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Up until recently, reggaeton was a genre of music largely ignored by ethnomusicologists and pop charts alike - deemed too formulaic and vulgar for ethnomusicologists, and too brown and “other” for pop charts. If you didn’t grow up in a place rich in Latinx culture, then your introduction to the world of reggaeton might’ve begun with artists who have penetrated the American mainstream like Daddy Yankee, Don Omar, and Luis Fonsi. When I heard reggaeton for the first time as a middle schooler, the game was over your girl was turned out, a captive of the infectious dembow beats and suave sex lyrics. If rancheras and boleros were my folk music, then reggaeton was definitely my pop. While the Bay Area remains a hub for Central and South American Latinx art and music, its cultural landscape is also permeated by the extremely rich musical practices of the Caribbean, especially salsa and reggaeton. Now, I work as a Latin Music Analyst for Pandora Radio, where my job is to listen to and classify genres of Latin pop. I was seven years old and learning to play traditional Mexican and Colombian music alongside my family, which opened my world to the diverse soundscapes of Latin America. Once we were old enough to hold instruments, my sister and I expressed some reticence about performing with our parents, but due in part to the closeness of the Mexican family unit and the allure of high-paying, fun gigs, we caved and formed our family band, La Familia Peña-Govea.
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With these assertions I am not suggesting that those who live on the margins of society are somehow exempt from suffering and hardship rather I reveal how these individuals exercise their agency by crafting life affirming strategies that resist long-term oppressive systems, such as the racial capitalism with which Caribbean people have long grappled.I was born in San Francisco, CA to two Chicano musicians who connected over their complete obsession with playing and studying music. While these powerful actors are central to concerns about Puerto Rico’s future, the fixation on the “top” and “center” socio-political spheres, in my view, run the danger of glossing over the myriad ways in which social sectors on the “bottom” or at the “margins” have been navigating the multiple economic, social, and political crises that have historically plagued them. Recent narratives have focused on the inability of the local and federal state to ameliorate the worsening social and economic conditions of island residents. Currently, philantrocapitalists interested in the island’s recovery dot the post-hurricane landscape. Predatory and vulture capitalists have circled and preyed on the colony since the second half of the twentieth century though the façade of political and economic stability began to officially unravel in the 1990s.
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In fact, economic downturns and recession coupled with waves of mass migration have been characteristic of the Puerto Rican experience since the early decades of American occupation.
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When Hurricane María made landfall in Puerto Rico in September 2017, it found a society long in the throes of a socio-political and economic crisis.