Step by step the whole city, from the humble communes settled in the hills and mountains, to the wealthiest and most exclusive neighborhoods of the city, was adopting this sound composed of dembow, sandungueo and a lot of blin-blin. The city’s radio stations began to leave aside the traditional genres that made up a large part of their usual programming: merengue, vallenato and even salsa now went to the bench to make way for Daddy Yankee’s “Latigazo”, the hot bombs of Luny Tunes & Noriega on Mas Flow and the new corner guaguancó introduced by the so-called ugly of the pretty girls, Tego Calderón.
Along with the radio boom, reggaetón was giving Medellín new inputs and resources to continue forging this emerging industry: bootleg CDs were sold in schools with the new albums downloaded from pages like Blinblineo.net and ElCorillord.com; nightclubs, as a bet, began to open their doors to minors: Seven Eleven, Crazy’s Club and Lomalinda in Sabaneta, were some of the first places where alcohol was exchanged for intense perreo, filling entire rooms with teenagers thirsty for the thundering productions of DJ Blass, Luny Tunes, DJ Joe, DJ Rafy Mercenario, among others.
Things escalated quickly, and from small venues intended for minors, they moved on to stadiums full of people. Daddy Yankee landed in 2002 to present the hits from his album El Cangri.com at the Polideportivo Sur in Envigado, in front of no more than 2000 people. Only a year later, Ramón Luis Ayala would set foot on Medellin again, this time in the company of his colleagues Héctor & Tito, Ivy Queen, Tego Calderón and Don Omar, all summoned for the concert called “Los bosster del reggaetón”, which would congregate in the city’s main football stadium, the Atanasio Girardot, more than 53,000 people ready for a real perreo marathon with their new idols.