La Old Skul

"La Old Skul" by Rauw Alejandro is a vibrant anthem of empowerment and liberation following a painful breakup. The song's core message revolves around a woman's decision to stop grieving a past relationship and reclaim her independence and joy. The title itself, which translates to "The Old School," signifies a return to the classic, unadulterated, and powerful essence of reggaeton, often referred to as "perreo." This style of dance and music becomes the vehicle for her emotional transformation. By immersing herself in the "old skul" reggaeton, she's not just dancing; she is tapping into a raw, unapologetic energy that helps her shed her pain and rediscover her strength.

The lyrics narrate a story of a woman who, tired of crying over a man who hurt her, decides to go out with her friends and have a good time. This act of going out is portrayed as a conscious choice to move on and not let sorrow define her. The recurring line, "Se cansó de llorar, que ningún pendejo la vuelve a lastimar" ("She got tired of crying, that no asshole will hurt her again"), serves as a powerful mantra of self-respect and resilience. The song celebrates female friendship as a support system, with her friends being the ones she calls to embark on this night of liberation. The party scene is depicted as a space of freedom where she can express herself through dance and regain her confidence. Her interactions on the dance floor, including a new fleeting romantic connection, are not about seeking validation but about embracing her sensuality and living in the moment. The mention of listening to reggaeton in her Mercedes symbolizes her newfound independence and self-worth. Ultimately, "La Old Skul" is a celebration of overcoming heartbreak, the power of music and dance as a form of therapy, and the triumphant journey towards self-love and empowerment.

The narrative unfolds around a woman who has reached her breaking point with sorrow. She is tired of crying over a man who has hurt her and vows that no “pendejo” (asshole) will ever cause her pain again. This resolution marks a pivotal moment of self-empowerment. To enact this change, she takes immediate action, calling her friends to go out for the night. The plan is simple yet profound: to let go, have fun, and reclaim her happiness. She’s getting ready for a night of “perreo a la old skul,” a style of reggaeton dancing that is intense and rooted in the genre's classic era, suggesting a return to something authentic and powerful.

As the night begins, she and her friends are fully immersed in the party atmosphere. The protagonist becomes the center of attention, not because of her sorrow, but because of her confident and liberated energy. People are curious about what happened with her ex-boyfriend, but she dismisses the inquiries. She’s moved on, and her actions speak louder than words. The lyrics describe her as being on fire, captivating everyone with her dancing. She’s not just moving to the music; she’s exorcising her past pain on the dance floor. The phrase “three strikes, you're out” is used to signify that her ex had his chances and he blew them. There’s no looking back.

The song delves into the physical and emotional transformation of the protagonist. She’s now listening to reggaeton in her Mercedes, a symbol of her independence and elevated status. The pain that once consumed her is gone; she feels nothing from the past hurt. This newfound invincibility is a direct result of her decision to stop mourning and start living. The lyrics also touch upon a new romantic encounter. She locks eyes with someone at the party, and there's an instant connection. They dance, and the chemistry is palpable. This encounter is not about finding a replacement for her ex but about embracing the present moment and her own desires. It’s a physical and emotional release, a celebration of her freedom.

The chorus is a powerful and recurring affirmation of her decision: “Se cansó de llorar, juró que ningún pendejo la vuelve a lastimar” (She got tired of crying, she swore that no asshole would hurt her again). This refrain serves as the song's central theme, emphasizing her journey from heartbreak to empowerment. The narrative is not just about a single night out; it's about a fundamental shift in her mindset. She has taken control of her life and her happiness. The song ends with a sense of triumph. The protagonist has successfully navigated her post-breakup turmoil and emerged stronger and more self-assured. The “old skul” perreo is not just a dance style; it's a metaphor for her return to a more powerful, unapologetic version of herself. She has shed her vulnerability and embraced her resilience, finding liberation in the rhythm of old-school reggaeton.

"La Old Skul" is a track from Rauw Alejandro's sophomore studio album, VICE VERSA, which was released on June 25, 2021. The album itself was a significant project for Alejandro, as he began working on it just two weeks after completing his debut album, Afrodisíaco. With VICE VERSA, Alejandro aimed to be more experimental and move beyond his signature reggaeton and Latin R&B sounds, incorporating elements of electropop, funk, and house music. However, "La Old Skul" stands out as a deliberate homage to the classic reggaeton that influenced him.

The song was produced by Caleb Calloway and El Zorro. Rauw Alejandro is credited as the composer and lyricist. A key element in the creation of "La Old Skul" is its use of sampling, which is central to its nostalgic and referential nature. The track notably samples two iconic old-school reggaeton songs: "En la Cama" by Nicky Jam and Daddy Yankee, and Sir Speedy's "Siéntelo." This intentional sampling is a direct nod to the pioneers of the genre and serves to sonically transport listeners to the early 2000s, the golden era of reggaeton. The creation of "La Old Skul" reflects Rauw Alejandro's deep appreciation for the roots of his musical genre and his desire to celebrate them while still pushing his artistic boundaries on the rest of the VICE VERSA album. The recording engineer for the track was Jorge E. Pizarro, also known as "Kenobi," and it was mixed and mastered by José M. Collazo, or "Colla."

The rhyme and rhythm of "La Old Skul" are fundamental to its identity as a reggaeton track that pays homage to the genre's classic era.

Rhythm:

The song is built upon the characteristic dembow rhythm, a syncopated beat pattern that is the backbone of reggaeton. This rhythm is infectious and inherently danceable, driving the song's energy and encouraging physical movement. The tempo is upbeat, creating a vibrant and celebratory atmosphere perfect for a party scene. The interplay between the driving beat and Rauw Alejandro's vocal rhythm is a key element. His vocal delivery often plays with the beat, sometimes riding it directly and at other times creating a syncopated counter-rhythm, which adds dynamism and flow to the track.

Rhyme Scheme:

The rhyme scheme in "La Old Skul" is generally consistent with the conventions of reggaeton and Latin urban music. It often employs AABB or ABCB rhyme schemes in its verses, which makes the lyrics catchy and memorable. The rhymes are predominantly perfect or near-perfect rhymes, which contributes to the song's smooth and flowing lyrical quality. For example, in the chorus:

"Se cansó de llorar (A)
Que ningún pendejo la vuelve a lastimar (A)
Llamó a sus amiga', que hoy la pase a buscar (A)
Puesta pa' la noche, se va a desquitar (A)"

This consistent rhyming pattern, combined with the rhythmic repetition of the dembow beat, creates a hypnotic and engaging listening experience. The rhyme and rhythm work together to underscore the song's themes of liberation and celebration, making it not just a story to be heard but an anthem to be felt and danced to.

"La Old Skul" employs a range of stylistic techniques, both musically and lyrically, to create its nostalgic and empowering atmosphere.

Musical Techniques:

• Sampling: The most prominent musical technique is the use of samples from classic reggaeton tracks. The song incorporates elements from "En la Cama" by Nicky Jam and Daddy Yankee and "Siéntelo" by Sir Speedy. This not only pays homage to the genre's pioneers but also immediately establishes a nostalgic and authentic old-school reggaeton sound.
• Synth Melodies and Dembow Rhythm: The song is built upon the foundational dembow rhythm that characterizes reggaeton. This is complemented by catchy synthesizer melodies that are reminiscent of early 2000s reggaeton production, creating a sound that is both retro and danceable.
• Vocal Delivery: Rauw Alejandro's vocal performance is energetic and charismatic. He uses ad-libs and exclamations that are characteristic of reggaeton, which adds to the song's party-like and anthemic feel. His delivery is confident and playful, mirroring the protagonist's newfound attitude.

Literary Techniques:

• Narrative Structure: The lyrics follow a clear narrative arc, telling the story of a woman's transformation from heartbroken to empowered over the course of a night out. This storytelling approach makes the song's message more relatable and impactful.
• Repetition: The chorus, "Se cansó de llorar, que ningún pendejo la vuelve a lastimar," is repeated throughout the song, functioning as a powerful refrain that reinforces the central theme of empowerment and resilience. This repetition makes the message memorable and anthemic.
• Colloquial Language: The lyrics are written in a colloquial and direct style, using slang and informal language (like "pendejo"). This makes the song feel authentic and relatable to its target audience, capturing the way people actually speak.
• Imagery: The song uses vivid imagery to paint a picture of the party atmosphere and the protagonist's liberation. Phrases like "se maquilló, salió, me miró y me guilló" ("she put on makeup, went out, looked at me, and showed off") create a strong visual of her confidence and allure.

"La Old Skul" is a song that, while part of a larger, commercially successful album, holds its cultural significance primarily within the context of reggaeton and Rauw Alejandro's discography. The song is a track on his highly acclaimed second studio album, VICE VERSA, released in 2021. The album as a whole was a major success, showcasing Alejandro's versatility and willingness to experiment with different genres.

The primary cultural influence of "La Old Skul" lies in its explicit homage to the "old school" era of reggaeton. By sampling iconic tracks like "En la Cama" by Nicky Jam and Daddy Yankee and Sir Speedy's "Siéntelo," the song serves as a bridge between the genre's foundational artists and its contemporary stars. This act of looking back and celebrating the roots of reggaeton was appreciated by both critics and fans, reinforcing Rauw Alejandro's credibility and respect for the genre's history. In a musical landscape where reggaeton is constantly evolving, "La Old Skul" acts as a powerful reminder of the classic sounds that made the genre a global phenomenon.

While it was not released as one of the main singles from VICE VERSA like the global hit "Todo de Ti," "La Old Skul" became a fan favorite and a staple in Rauw Alejandro's live performances, particularly during his VICE VERSA Tour. Its high-energy and nostalgic feel make it a perfect track for concerts and parties, contributing to its sustained popularity among his fanbase. The song's theme of female empowerment and post-breakup liberation also resonates strongly with a contemporary audience, making its message as relevant as its sound is nostalgic.

"La Old Skul" is rich with symbolism and metaphors that enhance its central theme of empowerment and liberation after a heartbreak.

Old School Reggaeton (Perreo a la Old Skul): The most significant symbol in the song is the concept of "old skul" reggaeton itself. It represents a return to something authentic, raw, and powerful. For the protagonist, engaging in "perreo a la old skul" is not just a style of dancing; it's a symbolic act of shedding the pain and vulnerability of her past relationship and reconnecting with a more confident and unapologetic version of herself. It's a form of therapy and a celebration of her resilience.

The Mercedes: The line "Ahora escucha reggaetón en su Mercedes" ("Now she listens to reggaeton in her Mercedes") uses the luxury car as a symbol of her elevated status, independence, and self-worth. It signifies that she has moved on to a better place in her life, both materially and emotionally. She is in the driver's seat of her own life, in control of her destiny and her happiness.

Dancing: Throughout the song, dancing serves as a metaphor for freedom and emotional release. The protagonist's movements on the dance floor are a physical manifestation of her liberation from sorrow. It's through dance that she reclaims her body, her confidence, and her joy.

Three Strikes, You're Out: The lyric "Tres strike' y está' poncha'o" ("Three strikes and you're out") is a direct metaphor borrowed from baseball. It symbolizes that her ex-partner has had multiple chances to treat her right but has failed. This line reinforces her decision to move on, framing it as a final and irreversible judgment. It underscores her newfound resolve and refusal to tolerate any more mistreatment.

"La Old Skul" features several recurring phrases and motifs that are central to its narrative and thematic impact.

The Chorus: The most significant recurring phrase is the chorus: "Se cansó de llorar, que ningún pendejo la vuelve a lastimar. Llamó a sus amiga', que hoy la pase a buscar, puesta pa' la noche, se va a desquitar." This refrain acts as the song's thesis statement, encapsulating the protagonist's emotional turning point and her plan for reclaiming her happiness. Its repetition throughout the song transforms it into a powerful mantra of empowerment and self-respect.

"Perreo a la Old Skul": This phrase, which gives the song its title, is a recurring motif that signifies more than just a style of dance. It represents a return to an authentic, powerful, and unapologetic self. It's a symbolic act of liberation and a celebration of the roots of reggaeton culture. Whenever this motif is invoked, it reinforces the theme of finding strength and joy in nostalgia and cultural identity.

"Rauw": Rauw Alejandro's signature ad-lib, where he says his own name, is a recurring musical motif in this and many of his other songs. It serves as an artist's stamp on the track, a mark of his presence and persona. In the context of "La Old Skul," it adds to the energetic and confident party atmosphere.

Ad-libs and Vocal Exclamations: Throughout the song, there are recurring ad-libs and exclamations like "¡Yah!", "¡Sube!", and "¿Qué?" These are characteristic of the reggaeton genre and function as musical motifs that punctuate the rhythm and enhance the song's high-energy, celebratory mood. They are part of the "old school" flavor that the song aims to replicate.