el REPARTO CUBANO: lo bueno y lo malo 🇨🇺🍑

Summary

Les jeunes à Cuba préfèrent danser le REPARTO plutôt que le reggaeton. Ce nouveau genre musical cubain, né dans des quartiers marginaux, est caractérisé par des paroles explicites et agressives. Le REPARTO, qui s'est popularisé grâce aux échanges culturels avec Miami, reflète la réalité sociale et économique des jeunes Cubains. Bien qu'il soit critiqué pour sa violence et ses paroles dégradantes envers les femmes, il est apprécié pour sa capacité à faire danser et son utilisation innovante de la percussion afro-cubaine et de la musique électronique.

Takeaways

• 🎵 Les jeunes Cubains préfèrent danser le REPARTO plutôt que le reggaeton.
• 📜 Le REPARTO est un nouveau genre musical cubain né dans les quartiers marginaux.
• 🎶 Le genre REPARTO utilise des éléments de la rumba cubaine et de la timba comme base rythmique.
• 🗣️ Les paroles du REPARTO sont souvent explicites et agressives, reflétant la réalité des quartiers.
• 🌐 La numérisation de la musique cubaine a été cruciale pour l'émergence du REPARTO.
• 🕺 Le REPARTO est devenu populaire grâce à l'internet et aux échanges culturels entre La Havane et Miami.
• 📉 Les jeunes Cubains de la génération Z ne s'identifient pas à la musique traditionnelle cubaine.
• 🎧 Le REPARTO a permis d'actualiser le timbre de la musique cubaine avec des instruments électroniques.
• 📺 Les médias officiels cubains ne diffusent pas le REPARTO en raison de ses paroles et de son origine.
• ⚠️ Le REPARTO est critiqué pour sa glorification de la violence, de la pauvreté et de la sexualisation des mineurs.

Q & A

Quelle est la nouvelle tendance musicale chez les jeunes à Cuba?

Les jeunes à Cuba dansent principalement le REPARTO, un nouveau genre musical cubain.

Comment le REPARTO est-il caractérisé musicalement?

Le REPARTO intègre des éléments de guaguancó cubain, de timba, et utilise des textes à contenu sexuel explicite et agressif.

Pourquoi les jeunes Cubains ne s'identifient-ils pas aux musiques traditionnelles cubaines?

Les jeunes de la génération Z à Cuba ne se sentent pas identifiés à la musique traditionnelle cubaine car elle est antérieure à leur naissance et à leur histoire personnelle.

Comment le REPARTO reflète-t-il la réalité sociale à Cuba?

Le REPARTO exprime la réalité sociale des quartiers marginaux de La Havane, les frustrations économiques et le manque d'espoir de changement à Cuba.

Quel rôle jouent les DJ et les producteurs dans le genre REPARTO?

Les DJ et les producteurs sont essentiels pour créer les rythmes et les bases musicales du REPARTO, rendant le genre très dépendant des techniques de digitalisation.

Quels sont les problèmes sociaux soulevés par les paroles du REPARTO?

Les paroles du REPARTO abordent des thèmes tels que la violence, le machisme, la pauvreté et la sexualisation des mineurs.

Quel est l'impact des médias officiels sur la diffusion du REPARTO?

Les médias officiels cubains ne diffusent pas le REPARTO, préférant des produits artistiquement plus élaborés et des paroles moins explicites.

Comment le REPARTO est-il devenu populaire malgré le manque de soutien des médias officiels?

Le REPARTO est devenu populaire grâce au 'paquete semanal' et aux nombreux petits commerces privés qui décident de jouer cette musique.

Quel est le rôle des célébrités dans la culture du REPARTO?

Les célébrités du REPARTO créent des scandales et des extravagances sur les réseaux sociaux pour attirer l'attention, reflétant la culture de quartier et l'esthétique de la prospérité économique visible.

Quelles sont les préoccupations concernant l'impact social du REPARTO?

Les préoccupations incluent la perpétuation de la violence, la glorification de la pauvreté, le manque de valeurs morales, et la dégradation des femmes.

Outlines

00:00

🎶 L'émergence du REPARTO à Cuba

Les jeunes Cubains dansent le REPARTO, un nouveau genre musical cubain, en lieu et place du reggaeton. Le REPARTO trouve ses racines dans les quartiers marginaux de La Havane et combine des éléments de guaguancó et de timba. Il est caractérisé par des paroles explicites et agressives et est souvent interprété par des personnes issues des quartiers populaires plutôt que par des chanteurs formés. Ce genre est une réponse aux réalités sociales des jeunes Cubains de la génération Z, insatisfaits des conditions économiques et cherchant des références musicales internationales sur Internet.

05:04

🎤 Les débuts du REPARTO

Le premier producteur de Chocolate, Dj King Doua, affirme que la chanson « Vívela » de Chocolate en 2012 est la première à utiliser le pédalier timba, bien que de manière limitée. En 2012, le groupe Ire Oma a également produit des chansons avec des éléments de REPARTO. Bien que la paternité du genre soit contestée, des morceaux comme ceux de El Micha et Jona ont contribué à sa diffusion. Le genre s'est popularisé malgré le manque de soutien des médias officiels grâce aux petits commerces privés et aux échanges culturels entre La Havane et Miami.

10:07

💃 L'importance du rythme dans le REPARTO

Le REPARTO, genre musical extrêmement rythmé, est conçu pour faire danser. Les Cubains, naturellement enclins à la danse, préfèrent des rythmes agressifs qui bougent tout leur corps. Contrairement au reggaeton, le REPARTO évolue rythmiquement au sein de la même piste, offrant une diversité rythmique. Les voix des interprètes sont souvent agressives, se concentrant sur le flow plutôt que sur la mélodie ou l'harmonie. Ce genre ne nécessite pas de chanteurs techniquement formés, valorisant plutôt une voix « de la rue ».

15:10

👑 Les célébrités et la culture de la distribution

Les interprètes du REPARTO adoptent l'attitude des célébrités, créant des scandales et des extravagances pour attirer l'attention. Leur vie publique sert de script pour chaque nouvelle sortie musicale. Le genre partage une esthétique de prospérité économique visible avec des chaînes en or, des vêtements de marque et des voitures de luxe. Le REPARTO reflète la réalité des quartiers cubains, incluant le machisme et les mécontentements politiques et économiques. Bien que certains trouvent les paroles et l'attitude problématiques, le genre est très populaire parmi les jeunes Cubains.

Keywords

💡Reparto

Reparto est un nouveau genre musical cubain qui émerge des quartiers populaires. Le terme « Reparto » fait référence aux quartiers marginalisés de La Havane et ce genre est une fusion de reggaeton et de timba. Il est caractérisé par des contenus lyriques explicites et agressifs. Dans la vidéo, il est dit que les jeunes Cubains dansent le Reparto, se connectant à ce genre musical plus qu'aux traditions musicales cubaines antérieures.

💡Guaguancó

Guaguancó est une forme de rumba cubaine, un style de danse et de musique afro-cubaine. Le rythme de Guaguancó est une base importante dans la musique Reparto, où il est souvent reproduit à l'aide de claquements de mains. Dans la vidéo, il est mentionné que le Reparto incorpore la clé de Guaguancó dans ses compositions musicales.

💡Timba

Timba est un genre musical cubain dérivé de la salsa et incorporant des éléments de funk, de jazz et d'autres styles musicaux. Dans le contexte du Reparto, le battement de grosse caisse de la timba est utilisé comme base rythmique fondamentale. La vidéo explique que le Reparto est né de la timba et a évolué pour inclure des éléments électroniques.

💡Digitalisation

La digitalisation dans la musique Reparto se réfère à l'intégration d'instruments électroniques et de techniques de production modernes pour mettre à jour le son traditionnel cubain. Le Reparto utilise des instruments électroniques pour créer des polyrhythmes et enrichir la texture sonore. La vidéo souligne que cette digitalisation est cruciale pour rendre la musique attrayante et dansante.

💡Culture de quartier

La culture de quartier, ou « culture du barrio », fait référence à l'origine et à l'authenticité des interprètes de Reparto, qui proviennent souvent de quartiers défavorisés. Ces artistes apportent une perspective réaliste et brute de la vie urbaine à travers leurs paroles et leur attitude. La vidéo mentionne que les interprètes de Reparto ne sont pas des chanteurs professionnels formés, mais des personnes issues des quartiers populaires.

💡Violence explicite

Les paroles de Reparto sont souvent caractérisées par un contenu explicite et agressif, y compris la violence verbale et physique. La vidéo met en évidence la préoccupation concernant l'effet de ces paroles sur les jeunes et la société en général, en soulignant comment elles peuvent perpétuer et glorifier la violence.

💡Sexualisation

La sexualisation dans la musique Reparto fait référence aux paroles et aux images qui représentent souvent de manière explicite et objectivante la sexualité. La vidéo exprime des inquiétudes concernant la représentation des femmes et la sexualisation des mineurs dans ce genre musical, soulignant les messages problématiques et leur impact social.

💡Célébrité

Dans le contexte de Reparto, la notion de célébrité remplace celle d'artiste. Les interprètes de Reparto adoptent une attitude de célébrité en créant des scandales et en affichant leur vie personnelle sur les réseaux sociaux pour attirer l'attention. La vidéo explique que cette attitude aide à populariser le genre parmi les jeunes.

💡Éducation musicale

L'éducation musicale, ou son absence, joue un rôle crucial dans la popularité du Reparto. La vidéo mentionne que le système éducatif cubain s'est détérioré, ce qui a conduit les jeunes à chercher des références musicales en dehors de Cuba, favorisant ainsi l'essor du Reparto. L'éducation musicale traditionnelle n'attire plus les jeunes, qui préfèrent des genres plus modernes et accessibles.

💡Rôle des producteurs

Les producteurs jouent un rôle central dans le genre Reparto en créant les beats, les pistes et les bases rythmiques qui définissent le son de ce genre. La vidéo souligne l'importance des producteurs dans l'évolution du Reparto, citant plusieurs noms connus qui ont contribué à son développement et à sa popularisation.

Highlights

Young people in Cuba don't dance as much reggaeton; they dance REPARTO.

REPARTO is a new Cuban musical genre created in Canal del Cerro.

The lyrics of REPARTO are characterized by explicit and aggressive sexual content.

REPARTO is performed by people from the neighborhood, not trained singers.

The term 'REPARTO' originally referred to marginal neighborhoods in Havana.

REPARTO music is known as 'morfa reggaeton' or 'reparterismo morfa.'

REPARTO music digitally updates the sound of traditional Cuban genres like timba and guaguancó.

Cuban young people of Generation Z don't feel connected to traditional Cuban music.

Cuba's educational system has deteriorated significantly in the last 20 years.

REPARTO emerged as a new danceable genre for the Cuban people.

REPARTO music evolved from the need for a new genre after years of timba and reggaeton.

The digitalization of Cuban popular music contributed to the rise of REPARTO.

REPARTO music gained strength from 2017 onwards, reflecting the digitalization of Cuban percussion.

REPARTO is popular among Cuban university students, despite its explicit content.

REPARTO music is not promoted by official media but spreads through private businesses and cultural exchanges with Miami.

The role of DJs and producers is fundamental in creating the rhythm and beats of REPARTO music.

REPARTO music reflects the neighborhood culture, similar to American rap and Latin reggaeton.

REPARTO performers often display visible economic prosperity, using gold chains, branded clothes, and luxury cars.

REPARTO music is a mirror of Cuban society, highlighting street gossip, machismo, and economic discontent.

Concerns about REPARTO include the perpetuation of violence, poverty romanticization, and lack of moral values.

The sexualization of minors in some REPARTO songs is a serious concern.

REPARTO music can incite violence among young people at parties.

There is a need for good role models and references in REPARTO music.

REPARTO music is the new urban genre that reflects the current Cuban reality.

Transcripts

young people in Cuba don't dance as much reggaeton, they dance REPARTO

as This is what the Cuban REPARTO sounds like Today I come to reflect a little about this phenomenon that

is this new Cuban musical genre Yes, myself, the one who studied in music conservatories and worked

on television for children but it is also born and created in Canal del Cerro, forget about

that channel, too, without a problem, we are a prominent municipality. Oh, look at how it is

done. Hey, don't piss on yourself, latic, this is the key to guaguancó in the

Cuban rumba and this is how the bass drum sounds in the timba and we are going to start with the

kit, the cast united that rumba guaguanco key

and that timba bass drum as the fundamental basis of their bit and

thus began their lyrics. They are characterized by explicit and aggressive sexual content

and their performers therefore They are generally people from the neighborhood and not

trained singers prior to the birth of this urban genre in the capital of

Cuba, Havana. The word REPARTO was used on the street to refer to

the marginal neighborhoods. The public who consumes

timba was also called repartero or repa. The distribution as J musical is also known as morfa r morfa regetón

repartero or reparterismo morfa is also called dancing and be careful how those

kids dance, look when you go to a music conservatory it teaches you that before analyzing a

musical work the first thing you You have to analyze the historical context, then the author and finally the

Musical work. Therefore, one must take into account the characteristics of social reality, two

the need that a group of people have to express their most

real reality through music. Immediately this is fundamental in popular music So let's go there speaking in

very general and mass terms, the young people of generation Z in Cuba do not feel identified

with the tradition of Cuban music Simply because it is prior to their birth and their

personal history That's why they don't perhaps connect with a bolero, a Mambo, a cha-chachá. And even the timba

can become adult or from the past. They are also dissatisfied with the economic shortcomings

of Cuba and the little hope for change, which leads them to look for other references outside. of the

country through the internet and there they find urban musical genres dominating the

international scene, total domination of the world. On the other hand, Cuba's educational system is no longer what it

once was, it has been deteriorating greatly in the last 20 years and Regarding the

musical context, Cuba, which is a country that had given so many different genres to the world, had

not given birth to a new genre for many years, and above all danceable, and this happened with the cast. And the thing is

that the Cuban people are a dancing people of nature and he doesn't like to dance, say that

this level didn't last, you have to be born again, it has been more than 50 years of timba, more than 20 of reggaeton,

in the midst of that, those of alternative fusion music and

the newest trobadores coexisted more than a decade ago. and after 2010 the distribution begins, gaining more strength from 2017 and

until today I call it the digitalization of Cuban popular music until a decade ago and

little else existed a Havana of what was called alternative music at the same time that it already existed reggaeton

was very popular and I survived the timba after this world of what I have

called the alternative vanana. It had been a long time since Cuban music had an update in

terms of timbre. I am talking about the sound and this happened with the cast. Not only was a

new popular genre emerging, but it was coming to update the timbra by digitalizing. If you review

today's Cuban music scene looking for updates in the way of approaching pre-existing genres,

you find Alain Pérez and Alexander Yamana at the top of the timba. sima fon

with that fusion of Afro-Cuban music and Funk and also in traditional music you can mention

David Álvarez and sleight of hand or Tony Ávila But these are evolutions of genres and preist

the new genre and digitized is the cast a genre that is the expression of the people and for the

people to see it is called distribution and many of us think of chocolate Mac and the

divine palón in 2017 as an establishment of the genre at a

textual and aesthetic sound level of the stylistic features of reparterismo

Like every story, it belongs to a single individual and there are other musicians or creators who intervene.

The first chocolate music producer, Dj King Doua, says that the first song that

used the timba pedal was vívela de chocolate in 2012, but only in some

bits, but it is that even the first chocolate theme campismo already used

the claps of the guaguancó key And in this theme and another the only one participates So

he is also part of the story of the beginnings of the cast as well as Chulo but

at the same time At the time in 2012, the group Ire oma had songs like PC and p9 where

you could also hear traits of what would be the distribution of Ire oma, Harrison came out

and that's why many agree with Harrison as the flag of objection. I don't get into that. But

there were also the The main ones have also been heard since 2012, let's listen to them

all, party meedo in si tere mi neno n Hey, disclaimer, it is not the intention of this video

or this person to discuss paternity or the reign of the cast, that goes to the

Instagram lives. of the delivery men with the shooting and the shooting that I don't get involved in that end

of the disclaimer let's see kindowa continues saying the first chocolate producer and I quote starting

in 2015 we started using them in the choruses the pedal and later in the complete songs that

It no longer sounded foreign with acidic texts, Elvis Manuel type melodies and hard raps, it turned out to be a genre

that Chocolate baptized morfa Cuban iaci de raga muffin subgenre of reg and which on the street

explicit. At that time, El Micha and Jona are also El Micha and Jona.

Regarding the dissemination of the cast, it is interesting how the official media does not disseminate it

because they advocate for a more artistically elaborate product made by professional musicians and

also the lyrics do not help them to want to put it on TV and radio But then you wonder

how it became so popular Well, in the beginning because of the so-called weekly package and now

because of the number of small private businesses that there are where the owner decides Who is going

to sing as It is logical and very important due to the great cultural exchange

between Havana and Miami of delivery workers, one cannot fail to mention the important role

of the public of Miami and the emigration of the delivery workers to this city as a

fundamental part of the popularization of the genre when the delivery workers travel a lot to Miami to

give concerts, this from the perspective of a Cuban who cannot travel, especially a

young person, puts you on another level and Once the delivery drivers are left, their idols

have fulfilled a dream of many. The admiration of the delivery grows. It is also a good business. It is

the largest cultural exchange between the United States and the United States, or should I say, La Bana

and Miami are right there now. the chocolate El Chulo the Tiger Wow poppy kimiko and Jordi the coquito

negrito and manum Manu the camel Charlie and yiron fixti ordara and rulay the goddess seidy the girl the

only one a titico wampi and he will surely leave me here on the outside rich with a capital r ridiculous is such a digital genre

that is not very melodic and less harmonious than the role of DJs and producers is fundamental,

they build the bits, the tracks, the bases, the background, whatever you want to call it, what makes you

dance, among the best known are Raimel David 22 Michel boutique Dj Unique Fran the one who

can do everything Dj Romy Cupido Jordan Pro lacho el trojan among many others all essential

for the development and coming of cast and no less important is the role of the managers oy Bing

ag who are in charge of the non-artistic part in Cuba still remains the performer of the very viral song La

TR and at the moment in Cuba also the

musical analysis

is the digitalization of Afro-Cuban percussion and the updating

of the sound of this genre in accordance with what is happening

in the market worldwide the so-called pedal no It is more than the

timba bass drum and then you have the claps that reproduce the guaguancó key that comes from the rumba. But

this is only the fundamental basis, then many polyrhythms are elaborated and it is a genre.

that evolves rhythmically within the same Track, therefore at a rhythmic

and timbral level technologically it is interesting and the digitalization of all these instruments

that were previously acoustic or that belonged to other genres I find it quite attractive,

in addition other electronic instruments inherited from the idm electronic music increasing

the timbre richness each element in the cast has a main objective to make you dance and it

achieves it Cuba is a dancing people, it gives me the impression that we dance with more force

than other Latin countries and that in that we are very close to Africa in the sense

that we need very aggressive music that moves our whole body, it has to be like

with a lot of fire, you know because if not, people don't dance. And if you look, the cast

is evolving within the same Track, it's not like reggaeton that has like a bit More

stable because the dancer also asks you for that rhythmic diversity within the same

song. The voices of the performers also tend to be very aggressive with emphasis on

a simple rhythm and the importance is in the Flow of the spoken accent

of any street Cuban I believe that this also responds to a

dance objective in addition to aesthetic and cultural there is little melody in the voice and little harmony in the tracks and

a lot of rhythms in the voice and tracks because to dance we fundamentally need rhythm

I understand that to to sing cast you don't have to be a technical singer with a well-trained voice

, besides, I wouldn't hit him, it's not like you look Cheo, you need a street in your voice, no one wants to hear

Sam Smi singing cast, or Pao la borá, or Vi Val, or Al. Michael Jackson himself resurrected,

nobody wants that, but even so, most of the performers set me back a lot when I

try to enjoy the genre, a lot of shouting, strident out-of-tune voices, the autotun sometimes

seems to me that instead of helping, it gets worse, I don't even find a rhythmic value. in Flow When it comes to

rapping, as I find in other genres that are also urban, that are street and that are from

people who are not music or singing professionals, I speak vocally of a minimal timb quality

and I am going to give you good examples the Jamaicans with the Dance Hall the French urban music and the

aphrodite of the Africans those people sing and have tremendous Flow a moment to think about

this As for the structures of the productions they are not at all fixed But

we can follow this scheme spoken credits sung verse chorus

against chorus rapped verse bridge chorus against chorus sung credits

good distribution culture aesthetically and socially the performers of the distribution respond to the attitude

of the figure of the Celebrity or celebrity that has internationally replaced the figure

of the artist the Celebrity is there all the time creating scandals and extravagances on

social networks to attract attention. The Celebrity's life is in the public domain and serves as a

script for the delivery of each musical release. The Celebrity is also charismatic

and has popular taste. In addition, the cast shares that neighborhood culture. that American rap,

Fon Carioca and Latin reggaeton have, the aesthetics must respond to

visible economic prosperity, hence the use of gold chains, branded clothes, luxury cars and women

as an attribute of the objectification that is talked about so much. the cast reflects the neighborhood its

gossip of man against woman machismo criminal attitudes the innovative

and always witty and funny phrases of Cubans sometimes their political, economic

and social discontent is in short a mirror of reality almost all the neighborhoods in Cuba almost all They are

poor and don't think that university students don't listen to cast. There are people who have

better education but who were born in a humble neighborhood. I participate in the same

dynamics as any worker or criminal or Random person from Cuba and therefore enjoy

this music. Others allow themselves to be captured by the catchy rhythm and decide to ignore the lyrics. It is also

possible that in some cases there is a disdain for what is official, with the cast being an

underground expression of the people and for the people without it being dictated by national television or radio.

and also how easy it is to connect with the public when talking about explicit sex, no one says it,

but everyone wants sex. My concern with the cast. At a general level, I am very concerned about

the society we are building internationally, with few exceptions, the

lyrics and attitudes in the cast as well as in American rap, fon carioca and Latin reggaetón and

more recently in narcocorridos celebrate and therefore perpetuate violence perhaps

unconsciously, poverty is romanticized and dignified, the lack of moral values ​​and

vulgarity paradoxically on the one hand They sell a pride in the neighborhood at the same time that they play

with the illusion of leaving it to achieve economic prosperity, an illusion that is added to the

Pride of living in the neighborhood that keeps you in your mental and material poverty Let that in Let

Let let that Let I like the tracks, the bits, what happens behind the voice, I have fun

with some choruses and I like dancing, but I don't feel represented by the cast because

I am a woman and I respect myself. I feel that there are things that have to remain the same. internally as

a woman I do not feel happy singing such violent lyrics that speak horrible things about

us where many times we are disrespected and where there is only one very masculine and

aggressive way of approaching sexuality, it is not the issue you deal with, it is how you deal with it and the message you give

and any genre or song that denigrates women, I personally decide not to consume it. Case closed

but the most serious thing of all and pay attention to what I am going to say and

neither communists nor dissidents are paying attention to it is that it appears in some songs the sexualization of

minors in Cuba we are talking about girls between 12 and 17 years old that worries me

a lot I am also worried about those young people who instead of going out to have fun and have a good time

fight and even attack each other with knives at a party This is not exclusive to distribution,

it happens with certain timba bands and I am not saying that the music is to blame for the

violence of a country, I am saying that it feeds back to it Because if you have music

that is explicitly inciting you to violence and who is telling you to measure it

carefully who has the biggest size and you are going to wait for what comes out of it. It is so important that

young people have role models, good role models that they find in their idols, who

are artists, good references for them. your personal lives And for your goings-on in society this is as

dangerous as the genre of narcocorridos that glorifies drug traffickers and that

keeps you in poverty and in addictions that lead you to the worst of outcomes,

surely one of you will say you are Saying all that because you are an old woman,

it is not about age, my love, when timba became too vulgar and crossed the

limit, I was a girl, when reggaeton became too vulgar and crossed the limit, I was 18

years old and I had the same opinion that I am saying today in this video because my parents gave me

a good education and because I learned and studied music but unlike when I was younger

and like many people today I have gotten used to it I have accepted it I have tolerated and

I have even danced to it. So I always ask myself the same question when and where are we going to set the

limit. A good example that another type of distribution can be made

would be Dale Pututi and his epicenter album. Leave a link in the comments for distributions that do not have that

theme that denigrates women or that incites violence Leave the examples below in the

comments but all of the above is my personal opinion I am ready to say goodbye I am not going

to read those comments that you know, I mean don't even waste your time no I am going to read it, I mean

that I am not going to read the hate links that leave me with good music, yes I am going to

watch them with great affection because I like to dance, unlike me, there are millions of Cubans who do

feel represented with the cast, they dance it They enjoy it, they defend it and you only have to take

as a reference the number of reproductions and views that its performers have on

digital platforms. It is the genre that is predominating in the preference of Cubans.

Peru As he did one day with the timba, he adopted it, consumes it and promotes it. The cast is a mirror

of today's Cuban society that shows you the street gossip of popular language, the

fun and ingenuity of the Cuban, the aggressiveness of human interactions and in the sexual relations

the machismo of society endured by men and women and sometimes the

economic and social political discontent the cast is the new urban musical genre that Cuba gave birth to after

2010 the one that young people dance to the one that digitalized Cuban percussion including elements of the

electronic music, the one who compiles in explicit verses very wild Cuban-style sex,

the one who made famous the person who used to be your neighbor in the neighborhood, he dances well, but he thinks that just as

you are what you eat, you are what you listen to because in the end it is about that you are everything you consume