnering further international prominence was due to the lack of marketability of dancehall, especially in its rawest form, in the United States.

By the late 1990s, dancehall had lost its footing in the American market as while initially an appreciated novelty, it had gotten too hardcore lyrically and started using even heavier Jamaican dialect and less standard English making it harder to understand what was being said. It had also come under heavy criticism from the international markets due to the homophobic lyrical content which sought to bash, condemn and instigate violence against the act as well as those who supported or participated in the lifestyle.[12] This led dancehall artists who were trying to break into the U.S. market, to fuse the dancehall style of toasting or deejaying over softer and predominantly pop and hip hop instrumentals as well as to diversify the content of their songs while moving away from homophobic lyrics. Traditional dancehall acts, such as Shaggy and Beenie Man experienced commercial success in the American markets with the release of their albums in 2000.[5][13][14] Shaggy had previously experienced multiple chart successes in the '90s but it was his album, Hot Shot, that especially helped further propel the subgenre internationally, as his album spawned two #1 singles on the Billboard Hot 100, "It Wasn't Me" and "Angel".[5][14] No Doubt's 2002 massive hit album Rock Steady, with worldwide reggae fusion hits such as "Underneath it All" featuring Lady Saw and "Hey Baby" featuring Bounty Killer, further propelled the subgenre's popularity to new heights. This was especially because it marked one of the first times a pop/ska punk act had made a complete reggae fusion album since the mid-'90s and opened up the genre to a new fan base as reggae fusion was, at that point, mainly utilized by reggae artists trying to break into the mainstream market and not by already established acts, such as No Doubt.[15] The early 2000s also saw Sean Paul achieve tremendous success internationally with singles such as "Baby Boy", "Breathe", "Like Glue" and "Make It Clap", among many others.[16] His albums Dutty Rock and The Trinity altogether spawned five top 10 Billboard Hot 100 hits between 2002 and 2006, including the number one hits "Get Busy" and "Temperature".