<\/p>\n
As a Cuban-American<\/a> millennial, I feel I grew up in reggaeton\u2019s golden era: the early and mid-2000s. Latinos<\/a> reveled in the fictional beef between Don Omar and Romeo Santos with their 2005 collab, \u201cElla y Yo.\u201d Wisin & Yandel gave us \u201cRakata,\u201d \u201cPam Pam\u201d and \u201cSexy Movimiento,\u201d and that\u2019s just for starters. Tito El Bambino delivered mushy ballads like \u201cEl Amor\u201d and bangers like \u201cCaile,\u201d while Ivy Queen released \u201cQuero Bailar\u201d and \u201cLa Vida Es As\u00ed,\u201d anthems for women hanging in the club or getting over heartbreak alike. Of course, the epitome of the era was Daddy Yankee\u2019s \u201cBarrio Fino,\u201d the crown jewel of the album being the ever-popular \u201cGasolina.\u201d<\/p>\n No hate to reggaeton\u2019s simple-yet-foolproof nature, but the genre has come a long way since the early aughts. Artists like Calle 13 have diversified with new sounds and lyrical content that prove popular Latin music has more to offer than raunchy videos and grind-inducing beats. Most recently, Bad Bunny<\/a> has done the same, and on an international level of stardom that I\u2019d argue even Daddy Yankee didn\u2019t achieve. After being invited by RITZ (yes, like the crackers) to attend Bad Bunny\u2019s DeB\u00ed TiRAR M\u00e1s FOToS<\/em><\/a> tour in San Juan, Puerto Rico<\/a>, I knew I had to go. What I didn\u2019t<\/em> expect was to be so in my feels during and after the concert.<\/p>\n