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With a bassy voice and over a minimalist syncopated beat, Wilfredo "Willy" Aldarondo sings of lament. "The love of my life left for New York / my mom followed my aunt, to Florida they went/packing my bags, it's my turn now / the plane landed, and no one clapped."
These are the opening lines of "Tierra," the leading single off the Puerto Rican band Chuwi's newest EP of the same title. Founded in 2020 in the northwestern coastal town of Isabela, Chuwi is composed of Willy, his sister LorA(c)n Aldarondo, his brother Wester Aldarondo, and friend AdriA!n LA3pez. Describing the band's sound is a challenge in and of itself. Are they Latin jazz, indie rock, urbano, tropical fusion, or something else altogether? The answer to all of those questions is "yes."
Over the past two years, the quartet's popularity has grown among listeners and industry peers. Part of that reason is that they've seemingly filled an all-too-common role in Latin American music: a band whose music echoes the activist sentiment of its generation.
"Tierra," the song, makes unmistakable allusions to one of Puerto Rico's most contemporary anxieties. In 2019, the Puerto Rican legislature passed Act 60, which codified generous tax breaks for foreign investors who move to the archipelago and establish themselves as residents.
The result has led to what critics call a nationwide gentrification effort that has priced locals out of their own neighborhoods. Swaths of real estate have been bought and turned into short-term rental spaces, which has, in turn, provoked skyrocketing housing costs; meanwhile, benefits that proponents of the act promised have not come to fruition. Between this, 2017's disastrous Hurricane MarAa, and the one-two punch of earthquakes and a pandemic in 2020, the population decline has been swift and severe, causing even more dire effects.
Chuwi's lyrics resonate with Puerto Ricans who are dismayed by what is happening around them. Puerto Rico has a robust history of music groups wearing their political leanings on their sleeves. Groups like Fiel a La Vega, Cultura ProfA(c)tica, and El Hijo de BorikA(c)n followed the standard set by Argentina's rock nacional and Chicano folk music, among other influences. Even reggaetA3n became known as "perreo combativo" during the 2019 protests on the island that forced then-governor Ricardo RossellA3 to resign.
But Chuwi is frank about how, despite appearances, they don't consciously identify as an activist band, even if their songs tend to strike close to the zeitgeist of political talk on the island. Instead, the band sees themselves more as artists putting their emotions on the page rather than preaching a particular ideology. "We write about what weighs on us, and we're using [music] as an outlet," Willy says. "It's how we started. We just wanted a way to express ourselves about the things that make us uncomfortable or the things we love."
Another track on the EP, the merengue-tinged "Mundi," puts the listener in the tanned hide of the real Mundi. This African savannah elephant spent 35 years alone at the Dr. Juan A. Rivero Zoo of Puerto Rico, less than an hour away from Isabela in nearby MayagA1/4ez. The elephant's predicament became a cause cA(c)lA"bre amongst local animal rights activists, and Mundi was eventually relocated in 2023 to an elephant sanctuary in Georgia.
For Chuwi, the song came to be because of their proximity to the zoo, which they recall visiting during field trips as youngsters. It also serves as a homage to a song their mother would often play: "Laika" by the Spanish '80s pop band Mecano, about the Soviet space dog sent on a doomed solo mission to outer space in 1957.
"We wanted the song to be factual, so we actually investigated [Mundi's backstory] but at the same time, made it catchy, and if people pay attention to the lyrics, then they'll also be emotionally devastated," laughs LorA(c)n, who is also the band's regular lead singer.
One of their most impressive songs is "Guerra," a palo Dominicano that channels frenzied Afro-Caribbean rhythms, creating an auditory sensory experience that mimics the enveloping chaos of its namesake ("guerra" means "war"). While war has indeed been at the forefront of the news for the past seven months, this is another instance where their muse was working subconsciously.
"We live in this world, we're exposed to these things, we're passionate about certain things in our personal lives, so musically [it bleeds in]," LorA(c)n explains.
Their eclectic style and earnestness have drawn the attention of larger acts. Grammy-winning producer Eduardo Cabra of the iconoclastic rap duo Calle 13 and artists like Buscabulla ("We call them mom and dad," says LorA(c)n) have advised them in their still nascent stage as a young band, for example.
Seeing them live reveals another reason Chuwi has connected so much with audiences. LorA(c)n's voice mesmerizes as she croons and wails with honeyed tones, and AdriA!n's percussion easily gets people's blood pumping and emotions rising. In LorA(c)n's case, she digs into old teachings from her days singing in church to fully involve listeners with the show she and her bandmates put on.
"I rely a lot on emotion in my performances. If I don't feel it, the audience won't feel it. In church, they taught us that when you sing something, you're singing to God, and if people see your genuineness, then you'll inspire them to sing to God, too," she says. "If you're vulnerable, they'll be vulnerable as well. If I'm not authentic, then how can I expect the crowd to connect with the music we're creating?"
And while they hope their next projects, including a debut LP they're already hard at work on, show off more of what they're capable of lyrically and sonically, they're not about to shy away from speaking from the heart, even if it might tag them as resistance artists.
"I think it means our music is reaching people. That what we feel isn't just among us," Wester says. "Seeing people identify with it makes us feel we're not alone. I'm fine with being perceived that way."
A simple Google search of "the best rom-coms of all time" will take you down a nostalgic hole of '90s and early-'00s movies like "10 Things I Hate About You," "While You Were Sleeping," and "P.S. I Love You." These classics, among many others, have shaped how we view love on screen. But through these films, we've learned what love looks like through white protagonists; many BIPOC communities have failed to see themselves reflected. While we saw Latine actresses like Salma Hayek, Jennifer Lopez, and Christina Milian make their mark early on in romantic comedy movies (and through the years we've seen other Latinas sporadically take the lead, like Gina Rodriguez in "Someone Great"), for years the entertainment industry has undervalued and underrepresented Latine communities on screen and behind the camera.
Camila Mendes is shifting that narrative. You likely recognize her from rom-coms like "Palm Springs," "The Perfect Date," and "The New Romantic" - and she's starring in and serving as an an executive producer for the new rom-com film "MAosica," which also stars and is directed by her boyfriend, Rudy Mancuso.
"As much as we love rom-coms from the '90s and early 2000s, things have changed, and that doesn't mean that you have to like overtly make like a woke rom-com, but I think it's more about just finding ways to make them more interesting and grounded to the experience of finding love today," she says.
Indeed, "MAosica" broadens what it means to be Latine on screen - with a much-needed depiction of the Brazilian American experience specifically. The film follows Mancuso's character, also named Rudy, as he navigates the trials and tribulations of family life, romance, and career decisions - all while living with rhythmic synesthesia. This rare neurological condition causes one to experience more than one sense simultaneously.
The film is based on Mancuso's reality, where he turns to music as the solution to everything. It charts his own upbringing, and uses the Ironbound neighborhood of Newark, NJ, which is home to many Brazilians, as a backdrop.
Mendes stars as Isabella, Rudy's love interest. What makes her role in "MAosica" so special is the authenticity of her own cultural background as a Brazilian American. It's also her first time taking on a role that allowed her to draw on her own heritage directly, and she even gets to speak Portuguese, in which she's fluent.
"It was an opportunity I had been waiting for my entire career, and I honestly wasn't sure if I ever was going to get that opportunity," Mendes says. "I thought I was going to have to create it myself. I had plans to [create something myself], but this project was ahead of the curve, and I was like, 'What a dream come true to finally, you know, play my authentic culture instead of having to pretend to be a different [ethnicity other than my own].'"
Mendes emphasizes the need to open up the way Latines are represented in these films, as well as the importance of centering Latines of all different backgrounds.
"We've seen so many rom-coms and we've seen a lot of played-out scenarios, and I think it's just nice to get a fresh take and bring in a cultural element that normally you don't see in those rom-coms," she says.
"We've seen so many rom-coms and we've seen a lot of played-out scenarios, and I think it's just nice to get a fresh take and bring in a cultural element that normally you don't see in those rom-coms."
It's clear that Hollywood continues to miss out on culturally specific elements when telling our stories. But true representation is more than just having us in these rooms; it's about making sure the characters and scripts that are green-lit capture the nuances that truly make our communities what they are.
"I just know that I have a responsibility to my culture that I gladly take, and I put it on myself because there aren't many of us in Hollywood to tell that story that have the ability to get projects made," Mendes says of her responsibility to amplify broader narratives of Brazilian culture on screen. "I'm going to use my power to that advantage and help get the industry to a place where this can be a more regular occurrence."
As she solidifies her place as a Brazilian American rom-com sensation, Mendes acknowledges there is still room for evolution when it comes to these films. And she wants to see Hollywood subvert the genre in new ways that are compelling.
Still, Mendes can appreciate the legacy of rom-com classics. She can narrow her favorites down to two: "How to Lose a Guy in 10 Days" and "Along Came Polly." She feels the latter doesn't get the credit it deserves. As for her all-time go-to Jennifer Lopez rom-com, the Latina OG of the films, she goes with 2001's iconic "The Wedding Planner."
Coming off the heels of the release of "MAosica," Mendes hasn't found time yet to slow down. But running around with a packed schedule is what keeps her motivated.
"Sometimes it's a good thing, you know, when you're staying busy through something like this, it keeps you in the moment. I think it's easy to get carried away focusing on what people are saying and how they're responding," she says. "Even though, luckily for us, it's all very positive - but there's something really nice about just pushing through and carrying on with your life because there's still more to do."
There is always something to do for Mendes; her latest work has included a partnership with the Italian Aperitivo Aperol at Coachella. She says it was very special to bring to life.
"Aperol spritz is a drink that my best friend and I always drank together. When [she and I] were roommates, we had a summer ritual where I would go grab an orange from the orange tree [in my backyard] and she would make us some Aperol spritzes," she shares. "I associate the drink with that experience of spending quality time with my best friend."
Even though her best friend couldn't attend Coachella with her this year, Mendes says she was there in spirit. Mendes, for her part, does plan to take a moment to slow down and take the success of "MAosica" in. And as the Latine community's new rom-com queen, it seems fitting that she's also able to celebrate the film's success with her onscreen and real-life love interest, Mancuso.
I've always been obsessed with horror. From childhood, when I bunked with my siblings and primas, we told each other spooky stories in the middle of the night to rock ourselves to sleep. Every evening we would take turns telling stories, and the stories seemed to get scarier and scarier. When it was my night to tell a story to the group, I knew I had to bring the best jump scares. I'd find myself spinning stories until my sisters' and primas' bodies would tense up in fear. I knew then that horror stories were something I could weave. There's something about having fear knotted up in your belly; it's like riding a roller coaster and waiting for the thrill of the drop.
Horror has always been a part of my life, so it felt natural for me to work on a book like "The Black Girl Survives in This One." My two brothers were obsessed with the genre and I was one of the youngest siblings, so it mostly fell on them to babysit me. As with most older siblings, my brothers lived to tease me. Everything was a joke or a moment to terrify. So it was natural for them to invite me to movie nights where we would watch films like "Candyman" (1992) featuring Tony Todd; "Child's Play" (1988), where a white man uses voodoo to transfer his soul to a doll to escape the police; "Night of the Living Dead" (1968), directed by Bronx native George A. Romero; and "A Nightmare on Elm Street" (1984). While these movies scared the crap out of me, I found myself facing my fears head-on, to not only prove to my brothers that I could handle whatever they threw at me but to prove to myself that I could stare in the face of danger and survive.
Once I overcame my fears, I instantly started to love the gore - the jump scares were my favorite too. I became obsessed with how the actors, the movie scores, and everything played into the fear of everything. Horror is a genre where we can explore the things that freak us out, that don't make sense, and that play on our fears. I've always found courage in watching these movies, and when I discovered slashers and the "final girl," I longed to be one.
"The Black Girl Survives in This One" is an anthology collection of short horror stories, from ghost stories to zombie stories, from writers like Monica Brashears, Vincent Tirado, Zakiya Dalila Harris, Maika and Maritza Moulite, and others. It also includes a foreword written by the horror luminary Tananarive Due. There's something for everyone in this book, and at the end, the main character - a Black girl - survives the horrors of the day. The bigger message we wanted to convey to readers, especially Black girls, is that despite the serious obstacles you may face in this life, you are strong enough to endure, survive, and still come out on top. We are not our fears, no matter how society might try to tell us otherwise.
While I love the horror genre, it has not been kind or inclusionary for Black, Indigenous, Latine, and other people of color. So I was inspired to write myself into the genre, to pen a story that featured a Black Latina who is fierce and equally loves the horror genre. In my short story, "Cemetery Dance Party," I pay homage to all of the folks who sparked my love for horror, from Michael Jackson's famous hit song and music video "Thriller" to Romero's "Night of the Living Dead." It was the first movie where I saw a Black person survive the horror of the undead, only to be shot by a white person at the end. That scene stayed with me. It's haunting to believe that as a Black person, you could escape zombies, but you can't escape white supremacy.
My first book, "Wild Tongues Can't Be Tamed," was a nonfiction anthology that examined diverse aspects of Latine identity, subverting myths and stereotypes about our cultures, and a dialogue on addiction, racism, and anti-Blackness within our community. It featured essays from bestselling and award-winning writers like Elizabeth Acevedo, Ingrid Rojas Contreras, Naima Coster, Natasha Diaz, Janel Martinez, and others. I was eager to continue the identity conversation and amplify Black voices across the diaspora. So it was an easy decision for me to want to tackle horror next, which has been so exclusionary for Black folks and people of color. After having a Zoom conversation with my coeditor of the anthology, Desiree S. Evans, we decided to center Black girls and have them be the "final girl" trope we've always wanted to see more of in cinema and books.
The process was pretty similar to my experience with "Wild Tongues Can't Be Tamed," but this time, we thought it was important to host an open call to discover new voices in horror. It was amazing to receive so many submissions; there are a lot of talented writers out there just waiting for the publishing industry to give them the opportunity to tell our stories.
Writing and editing "The Black Girl Survives in This One" was healing for my inner teen self, who went through so much in high school; at times it felt like I wouldn't survive the pressure of making new friends, balancing schoolwork, and prepping for college courses. Writing my short story "Cemetery Dance Party" was very nostalgic because I got to write myself into a horror comedy story I always wanted to see. The story follows Alle, an Afro Latina from the Bronx who loves track but was recently injured and is healing so she can get back on the team and bring home the win for her squad. She's also class president and tasked with hosting the senior class party. She decides to host it at the famous Woodlawn Cemetery, and well, it's the perfect setting for chaos to ensue among teenagers with raging hormones and alcohol. Alle and her friends go through the gauntlet during the night, but she survives at the end, and that's all that matters.
This is such an important read for Black women - including Latina readers - because we never get to see ourselves in genres like this. Just look at how all of the best shows that represented us were canceled, from "Lovecraft Country" to "The Horrors of Dolores Roach." Even though those shows were badass, networks still decided that nobody could relate to Leti in "Lovecraft" and Dolores, but the twist is we did, and we wanted more. I want readers to know that they matter; they belong in horror, and "The Black Girl Survives in This One" is only the beginning of us inserting ourselves in the genre to come out on top as the heroes we deserve to be and see ourselves as!
Fifty-three years ago today, the world was blessed with the birth of Selena Quintanilla-PA(c)rez, who became an eternal icon in Latin pop culture and music. Selena blazed a trail for the mAosica Mexicana explosion that we're seeing today and the Latina pop stars who have followed in her footsteps. Her impact is often minimized in comparison to the circumstances of her tragic death. However, her music - and how she bridged the gap between her Mexican and American identities - continue to resonate with new generations of Latine fans.
Selena Quintanilla was born on April 16, 1971, and grew up in Corpus Christi, TX. She was an Aries, a sign often described as "passionate, brave, and headstrong." Indeed of conforming with the mAosica Mexicana artists of the time, she paved the way for herself by proudly embracing her Chicana identity. With influences like Whitney Houston, Janet Jackson, Jody Watley, and Gloria Estefan, Selena pushed Tejano music forward and made the genre fresh and palatable for listeners beyond Texas. Into the late eighties, the singer became the top Tejano artist in a genre that men previously dominated. At the Tejano Music Awards, she won best female vocalist and female entertainer of the year for 12 years straight.
After conquering Texas, Selena was ready to take on the world, and she signed with the label Latin EMI in 1989. From there, she released the most iconic albums of her career, including 1990's "Ven Conmigo," 1992's "Entre a Mi Mundo," and 1993's "Selena Live!," which earned her a Grammy award at the 1994 ceremony. She also became the female Tejano artist to win in the Best Mexican/American Album category.
That year, she released the last album of her lifetime, "Amor Prohibido." The LP yielded four No. 1 hits on Billboard's Hot Latin Songs chart. Soon after, she made history as the first Tejano artist to reach the summit of Billboard's Top Latin Albums chart.
On March 31, 1995, while Selena was preparing her first English-language album, she was tragically murdered at the age of 23 by Yolanda SaldAvar, a close friend of Selena's who ran her fan club. Since then, Selena's family, including her father and manager Abraham Quintanilla, have kept her memory alive through several posthumous projects. In July 1995, the album "Dreaming of You" was released, which included her English classics like the beautiful title track and the haunting "I Could Fall in Love With You." After her death, Selena continued to make history with the first Latin album to debut at No. 1 on the Billboard 200 chart. In 1997, her family authorized the "Selena" biopic, which featured Jennifer Lopez in the star-making role. Through the endearing movie, the world fell in love with Selena and saw how she was just like any other Mexican American trying to find her place between worlds. It's a story that still resonates with Latine folks in the US today.
It's important to note that Selena's music and image belong to her family, and they have a right to celebrate her legacy as they please. In the following years, Selena's family hosted memorial concerts like Selena A!Vive! in 2005 and Fiesta de la Flor in Corpus Christi, where her fans could unite in her honor. There was the Mirador de la Flor monument of Selena in Corpus Christi and a Netflix series later followed. There were also brand deals that Selena's fan base loved. In 2016, MAC worked closely on a Selena makeup line with her sister, Suzette Quintanilla. Due to a high demand for cosmetics, MAC released a second capsule collection in 2020.
While these are great ways to give back to the fans who are keeping her memory alive, Selena's family has also been criticized for cash-grab moments that fans perceived as disrespectful to Selena. For example, in 2022, the family released the remix album "Moonchild Mixes," in which Selena's voice as a child was manipulated through studio technology to sound older. Amidst the discussions of the ethics of creating a project in her name in that way, the L.A. Times' Fidel Martinez called it a "Selena robot album."
Thanks to the barriers Selena broke down for Latinas, Mexican Americans, and Mexican culture, her fan base has continued to grow exponentially nearly 30 years after her death. As a Mexican American myself, I've also found solace in her music as a gay man. Her songs like "Como La Flor" and "Amor Prohibido," which detail forbidden romances, have become anthems for the LGBTQ+ community. While promoting "Moonchild Mixes," I interviewed Abraham and Suzette Quintanilla. As much as it was an honor for me to talk with the family of an icon who has meant so much to me, I was a little disappointed when they appeared to brush off my question about Selena's connection to her queer fans by changing the subject about how she connected with "everyone." With Selena's music being performed by drag queens and recently on "Drag Race MA(c)xico," her family could try to understand better everyone who makes up her fan base now.
It's not only Selena's family that has been called out for exploitative projects. Back in February, Oxygen released the most disrespectful docuseries since Selena's death, "Selena and Yolanda: The Secrets Between Them." The series is about Yolanda SaldAvar, the woman who managed Selena's fan club and who murdered the singer. The show, which was not authorized by Selena's family, attempted to excuse the actions of SaldAvar, and it was shameful because this woman would now be eligible to apply for parole next year.
The media needs to move on from Selena's death, which also keeps the name of her murderer relevant. Thanks to the barriers she broke down for Latinas, Mexican Americans, and Mexican culture, her fan base has continued to grow exponentially nearly 30 years after her death. As a Mexican American myself, I've also found solace in her music as a gay man. Her songs like "Como La Flor" and "Amor Prohibido," which detail forbidden romances, have become anthems for the LGBTQ+ community. Selena's music has become a staple for Latine drag queens to perform. It made me so happy last year to see "Como La Flor" performed on the first season of "Drag Race MA(c)xico," which was like a collision of my Latine, Mexican, and queer identities. Like how she lived during her lifetime, Selena showed me to embrace everything that makes up who I am.
To truly celebrate Selena, it's time to focus on her life and legacy. Karol G recently sported a Selena shirt in the video for her Tejano-inspired song "Mi Ex TenAa RazA3n." Shakira later paid tribute to Selena by emulating her iconic washing machine spins in "(Entre ParA(c)ntesis)" with Texas-based band Grupo Frontera.
For Selena's birthday this year, let's create parties in her honor and play her music out loud. Selena's impact will never wilt, thanks to the fans who continue to find joy and inspiration from her story.
When I first learned that Bad Bunny's sold-out Most Wanted Tour included three back-to-back shows at the Barclays Center in NYC and one that landed on my birthday, April 11, it all seemed meant to be. The concert would occur three days after a highly anticipated solar eclipse, a new moon, and all during a Mercury retrograde. It would also happen during Aries season - the beginning of the astrological year and a time for new beginnings. While I had high expectations for Benito's performance and his first NYC show from the tour, one thing that stood out most is how the Puerto Rican artist continues to appreciate and celebrate his loyal Latine fans.
Bad Bunny is the most-streamed artist on the planet. This fun fact never loses its significance for loyal Latine fans who have witnessed the struggle for Latin music to get the respect and support it deserves here in the States. The Puerto Rican artist put on a hell of a performance at the Barclays Center on April 11. Looking around an arena with a 19,000-person capacity, there wasn't a single empty seat in sight, at least not within my view. It was a packed house of what appeared to be a mostly Latine crowd ranging in age and ethnicity.
There was his usual fan base - Dominican and Puerto Ricans standing in the long lines outside of the stadium with their flags tied around their necks and flowing from their backs. Even with the cold, rainy weather, everyone in those lines was decked out in Bad Bunny merch and ready to celebrate the artist. These same folks were the first to jump up and wave their flags whenever Bad Bunny made mention of his Latine fans and supporters. There were also many Latines of Central and South American descent rocking their flags and holding up signs expressing their love for the singer. Although he's gone global, especially since the success of his 2022 record-breaking album "Un Verano Sin Ti," Latines still appear to make up most of Bad Bunny's concert-attending fans, from how things appeared on Thursday night.
Regardless of how many awards he's taken home or how many records he's broken, Bad Bunny hasn't lost sight of the folks that have supported his music since his early days on SoundCloud before non-Latines had any clue who el conejo malo was. He has proven that whenever he's apologetically spoken in Spanish during an interview or at an award show. He's proven that in the way he has continued to elevate the genre, paying his respect to OGs like Daddy Yankee, Residente, and Tego Calderon and giving his stamp of approval to rising Puerto Rican artists like Young Miko, Rainao, and Villano Antillano.
I've seen Bad Bunny live in NYC twice: first in 2019 at Barclays, and then again at Yankee Stadium for his 2022 World's Hottest tour. At all his concerts, Benito only spoke Spanish and almost exclusively addressed his Latine fans. In many ways, like with many Latin music artists today, attending a Bad Bunny concert feels like you're exclusively a part of his crew or fan club. It doesn't matter that he's gone global - he's still only speaking Spanish and shouting-out Latines.
"New York has been very important in my career, where dreams come true," he told fans in Spanish on Thursday. "Being on the tour feels really amazing, going to each place and seeing it, all the cities, but New York, it's something else. It feels more amazing than usual. Seeing all those PR and DR flags makes it even more special. From the bottom of my heart, thank you for being here; it means a lot to me."
The artist had a lot of emotional moments throughout the performance during which he would stare at a packed stadium filled with excited fans in complete awe and then with teary eyes right before giving his heartwarming speech to Latine fans. In many ways, Bad Bunny's latest album, "Nadie Sabe Lo Que Va a Pasar MaA+-ana," paid homage to Puerto Rico and his Latine concert goers. It acknowledged that regardless of the fame and success that followed with "Un Verano Sin Ti," he hasn't forgotten where he's come from and who his number-one fans are. The concert was very reflective of that sentiment, with half of the songs on the setlist being straight from "Nadie Sabe Lo Que Va a Pasar MaA+-ana," and the later half of the show including older tracks, a guest performance by Bryant Meyer, and tracks from "Un Verano Sin Ti," including his hit track "Titi Me Pregunto." The production at this show was also top-notch, with an orchestra that opened up the show and reappeared throughout, Benito playing "Amorforda" on the piano upside down, a cool jigsaw bridge in the middle of the stadium room, and the artist even riding into the stadium on a real-life horse looking like a ranchero-meets-lucha-libre.
Bad Bunny went all out for us from start to end, delivering an almost-three-hour-long performance filled with so much attention to detail and deeply rooted love and appreciation for his Latine fans. The Latine community is a beautiful one. When we love - we love hard. When we support - we show up in large numbers. I wouldn't be surprised if there were full families in that crowd. But we're also the quickest to criticize our own idols whenever they reach a certain level of fame. And while Bad Bunny has certainly reached a level of fame where he can probably get away with performing for less than two hours without all the cool production effects, he still put in the love he's had for his craft and his Latine fans since the beginning, and he still let us know that he wouldn't be here without us. And that is something I don't think he'll ever stop doing, regardless of how far he may go in his career.I knew I was going to shed a tear or two at Olivia Rodrigo's "Guts" Tour. I'm just a girl, after all. On April 6, the three-time Grammy winner performed her second of four sold-out shows at Madison Square Garden in New York City. And for an hour and a half on Saturday night, Rodrigo reminded us of the good, bad, and ugly of girlhood.
A bag adorned with ribbon bows slung over my shoulder, I screamed in anticipation with a crowd full of sequin miniskirts, glittery purple eyeshadow, and fishnet tights as Rodrigo ascended onto the stage for her opening number, "Bad Idea Right." To my surprise, the audience wasn't just young teens, kids, and their parents. An unexpected handful of 20- and 30-something adults like me were just as ready to jump and sing along to a mix of tunes from her sophomore album, "Guts," and her critically acclaimed debut album, "Sour." I imagine we loved the concert the same reason I enjoy her music so much - she made us feel like teens again.
The internet is filled with think pieces and TikTok breakdowns that explain Rodrigo's popularity among women who are older than her: it's fueled by our nostalgia for girlhood and desire to revert back to our teenage years. Scream-singing along to her lyrics at the "Guts" Tour, I certainly felt that, and I saw it on the faces of fellow millennials in the crowd on Saturday night. She took us, her devoted fans, through angst, nostalgia, sadness, and of course, head-banging fun.
A few months prior, I'd seen Rodrigo perform bigger hits like "Get Him Back!" and "Vampire" at Z100's Jingle Ball, so I was already aware of her performing prowess. At the "Guts" Tour, her vocals were raw, filled with a genuine passion and emotion, and her pop-punk energy was unmatched. But her more vulnerable ballads were especially moving to hear live.
When Rodrigo sang about not feeling pretty enough with society's impossible beauty standards in "Pretty Isn't Pretty" and putting yourself out there for someone you love - who's so not worth it - in "Love Is Embarrassing," she brought me back to those exact feelings I'd experienced in high school and college, and even at times in my late twenties. In one particularly special moment introducing "Teenage Dream," she spoke about writing the song as an 18-year-old, being so afraid of growing up. But after recently turning 21 in late February, she realized getting older isn't so scary after all. I admittedly chuckled because, well, she is only 21, but it's also a sentiment I felt back then and still do now.She cycled between emotional ballads like these and fiery bangers that had everyone on their feet. During her performance of "All American Bitch," she encouraged the crowd to "think about someone or something that pisses you off" and scream at the top of your lungs. It was therapeutic.
So, thank you to Rodrigo for taking me back to those messy, fun days, but also reminding me why I'm relieved to be past that phase in my life. My other takeaway after that last encore? Maybe it's OK to text your ex. Get him back!
After two more nights at MSG, the "Guts" Tour is heading to the UK and Europe in May and June, and concludes in August in Los Angeles.
Jennifer Lopez has been busy. In case you missed it, the Puerto Rican singer, dancer, and actor released not one but three complementary projects to kick off the year. There's her "This Is Me . . . Now" album; a video companion/musical to said album, "This Is Me . . . Now: A Love Story"; and a documentary that dives into said love story, "The Greatest Love Story Never Told." It was an ambitious undertaking, no doubt. And one that has her being dragged across TikTok, Instagram, and X (formerly Twitter).
Part of the controversy lies in how Lopez represents herself and her native borough of the Bronx. In one scene from the documentary, Lopez tussles her curly hair while looking in the mirror and says, "It reminds me, like, when I was 16 in the Bronx, running up and down the block. Crazy little girl who used to fucking be wild and no limits, all dreams." TikTok quickly jumped on this small clip, with many users commenting on how contrived the scene felt. One user noted it allegedly took numerous takes to get the finished shot. From there, it wasn't long before social media started to mine Lopez's old interviews for any hint of inauthenticity.
In a resurfaced clip from Vogue's "73 Questions" series, Lopez shares her childhood bodega order of "ham and cheese on a roll with an orange drink . . . and a small bag of chips." This clip, too, has been flamed on social media as New Yorkers demand to know exactly what orange drink Lopez is referring to. Others have remarked it's such a generic order that Lopez can't be as bodega-bred as she claims.
And then, of course, there's the nail in the coffin: an old clip from 2014 making the rounds on social media that shows Lopez pulling up to her old house in Castle Hill, and the current resident having absolutely no idea who she is.
It's not that Lopez isn't from the Bronx - of course, she is. No one can take that away from her. It's that the image she portrays, one of a tried-and-true Bronx girl who made it to Hollywood while staying true to her roots, comes off as disingenuous. Many think she's using the borough for relevance in an age that values authenticity more than anything. But how did she become so seemingly disconnected from the people she supposedly represents?
Growing up in a Puerto Rican household meant Lopez could do no wrong. She was the Fly Girl who made it big. She was Selena. And when her debut album, "On the 6," dropped, my mom had it on repeat, singing along to every word. For my mom, Lopez symbolized success. For many heads from that generation, that's what success was - not so much repping your hood, but representing the fact that you made it out of your hood.
Today, however, that's not enough. That's why Lopez's actions are often perceived as self-serving. In part, it's a generational difference. This is evidenced by the fact that so few of her recent critics knew what she meant by "orange drink." For the record, I'm pretty sure she was referencing the 25-cent "quarter waters" that were a staple of bodegas back in the '90s (you'd be hard-pressed to find them now). They didn't have a proper name; you just asked for the color. But, bodega order aside, the fact that Lopez had to rebrand her tour amid slowing ticket sales shows how much public opinion has waned for a star who once sold out Vegas residencies with frequency.
In this light, it's unsurprising that people from the community and even her fans are skeptical of how she reps the Bronx - an attempt to delay the sun setting on an incredible 30-year career and energize the masses. But it's not enough to claim NYC as your birthright and expect New Yorkers to show up. Here, trust and loyalty are won the hard way. You have to put the city on your back, elevate it, and actively participate in the culture.
Cardi B made headlines when she donated $100,000 to her old middle school in the Bronx. Fat Joe helped organize a fundraiser for families affected by the 2022 Twin Parks fire, and he's well-known for routinely giving back to the community. And J Lo? Well, that's the thing. She has. In 2014, she announced a partnership with Montefiore Medical Center in the Bronx to establish The Center for a Healthy Childhood, which aimed to improve children's health and overall nutrition in the surrounding communities.
But for many of us, the occasional philanthropic stint isn't enough. And the fact that it's been 10 years since her last major contribution to the borough doesn't help Lopez's case. Neither does the fact that she danced her way to an acting career, singing career, and millions of dollars along the way, but she hasn't opened a single dance academy to help others do the same. I think a Jennifer Lopez-branded dance academy in the heart of Castle Hill would be a no-brainer and would help her improve her current standing in the community.
That being said, Lopez isn't obligated to satisfy anyone's expectations but her own. And there are plenty of A-list New Yorkers who do less for their respective boroughs and are subject to far less criticism. At the end of the day, however, Lopez is unique in that she understands and cashes in on the social clout that comes with being from the Bronx. She understands that it distinguishes her from the majority of the Hollywood elite - she's someone who isn't supposed to have a seat at the table, yet now enjoys the same privileges as her silver-spoon counterparts.
I once had a friend tell me that the hood is something no one can take from you. It's hardwired into you, regardless of what you achieve. The lessons the streets teach are lessons for life. I truly believe that. And I'm sure Lopez does, too. In her eyes, she'll always be Jenny from the block, regardless of what any of us have to say.
But I also believe there's no such thing as playing both sides. As someone who has slowly watched their neighborhood disappear because of gentrification and has had the landscape of his memories shift with each passing day, I wish I had the money to do something about it. And if I ever found myself in that position, in a position to give back, I would.
Since I was a young kid, I wanted to be a writer. I spent my summers reading, lying on my bedroom floor with my glasses slipping down my nose. But despite my fascination with storytelling, pursuing a career in writing never seemed realistic. Instead, I majored in English and embarked on a somewhat related career in cause-based communications and marketing.
At those jobs, I met a lot of women who were creating art that was meaningful to them and their communities. They weren't household names, but they showed me that I'd been wrong. They proved to me that writers who look like me or grew up with similar experiences deserve a shot at getting our stories out there.
At the same time, I decided to finally go for it and pursue a career as a professional writer. I couldn't help but note the number of organizations that were embracing Latina storytelling. But back then there weren't as many folks working on the criticism side and no one was focusing on encouraging Latinas like me to be critics. So I cofounded the indie publication LatinaMedia.Co, along with another Latina, Nicola Schulze, to give others the boost I needed - the explicit invitation to become a published critic.
Make no mistake, film criticism is broken. According to USC Annenberg's Inclusion Initiative, white guys write 65.7 percent of movie reviews. Meanwhile, they make up 30 percent of the population. Way on the other side, Black, Indigenous, Asian, and Latina women combined write just 3.7 percent of movie reviews, despite making up around 20 percent of the population. I suppose they don't break it out by group because the numbers would be so small.
And it's not just film criticism. Journalism as a whole is too white, with Pew Research reporting that only 25 percent of reporters are people of color (and only eight percent are Hispanic, despite us being nearly 20 percent of the population). In Hollywood, the problem stretches all around the camera, with too few women-of-color executives, stars, creators, directors, and writers. Many believe that all those pledges to increase diversity and inclusion were just PR stints with not much changing in story-making fields.Stories matter. They help us make meaning of the world. They allow us to understand ourselves and others. But the lack of representation in the books I read growing up made me feel like my stories didn't matter. Still, it's funny how things work out. When I was working in nonprofits and meeting all these women storytellers, I also met a lot of activists who'd given TEDx Talks (some of them were the same lady artists). I looked at their examples and thought, I want to do that. Giving a TEDx Talk became a bucket list item for me, something I promised myself I'd be ready for someday.
That day came last year, five years after cofounding LatinaMedia.Co and embarking on a career in entertainment journalism. From my activist circles, I knew Tabby Biddle, a TEDx speaker and coach who, among other things, leads classes to encourage more women to give TED Talks. Because yes, TED is another one of those institutions that is historically exclusionary. While they've made some progress over the years, 56.2 percent of their speakers are still white men. Biddle saw my work and thought I might know some Latinas interested in the scholarship she was offering. I did happen to know someone, and that someone was me.
As the class was winding down, Tabby warned that it could take a year or more, along with multiple applications, to get on stage. I was relieved. Giving a TEDx Talk, where you share both ideas and yourself, was scary. I still struggle with that nagging voice inside of me that says, "I'm not good enough." Still, I started a spreadsheet of potential events, sent out some initial feelers, and applied to one event.
And they picked me. The good people at TEDx Cherry Creek, a nonprofit staffed by volunteers and founded by current Colorado State Senator Dafna Michaelson Jenet working to get more women on the TED stage (see a trend here), selected me. Based on the super-quick video I submitted (it had to be 40 seconds or less!) and a handful of short essays, the event organizers selected me and 17 other women out of the 175 people who applied. I was thrilled, shocked, and nervous.
I then had three months to work with them and my cohort of truly impressive women to put together the talk that I had dreamed of giving, the one where I tell my story and make the case for more diversity in media criticism.
I argued that TV and movies hold a special place in our culture, influencing how we see ourselves and how we see others, which in turn affects how we build our systems and institutions. If we want this world to be for everyone, everyone needs a chance to tell stories and evaluate them - that was my thesis. But I didn't stop there. I used myself as a test case for how this influence can be damaging, telling my story of losing and finding my voice again. I went on to explain how I'm paying it forward with LatinaMedia.Co. Then I ended the talk by inviting the audience to join me, giving everyone a three-step plan on how to change the face of media criticism and, from there, the world.
To get ready, I practiced every day. I conscripted friends and family members to listen. I guest spoke at a class at a community college for practice. When the day came, I was still scared. But I wasn't nervous about my performance. I was anxious about standing in front of the world without armor, sharing my truth. I did it anyway. I cried for a moment once I got off stage, relieved and exhausted. I hugged my parents and husband, who'd traveled to hear me speak. And then I had to wait.
The event organizers had to edit the video, the TEDx people had to approve and post it. When it finally came out, I felt relieved and nervous all over again, this time about sharing it with the world.
Now here I am, a long way from the pink carpet of my childhood bedroom. And I'm here not because I'm some fearless shero. I'm here because I had so many examples of women seeing the hard thing and still going for it. I strive to be one of them. I think with this talk, with LatinaMedia.Co, with this article and the others I tap out, I'm doing my part to show my community that we belong anywhere we want to go. Because if I've learned anything over my years of working with Latina writers and thinkers, it's that we're just getting started.
There's no arguing that Shakira is a feminist icon. Entering the year on the heels of a very public split from her long-term partner and the father of her two sons, Gerard PiquA(c), she managed to take a painful experience and turn it into a shared triumph. Her latest studio album, "Las Mujeres Ya No Lloran," is a testament to independence and the strength that comes with it. It's a sentiment that many, especially women, will be able to relate to. In her recent Allure cover interview published on April 1, Shakira delves into what that strength looks like and what it means to be a woman healing today. But one thing that stood out from the interview was the singer's controversial take on another feminist pop culture pillar: the "Barbie" movie.
Shakira shares her sons "absolutely hated" the film because they "felt it was emasculating." "I like pop culture when it attempts to empower women without robbing men of their possibility to be men," the singer says.
And while part of me understands that reaction, I cannot help but respectfully disagree with her. Feminism isn't just a theory, it's a practice, and different people practice it differently. Shakira not liking the "Barbie" movie doesn't make her less of a feminist. However, her opinion of the film is one shared by a vocal minority, and one I've heard reiterated by a lot of men (and right-wing politicians like Ted Cruz), many of whom won't even see a "girl's movie."
So, as a man who not only thoroughly enjoyed "Barbie" but found the message to be more subtle than "men suck, women are better," I wanted to examine how so many people could misconstrue Greta Gerwig and Noah Baumbach's script. For starters, the movie doesn't portray men as bubbly and shallow characters just for the sake of emasculating them. The movie portrays them as what they are: victims. The Kens have been robbed of any real agency and opportunity to be anything more than eye candy by Barbieland's matriarchy, a system that, conversely, places women in every major role throughout society. Sound familiar? It is the exact opposite of a patriarchy and yet still manages to achieve the same results: oppression of the opposite sex.
Yes, much of the Kens' dilemma and ensuing takeover of Barbieland sees the dumb dial turned up to the max - taking the piss out of machismo culture. But at its core, it's a commentary on the importance of being valued on a societal level. At every corner, the Kens are marginalized in the society they serve. This puts them at odds with the Barbies - not with women. Instead, the Kens' struggle is meant to parallel the struggle women experience in real life. It also shows how patriarchy can be destructive for the men it empowers.
By adopting patriarchy, the Kens rope themselves into accepting the often rigid criteria to which men must conform to be considered manly. Hence, the overabundance of cowboy hats, trucks, horses, and Mojo Dojo Casa Houses, regardless of whether or not the individual Ken has an affinity for these things. They gain power, yes, but they are still denied individuality, only this time by their own hand.
Shakira mentions that "men have their purpose too" and that "she wants her sons to feel powerful . . . while respecting women." But this is exactly the note the movie ends on. For the first time, the Kens are allowed to decide what their role in society will be. And for the first time, it won't be centered around supporting the Barbies' wants or needs, but instead on what they want for themselves.
But what about the notion that the movie "emasculates" the men? Sure, the Kens could have had more depth than having "beach" as a job, but I don't think it would have been as funny or as effective an allegory for the loss of agency that comes with oppression. I didn't find it emasculating. But I do find the uproar around it telling.
As an afropuertorriqueA+-o, I don't often benefit from narrative plurality, or the existence of a multitude of films, shows, or other media that showcase my people in a variety of different roles and perspectives. But as a man? Absolutely, I do. I can turn on my TV right now and find a movie about a badass killing machine who loves dogs ("John Wick"), a show about a physically lacking, neglected child who uses his wits to outsmart and outlive multiple empires ("Game of Thrones"), a movie about a reluctant savior who inherits his mother's magic and his father's kingdom and uses both to become a literal fucking messiah ("Dune"), and the list goes on. Narrative plurality means that there are enough positive depictions of characters like us that the negative depictions don't hold as much weight. Or at least you'd think.
But you make one movie in which the men - or in this case the Kens - are portrayed as superficial accessories in constant competition for the affections of a woman and have no purpose other than to service her desires, and it undoes all the rest of it. Perhaps, in the same vein, we should consider the impact of the negative portrayals of women and people of color on screen.
You might recognize Emira D'Spain for her GRWM-style beauty videos, or you might know that she was the first ever Black trans Victoria's Secret model. On TikTok, she shares different aspects of her trans identity with her million-plus followers, and ahead of Trans Day of Visibility on March 31, she spoke to PS about her own journey, gender euphoria, and more. Read it all, in her own words, below.
When did I first experience gender euphoria? My parents are so accepting of me, so that's, for me, truly when I always have the most gender euphoria. Just being around my family. And knowing that that's not an experience that a lot of LGBTQ kids and adults get to experience, that's something that I become more and more grateful for the more people I meet in the community. It's something that I hold very close to my heart.
Lady Gaga is not queer, but she is someone I always looked to because she had such an impact in my coming-of-age as an adult. During middle school, when Gaga was first topping the charts - the era of "Born This Way" and all those songs - she made me feel so empowered that I could be myself and live my truth.
"[L]ife unfolds in the way it's supposed to."
These days, I have made myself known not only for being trans; a lot of my audience doesn't even know that I'm trans. I feel like whenever I do talk about it, it's almost like, "Oh, whoa, I didn't know that about her." I think that's always really interesting. I think most creators who are trans make it part of their content, and it's something I talk about every now and then. I think it's cool for me to do that, because people who don't know that about me now have this different perspective of me. But right now, it's really inspiring to see other queer creators who are gaining so much success: people living their lives and building their careers.
My own message for other young trans folks is that it's all going to work out, things are going to get better. If you're struggling with people accepting you, you accepting yourself, you living in your truth - everything does truly work out in the end. It's hard to remember in the moment of course, but over time, life unfolds in the way it's supposed to. Just give yourself grace and give yourself time.
- As told to Lena Felton
In our Q&A /feature series Tell Me MA!s, we ask some of our favorite Latine artists to share some inside info about their lives and habits, revealing everything from their most recent read to the songs that get them hyped. This month, we trekked out to Joe's Pub in the historic East Village to see Grammy-nominated singer-songwriter Alex Ferreira take the stage and chatted with him about his latest project, fatherhood, and how he's balancing the two.
Alex Ferreira's dressing room at Joe's Pub is small and sparse, without much in the way of personal belongings or even instruments. There's a guitar case to one side, a knapsack nearby on a leather chair, and the singer himself sitting sideways in front of the lighted vanity - his trademark curls falling in front of his face. It's a stripped environment, a fitting one given that later in the evening Ferreira will hit the stage with just a guitar and a soundboard and take the crowd on a full spectrum journey of love, heartbreak, and everything in between. But right now, he's smiling, seemingly in his element: in a back room, in a big city, while on the road.
"I love touring. I love going to different countries, meeting different people. It's such an inspiration for me," the artist tells PS.
As a completely independent artist, Ferreira understands that he's incredibly fortunate to be able to live off his music. But that often comes with long stretches far away from home, so it's good that he loves to tour. This current tour has seen him on the go since last year. He's performed all over Spain and has upcoming stops in Mexico. His two-night stint in New York caps the US section that had him in Miami and Puerto Rico. However, having recently become a father, Ferreira admits that he doesn't have much time to hang out in these places like he once did.
"I want to be with my daughter. I feel like this is a very important time in her life, her first year . . . the responsibility I have as a father is much greater than that of my artistic life," he says.
This is especially true since, in his artistic life, Ferreira is pretty well-established. Having made waves since 2010 with a singer-songwriter style that incorporates a healthy dose of experimentation and genre-bending, he knows who he is as an artist. And his fans do too.
Later on in the night, the crowd will swell in unison, singing along with the crooner in such a natural way that it seems rehearsed. That's the kind of musician Ferreira is known for. It's music that can make the room small. He's cracking jokes one minute and, the next, singing with such vulnerability that it's hard not to be moved.
Yet, at home, he is still adjusting to his role as a father.
"Everything is new. Every stage of the process brings a new challenge. Every stage is a learning process and there's no manual, no university to tell you these things. You learn on the fly," Ferreira muses.
One such challenge? Finding the time to write and work on his upcoming album while being a full-time dad.
"Before, I could - and I hate this word but - I could procrastinate a little. Now I can't," he says. "If I have one hour to work, I can't waste time. So now my creative process is much more efficient."
He now views composing, like going to the gym. To get it done he needs a little bit of consistency, dedicating a few hours out of the day to play, write, and practice before he can put pen to paper and come up with a song.
But that doesn't mean that making music has become just another exercise for the veteran artist. Talking about his upcoming project, "Versiones Para El Tiempo Y La Distancia Vol. 2," Ferreira shares that he wants to continue to refine the sound he's been crafting over the last decade while also experimenting further with blending elements of rock, bachata, and other genres into a unique experience. We can expect more of this from his upcoming album.
"In a similar way to how fatherhood is a process of change, I think my career and my discography can also be seen in that light. I like to have a little doubt, to not know what I'm going to do," he says."I've also realized that my fans don't come with that prejudice of, 'Oh, he's a singer-songwriter, everything is going to sound the same.' The people who come to see me know that I'm not committed to any one genre. The common denominator is my voice. My lyrics."
Ferreira possesses an uncanny ability to peer into the connections we all share and transpose them into poetry. In "Me La Saludan" he uses sarcasm to express the weight of wounds that have yet to heal. On his new track, "De Verdad" he pleads for love in all its complexity. Love "as a decision," the artist muses.
The official version of the song is a jazzy, upbeat fusion. But on stage, in Joe's Pub's small theater, Ferreira turns it into a touching, acoustic ode to the long run - a relationship measured not in days or months, but in the moments that make up a life together. Even if you've listened to his music for years, hearing him perform live is an experience. His voice takes on a quality that doesn't translate through speakers, it's more vulnerable, more dimensional, and able to not only touch but bring the audience closer.
It's this ability to tap into emotion, to expose life's raw nerves with tenderness, while at the same time cracking jokes on stage, that has led to Ferreira's enduring success and relevance, even as the industry experiences an indie boom. Silvana Estrada, DaniA(c)l, Me EstA!s Matando, Guitarricadelafuente - these are today's Latin music indie darlings. Ferreira has worked with many of them. The members of DaniA(c)l, Me EstA!s Matando were a part of his band at one point. But when asked about his role or standing in the current scene, Ferreira, despite his legacy and achievements, maintains his humility.
"I've never thought of it in terms of a role . . . for me [Latin music] is like a chain and I think that I'm just another link in that chain," he says."I think it's so cool that this music can connect with not just first-gen Latinos, but second and third-gen as well, Latinos that don't even speak Spanish, people that don't even speak Spanish. For me, it's a pleasure to be a part of that, like a little grain of sand."
It gives Ferreira joy seeing his friends and the artists that have come after him find so much success. But he is also wary of the direction of the industry as a whole with everything moving towards songs created in minutes to achieve virality rather than expression.
That's not to say that he's anti-electronic. Ferreira has often added electronic elements to his music and is a fan of experimentally-minded artists like James Blake and Bjork. He's more concerned about the use of things like autotune and AI as a shortcut to artistry rather than as a means to enhance it.
"When everything starts to sound the same, when the beats are all the same, with the same musical structure, with the same effects, and the same melody, I feel like that's when the machine wins," he says.
But until then, he has faith in the process of making "imperfect art" and has some sage advice for those looking to make it in music in the current climate.
"Everyone always wants more than they have. Don't fall into that dynamic. Make music because it's your passion, because you love it, [and] because you can't live without it. Because, as a business model, there are better ones out there," Ferreira says with a wink and a smile.
Read on to find out about Ferreira's morning ritual, who his favorite artist of the moment is, and his secret to finding peace.
PS: What is your morning ritual?
Ferreira: Coffee and music. If I don't have my coffee I'll have a stroke.
PS: If you had to choose just one place to spend the rest of your days, where would it be?
Ferreira: Madrid
PS: Who is your favorite artist at the moment?
Ferreira: Adrianne Lenker.
PS: You have a song called "Sonrisa Valiente." Who in your life would you say has the most valiant smile?
Ferreira: My daughter.
PS: What's your method for finding peace?
Ferreira: Music. Singing it, playing it, listening to it, whatever it happens to be, is therapeutic for me.
PS: The best part of being a father?
Ferreira: Connecting with my inner child again. Tapping into that childishness that we lose in life.
When life gives you lemons, you have to make lemonade - and that's exactly what Shakira did after heartbreak. When the Colombian pop star learned in 2022 that Gerard PiquA(c), her partner of 11 years and the father of her two sons, was cheating on her, I'm sure it felt as if her life was falling apart. But when she couldn't bear the pain and the betrayal, she did what most musicians do - she turned it into art.
The first song Shakira released that was directly related to the breakup was 2022's "Te Felicito" with Puerto Rican Latin trap artist Rauw Alejandro. The song not only marked Shakira's comeback, it was also the first in a string of singles that would display her healing journey to the world and eventually become part of her latest highly anticipated album, "Las Mujeres Ya no Lloran," which was released on March 22.
Following "Te Felicito," a sarcastic song about congratulating her ex for finding new love, Shakira released a hit song with Ozuna titled "MonotonAa." But it was Shakira's famous diss track that redirected her career. The track "Shakira: Bzrp Music Sessions, Vol. 53," a collaboration with Argentine producer Bizarrap, resonated so much with fans that it racked up more than 63 million YouTube views in 24 hours, becoming the most-watched Latin debut song in YouTube history. The song also skyrocketed to Spotify's Top 50 Global chart, breaking the record of the most-streamed track in a single day in Spotify history, and eventually it landed Shakira the Latin Grammy for song of the year.
And it's the song that ultimately set the theme for her first album in seven years. "Las Mujeres Ya No Lloran" is literally a line taken from "Shakira: Bzrp Music Sessions, Vol. 53," only in the track she completes the thought by singing "Las mujeres ya no lloran, las mujeres facturan," which translates to "Women don't cry anymore, they cash in."
Every song Shakira released in 2022 and 2023 played a different role in the Colombiana's healing and rebuilding process. "TQG," a track in collaboration with Karol G that also appeared in her 2023 album "MaA+-ana SerA Bonito," is a song about being too good for a man who hurt her - referring to PiquA" and Karol G's ex Anuel AA. "Copa VacAa" is a pop-reggaetA3n song she did in collaboration with Colombian singer Manuel Turizo about not receiving enough love and affection from a partner, while "El Jefe" is a norteA+-o Mexican song with Fuerza Regida about taking control of your destiny, something fans have witnessed the artist do since publicly announcing her split. "Altima" is a moving track that Shakira told the New York Times is the last song she will release about her ex PiquA".
"In the journey of picking up the pieces after a very public breakup, Shakira is showing us that although dreams don't always turn out to be what we envisioned them to be, she is not shying away from her scars," says Nicolas Barili, an award-winning journalist and creator/host of Paramount+'s Latin music docuseries "De La Calle." "By controlling her own narrative, Shakira is empowering listeners to be inspired by her bold transformation, while proving to our community and the world that vulnerability is the greatest strength."
What makes this album such a masterpiece isn't just the journey we see Shakira take in healing her heartache, but how it invites hope and new beginnings. Tracks like "Cohete" with Rauw Alejandro and "PunterAa" with Cardi B acknowledge the allure of experiencing a new love - even though Shakira has shared she can't imagine herself falling in love again.
Then there's "AcrA3stico," a beautiful piano-led ballad that emphasizes Shakira's role as a mother and includes her two sons, Milan and Sasha. This one stood out most to Barili.
"Having been raised by a single mom myself, the love letter between her and her sons speaks to those of us that are what's left over after parents break up, reminding us that some bonds will never be broken," Barili says. "Shakira has provided a cathartic release for not only herself but for anyone that has ever gone through break ups, all while proving that she is still the queen of Latin pop."
"La Mujeres Ya No Lloran" is Shakira's first album in seven years since releasing her 2017 album "El Dorado." If this album did anything, it proved that the greatest and most impactful art is often created from pain and heartache - hence Shakira's diamond tears displayed in the cover art.
"It's the same reason why an artist's debut album is often their best work, because struggle often elicits masterpieces," says JesAos Trivino, a Latin pop culture expert and Tidal's senior content and music executive. "Similarly, whenever there are challenges in your life, you take it as an experience and learn from it. If you're a creative like Shakira, you dive into your work, and usually introspective, empowering music comes out. With 'Las Mujeres Ya No Lloran,' Shaki has done that."
That Shakira's extraordinary comeback album is filled with back-to-back hits and major collaborations with artists including Cardi B, Rauw Alejandro, Ozuna, and more also speaks to how relevant she's managed to remain despite how saturated the Latin music world has become. If anything, the breakup needed to happen to inspire her to use her pain, anger, and sadness to create her rawest and most vulnerable work. As she has said in numerous interviews, the experience allowed her to "transform pain into productivity."
"One of the superstars who started the late '90s, early 2000s Latin boom still has it and never lost it. Shakira, more than other Latin acts of that era, had to introduce herself and an entire country (Colombia) to the US and global market," Trivino says. "On this album, she's uplifting her fellow Colombianas (Karol G), co-signing the stars of today (Rauw Alejandro), as well as shining a light on other genres (Mexican music). I hope listeners don't waste their time in gossip but rather enjoy Shakira in all her greatness while she's on this planet."
Sometimes it takes our worlds falling apart to get us back in line with our passion and our purpose. One thing is for sure: our favorite loba is here to stay.
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