Reggaeton Deeply Impacted TIDAL’s Jesus Triviño’s Profession

Many people had been shocked and crammed with feelings after we realized that our beloved Daddy Yankee had introduced his retirement. TIDAL’s Senior Director of Latin International, Jesús Triviño, refers to him as “the unquestioned GOAT of reggaeton” and even penned a bit about Daddy Yankee and his position in bringing the style to the mainstream. Triviño does not take this retirement flippantly. The truth is, in some ways, it is a full circle second for him. He is interviewed the Puerto Rican artists in all probability extra instances than he can depend. And it is due to journalists like him that Yankee began receiving English-language press comparatively early in his rise to fame.

Whereas Yankee’s profession technically began within the mid-’90s, it was in 2004 that he started to realize recognition on a worldwide scale and all due to his megahit music “Gasolina,” off of his “Barrio Fino” album produced by Luny Tunes. But it surely was additionally round this time that Triviño was beginning his profession as a music journalist. Triviño was one of many only a few hip-hop writers in NYC who was additionally fluent in Spanish. Consequently, he was given the chance to interview Daddy Yankee on the peak of his profession for one of many artist’s first-ever English-language journal options.

“Within the English language market, it was me and I might say 5 or perhaps seven different writers [who covered hip-hop and spoke Spanish] — perhaps. However, persistently, it was like Angie Romero [who is at Amazon Music now] and Celia San Miguel who’s additionally a very good pal,” Triviño tells POPSUGAR. “I used to be a hungry author. I used to be into music, and I knew the language. In order quickly as an editor assigned it to me, I mentioned ‘yeah, certain, let’s go.’ However I used to be additionally on the time doing interviews with US rappers like 50 Cent and Kanye.”

The interview was with {a magazine} that not exists right now titled Fuego journal, underneath Harris Publications. It was an English-language journal focusing on Latinx male readers. On the time, nothing prefer it existed. The interview occurred in 2003, however the subject did not come out till 2004. Triviño had simply began dabbling in writing about reggaeton. The yr earlier than, he did a narrative for The Supply on the reggaeton motion occurring in Puerto Rico and what set it aside from Rap en Español. When he began freelancing for Latina journal, his first piece was an interview with Ivy Queen in 2007. Earlier than he knew it, Triviño was writing often for Latina and even had his personal reggaeton weblog on a hip-hop web site the place he was interviewing a number of the reggaetoneros developing on the time like Calle 13’s Residente. That is the place he actually bought to know artists, their publicists, and their managers. It actually modified the trajectory of his profession.

“I used to be at all times sort of gearing that means simply because there wasn’t that a lot alternative on the Latin aspect. However I used to be at all times doing each (protecting US hip-hop and Latinx reggaetoneros), I might say from the start,” Triviño says. “I converted full-time as I used to be nearing my finish at Scratch journal . . . I simply seemed on the hip-hop panorama and I wasn’t impressed by it anymore. I simply could not go to a job and have to consider concepts for creating articles or what have you ever as a result of I simply wasn’t impressed, and I did not just like the music anymore.”

To be clear: Triviño was and nonetheless stays a hip-hop child. However after deciding to not report on it, he discovered himself exploring and actually having fun with what Latin music needed to supply on the time. “It was a simple transition, as a result of clearly, it is my tradition. I am educated within the music,” he says. “The hip-hop lane was so congested with hip-hop specialists. So, I used to be like perhaps I ought to change onto one other lane, and I used to be [technically] already doing it.” And similar to that, his focus turned Latin music. However he’ll be the primary to say that reggaeton hitting the mainstream and going international positively did not occur in a single day.

“For Daddy Yankee to come back in, Tego Calderon, Don Omar, and Ivy Queen — all these figures completely modified the notion of what Latin music could be and the potential that it has . . . these artists made reggaeton not solely worthwhile however respectable.”

“It was not instantly, the change it took to the Latin music trade . . . It is social-political music, it is from the streets, and it is created by disenfranchised individuals. Black and brown individuals primarily, particularly then. And so they did not see its worth,” Triviño shares. “For Daddy Yankee to come back in, Tego Calderon, Don Omar, and Ivy Queen — all these figures completely modified the notion of what Latin music could be and the potential that it has . . . these artists made reggaeton not solely worthwhile however respectable.”

After years at Latina journal, Triviño was able to unfold his wings and check out one thing new and landed his position at TIDAL. His present job features a little little bit of all the pieces. “It is a mixture of curation with playlists; when we’ve got concert events, I e-book the Latin artists,” he says. “It is quite a lot of A&R, which is fixed communication with managers, artists, publicists, and labels. I am additionally an editor and journalist. After I get to put in writing, I do. So it is quite a lot of issues in a single.” In his position with TIDAL, Triviño discovered himself capable of mix his ardour for storytelling of Latinx communities along with his devoted love for music. This Latinx Heritage Month, TIDAL is spotlighting feminine Latinx music artists who’ve impacted the style with an emphasis on rising stars. However right now, he additionally finds himself reflecting on the legacy and impression Yankee has had not simply on reggaeton however on the musical panorama general.

“Even when you do not know something about reggaeton, you already know Daddy Yankee. His impression you may measure.”

“Even when you do not know something about reggaeton, you already know Daddy Yankee. His impression you may measure,” Triviño says. “It does not matter that I’ve talked to him many instances over the just about 20 years; he’ll go down within the pantheon of just like the Celia Cruz and Hector Lavoes [of the world]. And simply international music, as a result of earlier than Okay-pop, earlier than the rest, Latin was the primary international music, and he was one of many people who helped it get to that time.”

Over time, Triviño has noticed what reggaeton has in the end performed for the tradition. And he believes it is much more than it is given credit score for. “It is brought on quite a lot of unity in a great way amongst us that I by no means actually felt like we had earlier than,” he says. Issues have actually come full circle for Triviño since his first days interviewing Yankee. In some ways, each of their careers began developing across the identical time. And whereas Triviño just isn’t retirement any time quickly, the announcement of Yankee’s retirement and last tour could not come at a extra aligned time.

“Jesús is a trailblazer. He was one of many first journalists usually market to cowl reggaeton and even earlier than the “Gasolina” increase,” says Mayna Nevarez, CEO of Nevarez Communications. “On the time, Hispanic media did not cowl reggaeton, since they thought it was ‘ghetto.’ Jesús understood the tradition and opened the doorways for a lot of artists like Daddy Yankee whereas working for Vibe journal and later for Latina. He was key in speaking how reggaeton was a part of a tradition. He positively was a tradition changer and a real believer.”

You may nearly argue that the place Triviño is at in his profession right now is karma. After years of opening the doorways for a lot of artists like Daddy Yankee to be the celebs they’re right now, Triviño is lastly getting the flowers he deserves for his wealthy contributions not simply to music media however to the tradition.

Picture Supply: Eric Espino

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