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The official Cuban press came to the defense of the recent concert by reggaeton artist Bebeshito in Miami, referring to Alexander Otaola as "the unspeakable."
A podcast by journalist Arleen Rodríguez Derivet, reproduced by Cubadebate, stated that Bebeshito's performance on December 28 was "a new defeat for the one that cannot be named" and celebrated the "notable embarrassment of Otoala" for predicting that the stadium would not be filled.
"The unspeakable doesn't manage to do anything right. Remove the influencer label from him; he doesn't seem to influence anyone anymore, except to provoke opposition," expressed journalist Bárbara Betancourt in the recording.
Supporters of the regime recalled statements made by Miguel Díaz-Canel at the last UNEAC Congress, where the leader practically defended reggaeton. He criticized "expressions of disdain or undervaluation from sometimes elitist positions" towards the genre and called for its inclusion in the cultural policy of the revolution.
Finally, the article points out that the Cuban state "has not turned its back on the phenomenon" and acknowledges that just as it filled a stadium in Miami, "in Cuba it fills other venues."
This is not the first time that regime journalists have endorsed the undeniable success of Oniel Bebeshito's concert at the Pitbull Stadium in Miami, which drew an audience of 20,000 people.
The day after the event, Ana Teresa Badía from Radio Rebelde wrote on Facebook that "never before had a Cuban from the urban genre starred in a show of such magnitude in the United States."
Badía emphasized the need for more inclusive cultural policies that foster a strong artistic education and promote lyrics that are "less vulgar and more enriching," highlighting that the repartero genre is a cultural, sociological, and communicational phenomenon that cannot be overlooked.
For his part, journalist Oni Acosta Llerena took a more analytical stance, noting that context is essential when assessing the impact of these musical phenomena: "Twenty thousand people in Miami, the epicenter of reggaeton and the audience distribution for those of Cuban and Latin origin, is not a definitive measure."
Both agreed on the importance of studying what is promoted and consumed in Cuba, making it clear that the massive impact of reggaeton is undeniable.
Frequently Asked Questions about the Oniel Bebeshito Concert and the Reaction of the Cuban Regime
Why was Oniel Bebeshito's concert in Miami considered a milestone?
Oniel Bebeshito's concert in Miami was deemed a milestone as he managed to fill the Pitbull Stadium with 20,000 attendees, making him the first Cuban reggaeton artist to achieve this in the United States. This success reflects the increasing impact of Cuban urban music on the international stage.
How did the Cuban state media react to Bebeshito's concert?
The official Cuban press defended Bebeshito's concert and criticized Alexander Otaola, labeling him as "the unmentionable." The Cuban regime used the event to emphasize the value of reguetón as part of its cultural policy, arguing that it has had a significant impact both in Cuba and abroad.
What was Alexander Otaola's reaction to the success of Bebeshito's concert?
Alexander Otaola reacted ironically to the success of the concert, highlighting that the stadium was "80% full" and that attendees chanted his name. His presence remained a trending topic, despite his previous criticisms regarding Bebeshito's ability to fill the venue.
What does Bebeshito's success mean for Cuban urban music?
Bebeshito's success at the Pitbull Stadium marks a significant advancement for Cuban urban music, solidifying its influence in the United States and providing a role model for other artists in the genre. This event highlights the increasing acceptance and potential of Cuban reggaeton on the international stage.
What message emerges from the Cuban regime's support for reggaeton?
The Cuban regime's support for reggaeton reflects an attempt to integrate this popular genre into its cultural policy, seeking legitimacy and connection with the masses. Miguel Díaz-Canel's statements about reggaeton highlight an effort to embrace and promote the genre as part of Cuban cultural identity, despite the elitist criticisms it has faced.
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