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