Camilo's "sex free" reggaeton: recipe for success or divine miracle?
Camilo is only 27 years old, but he seems to have found a secret formula in reggaeton that many have been looking for.
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Journalists speak of "clean" music, adjectivize his verses as "pure," and highlight his refusal to talk directly about sex. Many female followers thank him for not treating women as objects.
In times of confinement, many families have found in his lyrics catchy rhythms for all ages.
Camilo, born in Medellin in 1994, has lived in Monteria most of his life. He jumped to the scene the year after participating in X Factor in Colombia in 2007.
He is part of the tabloid circuit. He is married to Venezuelan actress and singer Evaluna Montaner, who reportedly participated in the Nickelodeon series and sang the Christian ballad La Gloria de Dios on the Frequent Flyer Tour.
His wife has spoken several times to the media about his Catholicism, Christian commitments, or the apparent difficulties reconciling Catholic morals with certain modern trends.
Camilo has increasingly echoed his beliefs to the point that he surprised many at the Latin Grammy Awards ceremony for Tutu with Pedro Capó when he clarified that "God recognizes me in public because I seek Him in private and in secret. That is the only secret there is.
It was in this apparent gratitude that he again revealed the secret of his formula.
By publicly identifying himself as a Christian, he appeals to that audience, already exposed to the unstoppable global rhythms of Latin reggaeton. He offers a more commercial version in terms of age groups and advertising campaigns.
Secondly, it solves the problem of many parents who were worried not about their sons and daughters dancing but about the stark lyrics with which they do so. It offers those same dance rhythms in a gentrified way and as if it had parental control turned on.
The criticism of certain dress codes can be classist insofar as certain elements such as gold chains functioned as a symbol of personal success from absolute poverty.
Thirdly, following the line of Christian gentrification, it renames the female body's empowerment and its visibility as if there were nothing wrong in terms that resemble prostitution. In reality, they are the politics of the new bodies.
Labeling the reggaeton's sensuality as "irreverent," he seems to want to ally itself with feminism.
It is clear that he has a formula, and his success will be potentially unstoppable. Still, nothing will prevent perreo dancers from knowing who seriously dominates seduction on the dance floor.