Reggaeton superstar Daddy Yankee finally admits that the beat of Shabba Ranks song “Dem Bow,” produced by Bobby Digital which samples Steely and Clevie’s Fish Market riddim, inspired the entire reggaeton culture. The song and riddim which also became The Fake Pounder Riddim, is currently the subject of a copyright lawsuit, Yankee says, “This beat with the drums is what inspires us to create our own direction in terms of culture, rhythm, and lifestyle within the genre.”
He made the revelation in episode 1 of the new Peacock docuseries “Reggaeton: The Sound That Conquered The World,”
DJ Nelson, a kew figure in reggaeton’s development also added, “That’s the rhythm we adopted and made ours.”
Yankee also with several other top selling reggaeton superstars and the three major record labels are currently defendants in the lawsuit, filed by Steely & Clevie Productions, along with Cleveland Constantine Browne and the estate of Wycliffe Johnson, with claims that over 1,800 reggaeton and pop songs, including those by artists like Drake, Justin Bieber, Daddy Yankee, and Bad Bunny, infringe on the 1989 Fish Market riddim. The lawsuit argues that these songs copied or sampled the Dem Bow riddim popularized by Shabba Ranks.
The plaintiffs aim to use episodes of Ivy Queen’s Loud podcast as evidence, where she had also acknowledges the impact of the Dem Bow beat on reggaeton. Additional interviews and music tracks by prominent reggaeton artists are also submitted as part of the case, which is set for a hearing in Los Angeles.
Daddy Yankee, Karol G, and over 150 other artists sought to dismiss a massive copyright lawsuit first filedin2021 accusing them of infringing on Steely & Clevie’s 1989 “Fish Market” riddim, which influenced the “dembow” rhythm used in many reggaeton tracks.
Represented by attorneys from Pryor Cashman, the accused artist argued that the Steely and Clevie are trying to claim ownership over unprotectable musical elements common in reggaeton, effectively monopolizing the genre. A total of 89 defendants are part of the suit including Drake, Justin Bieber, Wisin and Yandel and the major music companies backing their defense.
The legal team criticizes the lawsuit’s complexity and lack of specific allegations against each defendant. They also point out that Steely & Clevie waited until 2020 to register the copyrights, pushing the limits of the system. If the motion to dismiss was denied, and Yankee’s new admission comes during the discovery phase the lawsuit which set to be complete in May.
In the documentary, DJ Nelson also recalls how dancehall took over Puerto Rico in the late ’80s and early ’90s in episode 1 of Reggaeton: The Sound That Conquered The World. “The genre had such an impact that it went toe to toe with rap.”
Nelson, along with DJ Negro and Boy Santana, was responsible for naming the legendary nightclub that helped spark the reggaeton movement. He shared how they came up with the name: “There was a record called ‘Bring The Noise,’ which was Public Enemy’s 1988 Hip Hop track. We were all debating, and I said I like the name, ‘The Noise.'”
The Noise nightclub became a hot spot in Puerto Rico even before reggaeton existed. Catering to a younger crowd who embraced a rebellious style with baggy pants, Nelson explained that this was a major part of the club’s success, helping to set the stage for reggaeton’s rise in Puerto Rico. “We didn’t discriminate, that was their place to have fun,” DJ Negro added.
With The Noise as the musical base in San Juan, “That Jamaican influence” became key, as DJ Nelson pointed out: “To me, Jamaica is the mother. In Puerto Rico, dancehall was huge. No one was listening to that though—they were listening to freestyle and house music. I took a chance and made a mixtape. On side A was house music, and side B was dancehall.”
“In the late ’80s and early ’90s, dancehall took over the island,” says Daddy Yankee. “I saw all their shows—Cutty Ranks, Ninja Man, Shabba Ranks. Shabba was a phenomenon here in Puerto Rico. There was Dirtsman, Papa San, Mad Cobra, Shaggy.”
Shaggy also makes an appearance in episode 1, explaining dancehall’s dominance in Brooklyn at the time: “The Jamaican culture was kinda dominant in Brooklyn. The first time I heard reggaeton, I heard a lot of dancehall influence,” Shaggy noted. “I would say more than hip hop.”
“Its the same drum pattern they have had for years. So that’s dancehall,” Shaggy added about his observance on the Reggaeton Dem Bow relationship.
The documentary also explores the link between Panama and Jamaica in developing reggae music in Spanish, with DJ Negro explaining that Panamanians had been singing reggae in Spanish since the 1960s. However, Bad Bunny offered his own take: “The recipe and some of the ingredients came from Panama, but the kitchen was here in Puerto Rico, and we cooked in a very big pot.
