Why do latinos say that when jamaicans use the dem bow beat that they are stealing the latino culture?

Question

In case no one has realized the dembow is a beat that was created by a jamaican producer( I forgot the name) and was used in the dancehall song Dem Bow by jamaican artist Shabba Ranks.You can find the dembow in the song Can't Satisy Her by I Wayne. That songs is just a simple song and it sounds better than reggaeton any way. Really most of the important elemeents in reggaeton are taken from dancehall any way. Reggaeton aint no competition for dancehall anyway. Songs like Temperature, I'm Still in Love With You Boy, Dolly My Baby, Beautiful and Get Busy all make me get up and move. Reggaeton all sounds the same to me. I don't even know how you can dance to the same beat all night long any way. And another thing this perro dance in reggaeton aint nothin new. Jamamicans been doin them type of dances for years now. Look in some dancehall videos and you'll see what i mean. Reggaeton sucks but that's not my argument, look for that question later.

I know that reggaeton is here to stay cuz of all the spanish people here. But that don't mean that it is takin over hip hop or dancehall. Jamaica gave latin america this music, they can take it back just like that.

There are many dancehall beats compared to reggaeton beats. And i'm going to list them.

2005:::: Seasons::Jonkanoo::Sweet Sop::Applause::Cry Baby::Bubble Up::State Of Emergency::Strivers::Bionic Ras::Lion Paw::Istanbul::Ganja

-2004:::: Mad Instruments::Hot Gyal::Hard Times::Rah Rah::Clear::Chakka Chakka::Kopa::Father Jungle Rock::Stepz::Dancehall Rock::Scoobay::Military::Check It Back::Tunda Clap::Strip Tease::Drop Leaf::Double Barrel::

-2003:::: Lime Key::Ching Chong::Hindu Storm::Panty Raid::Dreamweaver::Masterpiece::Clappas::Krazy::C-4::Egyptian::Good To Go::Coolie Dance::Salsa::Scream::Forensic::All Out::Sexy Lady::

-2002:::: Diwali::Mad Ants::Bad Kalic::Mexican::Bollywood::Engine::Hard Drive::Rematch::Tabla::Thai Chi::The Violin::Time Bomb::Wash Out::White Liva::Zero Tolerance::Famine::Battery::

-2001:::: Unstoppable::Top-A-Top::The Rock::The Buzz::Run::Rice And Peas::Mento::Martial Arts::Itch::Hennessey::Heavyweight::Glue::Fire Glare::Fiesta::Energy::Dun Dem::Candle

These riddums were found under wikipedia.

Answer 1

I don't know, but they are getting on my nerves using that beat for so damn long, it's crazy....every song in one of their cultures has that damn beat in it.

Answer 2

I would have to agree with you on what I like to call Reggaetonie. This is the Pop reggaeton that his taken over the airwaves. The repetitive beats of songs after songs and the hip-hop and dancehall influences at some points can be entertaining but still unoriginal.

I still can't help but like Baby Ranks and the Luny Tunes ( said to be the Latin equivalent of The Neptunes. ) I do however have to say that there is more and more less skill now than there was in the real old days of Reggaeton. Like El General, Vico C, and Big Boy.

Those guys represented real reggaeton El General " Tu Pum Pum and Big Boy's " Mis Ojos Lloran Por Ti" Are a couple of my favorites. The origins of Reggaeton came from Panama it was then adopted by Puerto Rico which is what we hear now a days on the radio stations.

Yes, reggaeton is a reggae with Latin influence but it's that influence that makes it there own.


As for whatzerface she should really cite her sources when she decides to cut and paste. Give others credit where credit is due.

Her Source: http://concise.britannica.com/ebc/article-9118214/dancehall

P.S.
As for http://en.wikipedia.org/wiki/Main_Page you should note that when doing research you should remember the validity and accuracy of your resource.
This came right off the website:

" This website is a wiki, which means that anyone with access to an Internet-connected computer can edit, correct, or improve information throughout the encyclopedia, simply by clicking the edit this page link (with a few minor exceptions, such as protected articles and the main page)."

This site is "Subjective" rather than " Objective " I never trust that site when I see it linked. Good for general help but never a source I use for Supporting arguments.

Answer 3

Dem Bow Shabba Ranks

Answer 4

Reaggaeton is just a fad!Personally I think it is wannabe reggae!!Jamaicans originated reggae and they do it the best! It's not just music but part of their culture!!I'm going to see Buju,captleton, cocoa tea, aind gregory issacsin two weeks!that is real music!!

Answer 5

Don't believe everything you hear. Believe what you know deep in your heart and soul. The music drives your mood and don't let anyone tell you how to feel. We know the truth.

also called ragga or dub style of Jamaican popular music that had its genesis in the political turbulence of the late 1970s and became Jamaica's dominant music in the 1980s and '90s. Central to dancehall is the deejay, who raps, or “toasts,” over a prerecorded rhythm track (bass guitar and drums), or “dub.”

The seductive chant of the dancehall deejay—part talking, part singing—came to prominence in the late 1970s but dates from as early as 1969, when U-Roy experimented with talking over or under a “riddim” (rhythm). This multimodal African diasporic style also is evident in the hip-hop music of North America, and the origins of both can be traced to West African performance modes.

The rise of deejay Yellowman in the early 1980s marked the transition from mainstream reggae to dancehall music that took place in Jamaican nightclubs. In addition to the explicitly political lyrics of songs of the early 1980s such as “Operation Eradication” and “Soldier Take Over,” Yellowman incorporated into his repertoire salacious lyrics that became widely known as “slackness,” a Jamaicanism for licentiousness. Drawing on the raunchy tradition of mento, an earlier form of Jamaican dance music that barely disguised sexual discourse in metaphor, and on the spirit of the Caribbean calypso folk song, to which mento is kin, Yellowman teasingly addressed both sex and politics in his radical critique of society in the wake of the failure of Jamaica's experiment with socialism under Prime Minister Michael Manley.

In the 1980s and '90s, computer-generated rhythms mechanized and sped up the dancehall beat. From the 1980s to the mid-1990s, slackness and gun talk dominated the lyrics of dancehall deejays, the most notable of whom were Shabba Ranks, Ninjaman, Bounty Killer, Lady Saw, and Lovindeer (who composed in a calypso idiom). In the late 1990s, however, a resurgent Rastafarian consciousness was exemplified in the work of Buju Banton, Anthony B, and Sizzla, who built upon the earlier examples of Tony Rebel and Josey Wales. There was also a new wave of born-again Christian performers, including Lieutenant Stichie, Papa San, and Carlene Davis. The eclecticism of contemporary Jamaican dancehall music is perhaps best characterized by the iconoclastic Beenie Man

Jamaican record producer and entrepreneur (b. Jan. 26, 1932, Kingston, Jam.—d. May 4, 2004, Kingston), was one of the pioneers of modern Jamaican popular music and played a pivotal role in the development of ska, a blend of Caribbean and jazz rhythms, as well as in the emergence of reggae. Though Dodd grew up in Kingston, it was while working as a cane cutter in the U.S. South that he was exposed to both outdoor dance parties and rhythm and blues. Returning to Jamaica, he became one of the originators of the huge portable sound systems that became a sensation on the island in the 1950s, providing a movable feast of mostly American rhythm-and-blues records. An outstanding cricket player, Dodd was nicknamed Coxsone after a well-known English cricketer from the 1940s, and Dodd's famous sound system was christened Sir Coxsone's Downbeat. Dodd was at the centre of the creation of Jamaica's native ska, whose prime movers included the Skatalites, the house band at Studio One, the legendary recording studio Dodd established (1963) in Jamaica. As ska progressed toward reggae in the 1960s, Dodd introduced the world to reggae king Bob Marley (a singer with the Wailers), Toots and the Maytals, and later (1970s) Dennis Brown, Burning Spear, and Sugar Minott; in the process, rhythm tracks were developed that became essential elements of Jamaican music. From the 1980s Dodd divided his time between Kingston and New York City, where he operated a record shop. In 1991 Dodd was the recipient of Jamaica's third highest honour, the Order of Distinction.