An ideal place to begin tracing Shakira’s linguistic trajectory is by unpacking her position in the U.S. music industry as it is most commonly represented—that is, as a crossover artist. Dominant U.S. popular culture defines crossover in explicitly linguistic terms whereby an artist is only capable of crossing into the U.S. music industry when they have successfully produced English music. The Anglo conformity embedded in this idea not only marginalizes Latin American music production to a peripheral position, but also denies the complexities associated with musical production by Latinx artists who seek to cater to listeners in both markets. In addition, the act of crossing over perpetuates a standard south-to-north ideology that racializes …show more content…
Her first two albums, Magia (1991) and Peligro (1993), were recorded completely in Spanish and released mainly in Colombia to very little success, putting Shakira’s musical career on the line. It was not until the release of Pies Descalzos (1995) that Shakira exploded onto the Latin American music scene . Suddenly, her name was a staple in households across all of Latin America where her signature vibrato blared from radios and speakers. And not soon after, she captured the attention of the U.S. music industry, though it would take a few years before she became a complete icon in the U.S.-Latinx music …show more content…
She co-wrote nearly every song on the record, creating a personal and strong lyrical signature that remains commonplace in her music to this day. Soon after, she moved to the U.S. to work with the Estefans on her first English album, a move which put her even closer to her dream of global stardom . While this series of events may fit the traditional narrative of a crossover artist in more ways than one, such an explanation is too simplistic. Pies Descalzos was not merely a point which marked the final step before crossing over. For Shakira, Pies Descalzos was the point which marked the start of her crossover into the global, first by way of the U.S. and Europe. Since her success, Shakira has refused to allow the re-release or re-recording of either Magia or Peligro, citing the “youthful immaturity” associated with these works . But more realistically, Magia and Peligro harken back to a time before Shakira’s global conquest, marking a moment in her musical history which simply does not fit into the international narrative that she has
Latin American identity, something so simple yet so powerful, an idea that has caused numerous countries great political, cultural, and economical problems. Something that has been lost at times and forced back into play, an ongoing dream that has taken its toll on an entire continent. In Calle 13’s song “Latinoamerica”, the idea of Latin American identity is portrayed through the thoughts of an actual Latin American. In this piece, Calle 13 brings up numerous issues occurring in todays Latin America. It is a manifest against great economic instability in Latin America, ongoing political issues, and what true Latin American identity means. Calle 13 brings these points up with great precision, for example “Soy una fábrica de humo, mano de obra
In 1990, Selena released a collection named Mis Primeros Exitos. This collection some of Selenas best songs in the 80’s. Selena also released another album after that one named Ven Conmigo or Come With Me in English. One of the big accomplishments in her career was her album Ven Conmigo, because it was the first Tejano album to reach the gold status. In 1991 Selena did a duet with Alvaro Torres, the song they did was the song “Buenos Amigos” which mean Good Friends in
Canciones de arargue, or songs of bitterness – was the original name for the creolized form Bachata. Many closely associate Bachata with the other Caribbean styles of the African diaspora such as merengue and son. In Intro to Music Cultures of the World we were tasked with attending a world music concert. I chose to attend a Bachata concert because I already had an interest in Caribbean music. The concert was not as I had expected, but was rather intriguing and thoroughly enjoyable. In this report I hope to analyze Bachata’s roots, report on its concert style, and compare it to another piece in the genre.
Selena was amazing on the stage and the crowds loved her. It really showed when she came out with "Buenos Amigos.” “Buenos Amigos” was a collaboration with Alvaro Torres, and it became a huge hit! The song skyrocketed to number one spot on the Billboard’s Latin charts, and this introduced her to audiences throughout the United States of America. With everything that was going on Selena took a break from her crazy schedule to mary Christopher Perez, who was the band’s lead guitarist on the April second of 1992. When Selena came back, she continued to grow even more in popularity with her hit song "Donde Quiero Que Estes,” and she even reached wide markets for her music career! Selena’s fame was growing and it enlarged record sales. In July of 1994, she released Amor Prohibido. The Amor Prohibido album would soon sell more than one million copies! Amor Prohibido was one the top selling Latin album of the year. It was also called Tejano Music Awards’, Album of the
Over the course of history, music has developed from a personal, academic pursuit to an extension of a global marketplace and an attribute of this global community. In order to better address this conversation and the surrounding idea, Feld utilizes the platform he has developed to pose the argument that music has long been cultivated as a means of communication and interaction. This relationship is developed and analyzed as a case study in this article, which happens to be in discussing a traditional lullaby first developed in the Solomon Islands, which was in turn recorded by a European pop group that sold millions of copies of a rendition of the song. Furthermore, the article goes to show the trend of music to be redistributed and developed in the sense that it is later reused by a popular jazz musician in Europe. Feld then begs the question about the nature of the redistribution of music and whether this facilitates a hybridization of music or an alienation and artistic degradation of the original work for the indigenous artists.
Vigil, Ariana. 2009. “Transnational Community in Demetria Martinez's Mother Tongue”. Meridians: Feminism, Race, Transnationalism, 10 (1): 54-76
In the words of rapper Busta Rhymes, “hip-hop reflects the truth, and the problem is that hip-hop exposes a lot of the negative truth that society tries to conceal. It’s a platform where we could offer information, but it’s also an escape” Hip-hop is a culture that emerged from the Bronx, New York, during the early 1970s. Hip-Hop was a result of African American and Latino youth redirecting their hardships brought by marginalization from society to creativity in the forms of MCing, DJing, aerosol art, and breakdancing. Hip-hop serves as a vehicle for empowerment while transcending borders, skin color, and age. However, the paper will focus on hip-hop from the Chican@-Latin@ population in the United States. In the face of oppression, the Chican@-Latin@ population utilized hip hop music as a means to voice the community’s various issues, desires, and in the process empower its people.
Selena was Tejano and female. This caused her to not be viewed as important as male artists. Around this time is when Selena gained fame. After the Mexican-American war, Tejano’s were thought to be inferior to Anglo’s and were often controlled by them as well. At the time Selena became famous, the U.S. was having domestic problems with Latinos. With her being a female and Latina is was not easy for her to gain fame and fans at the time when not many people were into Latino’s. However, with Selena’s amazing talent she was able to gain fame in a male dominated Tejano music business.
Explanation- This article gives brief information about the singer’s music, her main type of music is traditional Mexican music infused with jazz soul, African root, and klezmer music. Lila’s music is so unique that there is no way...
The world music phenomenon has been shaped and has evolved overtime. Its distribution has affected much of today’s music. Nueva Canción is one genre that has a deep historical story, of which gives us understanding of how the people and events of history influenced the way music is today by globalisation, migration and commodification and their political and social struggles of which they endured and found hope through their music. Many people worked together to get through this upheaval, and even when some were persecuted for what they stood for, they persevered. The music that came from this revolution is a testimony for their memorable work, making this genre of world music significant and worthy of recognition and respect.
There is one universal language: the language of music. Music has a special quality and ability to bridge both social and cultural divides. A proposed theory by Dr. Gray, Founder and Director of National Musical Arts’ BioMusic Program; describes music has been around longer than human-beings have. Music is the one thing human beings from various backgrounds can relate to. Every living creature would agree. Music is heard everywhere not just among humans, but in nature as well, through the twitting of birds, winds blowing, the soft sound of raindrops against a windowpane, the ocean waves moving back and forth and the hum of the ocean rushing in a sea shell. There is no escaping it; music lives in and surrounds us steadily. While there are countless songs which confer social or cultural consciousness, this paper will analyze and address the dynamics of M.I.A.’s “Paper Planes”, video. Stylistically, the paper will examine the artist point of view, the unique use of lyrical analysis and sound description in relation to its historical, social, political and/or cultural context. This essay will also trace the lyrical analysis and sound description of song and discuss how the elements (visually, sonically, and lyrically) interplay with the theme of immigration and/or violence.
The reputations of Maria Callas and Madonna as divas have both been earned for different reasons and yet, both can easily place their titles next to each other. All their musical performances have and are adapted to suit the public eye and sheltered by each singer’s creative influence, in order to improve their labels as divas. √ you give your reader a sense of the discussion that will follow, which is good.
As one moves past the initial onslaught of rhythmic beats that calypso has to offer, it is difficult to miss the way in which it reverberates with negative and demoralizing images of women to their male counterparts. Whether it is within the lyrics of Sparrow’s “Drunk and Disorderly” or Square One’s “My Ding-a Ling”, an ample number of verses are often dedicated to making lewd comments about the female body and the suggestive body language described through thinly veiled rhymes and puns, can be offensive depending on the listener. The half naked models being displayed on the various album covers of calypso, soca and rap mix tapes further reinforces these negative connotations. This bandwagon has been jumped upon by many, including the rap genre in the last two decades, wanting to capitalize on a marketing strategy that generally purports to flag consumer attention, playing on their sense of eroticism. The sections titled “Music, Sex, Sexism” and “Woman Rising” within Peter Manuel’s text: Caribbean Currents, dive into the many issues surrounding gender within music as well as female portrayal specifically in calypso. Observations can be made simply by reading through the textual comparisons. Many aspects of this subject area allude to the fact that the issue of gender portrayal in music can be construed differently depending on who the critical listener happens to be. With the increased awareness and heightened sensitivity to the way in which females are portrayed in popular media, it is important to reflect on the impact these lyrics have on male-female relationships within the communities who most often enjoy this music genre.
The Latin American music scene is an amazingly diverse, engaging and entertaining music culture. Thomas (2011) explains, “…Latin American music has engaged in ongoing dialogue and cultural exchange that has profoundly affected music making in Europe and the United States and, more recently, in Africa and Asia as well”. This paper will be describing different aspects of the music culture from its musical features, to the historical aspect of this interesting music culture. Also, I will discuss a personal experience with Latin American music. After researching the music culture, I attended a concert performed by Boogat, an Emmy award nominated Latin American musician from Quebec who has toured all over North America.
...talistic world, but how to satisfy more than one cultural group. This is not the first time we have seen something like this though. In 1958, Dean Martin recorded on of his biggest hits by recording “Volare”. The importance of this song is found not only in the fact that it is an original Italian song, but that it is recorded incorporating both English and Italian into the song at the same time. Frank Sinatra also tried this same approach in 1967. He recorded an album of songs done by Brazilian composer Antonio Carlos Jobin. As noted by the Music Council of Australia (MCA) it is globalization that has an affect on music. They state: “80% of the world’s trade in music happens under four giant transnational recording companies whose fortunes at present depend on global marketing of Anglo American pop music. We can buy music of virtually any culture by ordering from massive catalogues from internet music suppliers, locations unknown. Furthermore, the whole deal can take place on the internet: the search, the ordering, the payment and the delivery. We needn’t leave the room. Music, more than almost any other commodity, has lent itself to globalization. And globalization is upon it.”