Daddy Yankee's Concert Review at Orlando's Amway Arena

"Who's your daddy?"

That's what reggaeton superstar Daddy Yankee constantly asked the crowd during his show Saturday at Orlando's Amway Arena.

And the crowd, comprised mostly of tweens and teens accompanied by their real mommies and daddies, responded "Dad-dy-Yan-kee!"

That the crowd, which only filled the lower bowl, was such a diverse mix of men and women, young and old, should come as no surprise. After all, Daddy Yankee is arguably the founder and ambassador of reggaeton, a Spanish language concoction of reggae, rap, hip-hop and other Latin rhythms, who earned international success after going mainstream with his chart-topping album "Barrio Fino." His ability to influence and establish a fan base is doubted by few. Saturday night he proved it, showing off his remarkable capacity to excite a crowd on command.

After an hour-late start, Daddy Yankee shifted straight into first gear, omitting an opening act and opting for a short video-clip of what appeared to be a homemade rendition of Rambo, with helicopters and men in camouflage uniforms marching to the beat of a drum. "The Big Boss" then impressed the crowd making his grand entrance aboard a helicopter that remained suspended from the ceiling throughout the entire show.

His opening performance, "Jefe", and other songs from his latest album "El Cartel: The Big Boss" offered plenty of opportunities for Daddy Yankee to emphasize his strengths: rapping or freestyling to the convergence of sounds that incited fans to gyrate their bodies while their mouths attempted to keep up with lyrics catchy enough to stick to their minds.

Bouncing back and forth between smash hits and less sensational ones, Daddy Yankee elicited the kind of response that only "The Big Boss" can. He seemed to know exactly when to follow an unpopular hit by a popular punch in order not to lose momentum, lest the real daddies in the crowd decide to take the family home. When that didn't work, asking Puerto Ricans to raise their hands in the air and shout did the trick.

Under clouds of smoke and between abrupt finishes punctuated by showers of sparks, the Latin Grammy winner found time to let the crowd know how proud he was to be Puerto Rican and to represent what he called the "Reggaeton movement." It was a wonder that the stage, along with the artist, his backup rapper and group of dancers didn't become engulfed in flames after the third round of fireworks.

After hits like "Gasolina" and "Lo Que PasóPasó," - songs from the album "Barrio Fino" that have become iconic hymns of the genre- the businessman in Daddy Yankee came out from under the smoke.

Shortly after leaving the stage for what appeared to be a costume change, he returned only to show a preview of his upcoming movie "Talento de Barrio" scheduled to be released in November. Keeping up with the Rambo theme, and making the crowd go wild, he was then elevated on a platform and then hung from the ceiling while he was bounced in and out of the crowd. Strategic transitions are obviously one of his fortes, though a career in gymnastics looks promising.

Less capable of evoking a response on command from the spectators was half-time show act Miguelito, the 8-year-old reggaetonero who called himself "The Little Boss" during his two-song performance in the limelight. The miniature rapper stood just tall enough to be noticed and overly exerted his undeveloped vocal chords in an effort to prove that his recent Latin Grammy nomination is well deserved.

Martha Phifer, www.orlandosentinel.com

The Female Stars In 40s That Still Rev Our Engines

"After last week’s Shoot ‘Em Up and this week’s The Brave One, the Fat Guys at the Movies got to thinking that there are still plenty of hot actresses out there in their 40s. Here’s a list of a dozen hot actresses that have reached 40 – or more – and still turn us on. These are the older women that still have what it takes to get us all revved up."

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Daddy Yankee Released a New Video, Called "Ella Me Levantó"

Daddy Yankee Comes to the Valley

Joey Cepeda is getting the ultimate birthday gift: to see reggaeton superstar Daddy Yankee in concert.

If the stars align, he will also get to meet him.

Daddy Yankee is playing Dodge Arena on Sept. 20, the same day as Cepeda’s 27th birthday.

“Hanging out with him afterward – would be the best birthday present ever,” Cepeda said. The McAllen resident has been a fan of the Puerto Rican artist since 2002, when he heard the singles from El Cangri.com, Daddy Yankee’s second release.

Daddy Yankee emerged as one of the leading voices of reggaeton with that album. He’s been topping the charts since with songs like “Gasolina,” “Lo que paso, paso and “Machucando.”

His newest album, El Cartel – The Big Boss, contains the catchy beats that have made him famous. The album delves into more serious issues like U.S. immigration policy, and the alleged feud between Yankee and reggaeton star Don Omar.

But it also features more arrogance than his previous albums. “Daddy Yankee no es un cantante, Daddy Yankee es un movimiento. – (Daddy Yankee isn’t a singer. Daddy Yankee is a movement.)

“The king is back” is the chorus. But maybe Daddy Yankee, born Raymond Ayala, is entitled to a little arrogance. He’s found his way out of the housing project, Villa Kennedy, of his youth. He’s survived being shot. And he’s made a virtually unknown genre of music – reggaeton – into something people bop along to on the treadmill and shake it up on the dance floor.

“Listen to his music all the time,” Cepeda said. “I listen to it when I work out. I like that he’s yelling and talking and expressing himself and being proud of his culture. I like his rhythm.” Cepeda also has a DVD of a recent Yankee concert. He hopes that the concert at Dodge will be as exciting as the one on the DVD.

“I want to see the girls wearing the New York Yankee uniforms,” he said. “I think he’s going to do something to make himself be remembered expecting that.” Cepeda also wants to hear his favorite song – “Dale Hasta Abajo” – played live.

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What: Daddy Yankee
Where: Dodge Arena
When: Sept. 20
Cost: $55, $75, $95, $125
Info: 668-7740

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Daddy Yankee's Great Success

Now that he's king of the hill, top of the heap, A-No. 1, and in his case, "The Big Boss," reggaeton megastar Daddy Yankee knows the forces that built him up might be eager to tear him down.

After all, the man who almost singlehandedly turned a litte known urban Latin style called reggaeton into a global phenomenon with his breakthrough disc "Barrio Fino" (2004), knows instant success like his often inspires jealousies, resentments and -- in his case, a big beef.

In a few short years, he's come a long way from the Villa Kennedy housing projects in San Juan, P.R., where he grew up as Raymond Ayala. Capitalizing on his multiplatinum momentum, DY has transformed himself into a brand name, signing deals for a syndicated radio series (ABC's "Daddy Yankee en Fuego"), clothing/footwear lines (Reebok), his own label (El Cartel Records), endorsements (Pepsi, Citroen) and more.

Despite all his fame, he insists, "I'm just a regular dude." Speaking Monday night in between studio sessions, he's also a busy dude. The mainland U.S. leg of his tour begins tonight at the Allstate Arena and runs through more than 30 cities (including many in Latin America) until December. "El Cartel: The Big Boss," the long-awaited studio follow-up to "Barrio Fino," came out in June. And his movie "Talento de Barrio," in which he stars and served as executive producer, hits theaters in October.

When you're king, however, everyone wants to wear your crown and stage a palace coup. DY knows that, and fires back at his detractors, including fellow reggaeton star Don Omar, on "Todos Quieren a Raymond" ("Everybody Loves Raymond"), which closes his "El Cartel: The Big Boss." On this song, which plays off the title of the long-running sitcom, he declares: "I won't be the artist you want me to be. I will be the artist I want to be."

"A lot of people don't know me, so I make fun of the whole situation, all the gossip [with this song]," he said. "That's the reason for the sarcasm. They can say what they want. In the end, it all comes down to business."

Most of the trash-talking lately centers on "El Cartel: The Big Boss," on which he wrote or co-wrote each of the 20 tracks. (The disc, which expands on reggaeton's trademark "dembo" beat, and mixes in hip-hop, funk and salsa picked up two Latin Grammy nominations this week.) Among the questions fueling chatter on the Internet: Why it hasn't sold as well as "Barrio Fino" or that disc's live version, "Barrio Fino en Directo" (2005). Why all guest artists (Fergie, Akon, the Pussycat Dolls' Nicole Scherzinger) and multiple producers (Scott Storch, will.i.am). Why LunyTunes, the production team behind "Barrio Fino," produced only one track on "El Cartel." And does it represent a move toward the mainstream?

Though "Barrio Fino" spent over a year ensconced at the No. 1 spot on Billboard's Latin albums chart, "El Cartel" entered at numero uno and then settled into the Top 10 (currently it's No. 7). DY, who believes sales will spark when the tour gets under way, points out that "Barrio Fino" also took a while to lodge at the top.

But he's satisfied with "El Cartel." "I wanted to show a side of me that people haven't seen before. I don't want to stay in the same format. That's the reason for the hip-hop and salsa [influences]. That's how I started out my music career."

That career stretches back to the early '90s, when began on the island's club circuit. Now 30, he first appeared on mixtapes by Playero, one of reggaeton's pioneers. DY's father was a salsa percussionist, and surrounded by music at home, the young Raymond immersed himself in hip-hop at an early age.

That's why it seemed natural for him to move more toward hip-hop on "El Cartel."

"Our movement has been influenced by hip-hop since Day 1, and I wanted to have another ingredient on the album," he said. "Plus, I wanted to work with will.i.am. [the front man/producer of the Black Eyed Peas]. And [producer] Scott Storch [whose credits include Beyonce and 50 Cent] is a genius. Plus, I got my Latin producers here," referring to Nely & Tainy, Humberto Viana and several others.

As for LunyTunes' scaled-back role on this disc, he said, "I want to work with everybody. I don't like to stay in same format. That's way I have worked my entire life. But they're [LunyTunes] my people, we're still working together."

Unlike Don Omar, who has engaged in a public feud with Daddy Yankee over who's really the Big Boss of reggaeton. ("Mensaje de Estado" on "El Cartel" addresses their long-running beef.) DY insists that the feud is a non-issue. "Right now, it's like I don't care about it. I don't speak bad about other artists. I believe in keeping it true."

Besides, he has more important items on his agenda. Though "El Cartel" offers the usual "hot mami" fare, he balances party-bangers with politically charged efforts like "Me Quedaria," which criticizes U.S. immigration policy.

"There's a lot things here that I haven't been said before. Like 'Me Quedaria,' nobody was rapping about that. I wanna speak for my people [Latinos], and I am passionate about immigration rights."

As for charges that "El Cartel," with its flashy contingent of Anglo guest artists, aims at the mainstream, he waves them away.

"I think comments like that come from people who haven't listened to the album. It's pure Daddy Yankee. I mentioned something to will.i.am about I liked Fergie's [work], and he said to me, 'What about doing a track with Fergie? Let's make it happen.' It was the same thing with Nicole and Akon. It just worked out.

"When it comes to music, I just let it flow. I'm an artistic and creative person. I'm not just a product, I'm the real deal."

LAURA EMERICK, Chicago Sun Times

Plies Released his Debut Album

A lot of artist in today’s industry talk the talk but not many actually walk the walk when it comes to real life and music, but on Plies' long awaited debut album he opens the world to witness his high’s and lows with songs like "Kept It Too Real" produced by The Beat Eaters and "Runnin My Mama Crazy" produced by DVS. Not too many up coming artist can sell out shows and get 10-15,000 a show but after listening to his first single "Shawty" featuring T-Pain and seeing the response from the radio, MTV, BET and the streets everyone can hear exactly why! Plies shows that he can make songs for the hood and for the masses shown own "Hypnotized" featuring and produced by Akon. Other songs to put on heavy rotation are "You" featuring Tank and "I Am The Club" produced by JR Rotem.

24hourhiphop.com