Farina warns that she does not want to be taken out of context or misunderstood before stating the following: “Tokischa is like a Madonna in urban music in this generation,” she states, and then goes on to defend that statement.
She explains that, like the North American singer and songwriter, the Dominican rapper is causing a revolution, since in her songs she is giving voice to things that many women live, but that they do not dare to express, because of culture, the way in which that they were educated or because of their personality.
The Colombian artist, who was visiting Santo Domingo to publicize the album that, together with Puerto Rican Lenny Tavarez and other artists, is part of the soundtrack of the film “Flow Calle”, directed by Dominican Frank Perozo, applauds what that Tokischa Altagracia Peralta, full name of the interpreter of “School contempt”, wants to convey to people.
“I think she is an artist, what she creates, her concept, her voice, her clothes, and that is why I wanted to collaborate with her and she with me, we respect each other,” says Farina, referring to “Perras como tú”, a song they recorded together.
He understands that the genre is like that, and that contrary to seeing it as a problem, he considers it a virtue, since in it the artists can express themselves as they are. “I am vulgar. In many songs I talk about everything”, comments the singer of “Ram Pam Pam”, “Las nenas” and “Adicta al perreo”, among others.
She appreciates that today, contrary to the past, there are many girls making urban music and that although it is a constant struggle, there is unity among them.
The attacks that she and other colleagues may receive for speaking explicitly in their songs are not the same as when their male counterparts do it, something that she trusts will change. “We are going to break that little by little,” says the singer, rapper and actress, born in Medellín, Colombia, 35 years ago.
But, for the fact that many of the reggaeton songs and other urban rhythms made by male performers are branded sexist, and that they objectify women, she does not blame her male colleagues.
Along the same lines, that urban music expresses what its authors have seen, is his partner in the film “Flow Calle”, Lenny Tavarez. “We reggaeton players and the urban genre are the neighborhood newspaper,” defends the singer, composer, dancer and record producer, born in San Juan, Puerto Rico, in 1987.
The interpreter of “Medallo”, “Bellaquita” and “Mírame”, remembers that what those who make urban music have seen in their environment is what they are going to expose in their works.
That is why he explains that what young people see in the neighborhood is violence, sex, drugs, abuse, bad words, little education, it is what will have to be reflected in the songs they make.
For this reason, he considers that, apart from showing that reality, it is possible that some change could take place in which he listens to the explicit themes.
“Sometimes listening to these stories also awakens feelings, conscience, denunciation, wakes up the kids,” he says.
In this way, Tavarez, whose vocal proposal is closer to the melodic than other of his colleagues, understands that it can also be a way of overcoming, of leaving the neighborhood, since it does not have to define you. “I’ve been in my career for 12 years, I’m explicit but there has been an evolution year after year,” he says, and that in this Dominican film he has his first time in the cinema.