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There was her aforementioned appearance on “Rakata,” one of Wisin y Yandel’s first singles, and one of the only reggaeton songs to make it on the Billboard Hot 100. Daddy Yankee)” in 2005, Alexis y Fido’s “Eso Ehh” in the same year, and Plan B’s “Frikitona” in 2006. Jenny lent her talents to Wisin y Yandel’s “Paleta (feat. While Glory provided the hooks for crossover hits like Daddy Yankee’s “Gasolina” and Don Omar’s “Dale, Don, Dale,” Jenny triumphantly carried the torch after Glory went solo in 2005, at the height of reggaeton’s commercial explosion. They drove me crazy sometimes,” she laughs.īack then, a female chorus guaranteed the success of a reggaeton hit. “From then on, they sought after me a lot, blowing up my phone with calls. Soon after, Hector El Father recruited her for “Noche de Travesuras,” a new Luny Tunes production. I’m not going to do that harm to you.’” Eventually, they convinced her to record the feature, on the condition that her verse be removed once they found a suitable replacement vocalist.īut a substitute singer was never found, so after re-recording the feature, “El Palo” went straight to Puerto Rican radio, where it stayed on the charts for weeks.
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They begged her to appear on a new record called “El Palo,” but she was reluctant. It was only after she met Alexis y Fido through a friend at a music video shoot that she began to see career potential in the industry.Īfter developing a fast friendship with the reggaetoneros, Jenny made a trip to the studio where Alexis y Fido were recording. It fueled her love for the genre, but as a liquor promoter in San Juan, she never thought she’d rub shoulders with stars like Daddy Yankee or Wisin y Yandel. She performed in school talent shows and plays, and longed to harness the vocal skills of artists like Ednita Nazario and Mariah Carey. As a young girl, Jenny would scrape together the little money she had to buy DJ Playero cassettes at school, which she hid from her then disapproving mother.
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That’s not to say she never had a passion for music. Photo by Itzel Alejandra Martinez for Remezcla Destiny took me down this path,” she says. That precipitous glamour and fame is something she seems to recognize too, as a chance encounter with Puerto Rican reggaetoneros Alexis y Fido thrust her into the spotlight. It’s easy to mistake her for another fabulous (if hurried) Boricua walking through South Williamsburg.
DADDY YANKEE GASOLINA TUMBLR FULL
In pale blue jeans, kitten heels, and an immaculately preened tubi, Jenny strolls into our office with a suitcase full of makeup in tow. But if it weren’t for a new management contract, reggaeton’s second coming, and a newfound sense of purpose, her history may have gone unwritten. With over 80 vocal features under her belt, Jennifer Marie Ramos Dávila may be reggaeton’s most prolific guest vocalist. There’s Wisin y Yandel’s “Rakata,” where Jenny whines, “Papi, dame lo que quiero,” or “Contacto,” a 2005 sleeper hit where Yaviah tries to woo Jenny in a dembow-driven mating ritual. Behind those come-ons were real women, whose only shot at making their mark on a new commercial gold mine was often a carefully placed “ay papi.”Įnter Jenny La Sexy Voz, the Puerto Rican singer who engineered the hooks on some of reggaeton’s biggest hits.
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But more than playing the role of the sexually subservient side chick, these disembodied voices were often what made a perreo anthem hot in the first place. Whether we’re talking about whispered sex commands or Glory wailing “dame más gasolina” in Daddy Yankee’s 2005 megahit, women’s voices often appeared on reggaeton songs to nourish the libidos of pop stars. Behind every early 2000s reggaeton hit, there’s the breathless moan of a Puerto Rican mami.