Latin Artists Marginalized at Grammys... Again 

Mexican musician Peso Pluma arrives at the 24th Annual Latin Grammy Awards ceremony at the Conference and Exhibition Center (FIBES) in Sevilla on November 16, 2023. (AFP)
Mexican musician Peso Pluma arrives at the 24th Annual Latin Grammy Awards ceremony at the Conference and Exhibition Center (FIBES) in Sevilla on November 16, 2023. (AFP)
TT

Latin Artists Marginalized at Grammys... Again 

Mexican musician Peso Pluma arrives at the 24th Annual Latin Grammy Awards ceremony at the Conference and Exhibition Center (FIBES) in Sevilla on November 16, 2023. (AFP)
Mexican musician Peso Pluma arrives at the 24th Annual Latin Grammy Awards ceremony at the Conference and Exhibition Center (FIBES) in Sevilla on November 16, 2023. (AFP)

Each time the nominations for a showbiz awards show are rolled out, there are accusations of "snubs" -- but the Recording Academy's history of sidelining Latin music artists seems more pattern than fluke.

This year, not one Latin musician earned a Grammy nod in the Big Four categories, which celebrate the year's top album, record, song and new artist.

Some critics voiced surprise at the slight, one year after reggaeton megastar Bad Bunny made history with the first Spanish-language work nominated for Album of the Year, which lent hope that the Academy was waking up to Latin music's broad audience.

But those hopes were dashed: in particular, many industry watchers expressed shock that Peso Pluma -- the fast-rising Mexican superstar who broke into the global mainstream with a string of hits this past year -- was left out of the Best New Artist category.

The 24-year-old received his only nomination in the category for -- wait for it -- Best Musica Mexicana.

"By leaving him out of the general-field awards, they aren't just snubbing a lone artist here," wrote one Rolling Stone critic. "They're brushing off an entire new wave of talent that's been changing the musical landscape."

Reggaeton hitmaker Karol G was recognized only in musica urbana, while superstar Shakira and her collaboration with Argentine producer Bizarrap was completely shut out, as was rising artist Eladio Carrion.

"I felt that we didn't have as many Latin artists and creators as I would have liked to have seen," Academy CEO Harvey Mason Jr told Billboard following the nominations reveal in November.

"We have to do more outreach in Latin communities, making sure that we're representing the music accurately. We're hearing from them things that we can do; making sure we have the right amount of membership and representation."

'Recalibration'

Latin artists spanning genre have posted strong numbers across the board, but regional Mexican music -- which includes many styles like banda, sierreno, norteno and mariachi -- has grown particularly buzzy, making the Academy's neglect of it all the more conspicuous.

Its rise has seen a new generation of artists fuse traditional corridos -- ballads that became popular more than a century ago during the Mexican revolution -- with rap or reggaeton influences that has translated to chart-topping success.

Peso Pluma has faced some anger for embracing the "narcocorrido" subgenre, which some critics say glorifies drug culture, though many others say narcocorridos are a means of social critique.

But either way, his work and other regional Mexican styles have a fervent fan base that is transnational, appeals to the young and digitally savvy, and has staying power both on streaming platforms and social media.

"What's happening now is a recalibration, not only of Mexican regional music, but a recalibration of Mexican and Mexican identity in the United States," said Juan Carlos Ramirez-Pimienta, a professor at San Diego State University who specializes in corridos and narcoculture.

Many fans of artists like Peso Pluma are young immigrants to the United States or first-generation Americans, along with plenty of non-Latinos worldwide, many of whom don't speak Spanish.

"It really has to do with the erosion of English, and American music, as the 'music of the world,'" Ramirez-Pimienta told AFP.

"Pop music is pop music," no matter what language it is sung in, he added.

'Process of disenfranchising'

Just like with pop, rock, hip-hop, country, classical and a number of other genres, Latin music does have its own section of categories among the more than 90 Grammy awards on offer.

And since 2000, the Latin Recording Academy -- which was established as a separate branch of the Academy in 1997 -- holds a ceremony specifically dedicated to primarily Spanish- and Portuguese-language music, the Latin Grammys.

That gala and the dedicated categories are important for ensuring representation, but they also make it easier to avoid honoring Latin music for its mainstream popularity, said Ed Morales, a writer and professor at Columbia University.

"The creation of the Latin Grammys can be used as an excuse to silo, and reduce the need for representation in the mainstream Grammys," he told AFP.

That said, it is "a major marketing promotional opportunity for the Latin music industry... I think it's been established as an important service," Morales added.

Both scholars said that the marginalization of Latin music in the granting of industry awards is not dissimilar to the struggles hip-hop artists have faced for decades -- barriers that have only begun breaking in recent years.

"It's the same process of disenfranchising," said Ramirez-Pimienta.

Morales noted the longstanding contributions of Latin music in the United States, with influences including rock, country and hip-hop.

At the end of the day, for Morales, it's a question of being recognized not just for identity, but for artistry.

"Latinos should not be these perpetual outsiders or foreigners," he said.



Mariah Carey Wasn't Always Sure About Making a Christmas Album

FILE - Mariah Carey performs at the New Year's Eve celebration in Times Square, Dec. 31, 2017, in New York. (Photo by Brent N. Clarke/Invision/AP, File)
FILE - Mariah Carey performs at the New Year's Eve celebration in Times Square, Dec. 31, 2017, in New York. (Photo by Brent N. Clarke/Invision/AP, File)
TT

Mariah Carey Wasn't Always Sure About Making a Christmas Album

FILE - Mariah Carey performs at the New Year's Eve celebration in Times Square, Dec. 31, 2017, in New York. (Photo by Brent N. Clarke/Invision/AP, File)
FILE - Mariah Carey performs at the New Year's Eve celebration in Times Square, Dec. 31, 2017, in New York. (Photo by Brent N. Clarke/Invision/AP, File)

Mariah Carey relishes the fact that she has become culturally synonymous with Christmas — thanks in part to the longevity of her iconic song “All I Want for Christmas Is You,” and its ubiquity every year when the holidays roll around.
But the Grammy winner admits she initially wasn’t sure about doing a Christmas record when her label pitched it. “I was a little bit apprehensive,” she recalls, reflecting on her album, “Merry Christmas,” turning 30 this month.
Ahead of her appearance at Sunday’s American Music Awards and an upcoming Christmas tour that kicks off in November, Carey spoke with The Associated Press about the advice she would give to young artists navigating fame and the use of her song, “Always Be My Baby,” in Ari Aster’s 2023 horror comedy, “Beau Is Afraid.”
The interview has been edited for clarity and brevity.
AP: What has it been like to celebrate nearly 20 years of “The Emancipation of Mimi” and reflect on this album’s legacy? CAREY: I think “The Emancipation of Mimi” is one of my albums where there were different boundaries that got pushed aside and I was really happy about that because I needed to come back, apparently. And so, it was a comeback. But it’s one of my favorite albums. And celebrating it this year and this celebration of “Mimi” was really fun because I never get to do those songs. I never do them. And this this time I did.
AP: Because of that kind of underdog feeling, you felt some artistic liberty and empowerment that maybe you hadn’t before? CAREY: Yeah, I feel like people were ready to re-embrace me. And, you know, how did I feel about that? I mean, I feel like the album “Charmbracelet” was a very good album too, but not everybody knew that album. So, you know, when “We Belong Together” came out after “It’s Like That,” which didn’t do as well but still did pretty well. Whatever.
AP: “It’s Like That” is a great song. CAREY: It’s a good song. And I love performing it. You know, I go through stages with these albums. It’s interesting.
AP: Your first Christmas album, “Merry Christmas,” is turning 30 this month. That was obviously a formative record for you and your career. Do you remember anything about its inception? CAREY: So that was the record company saying, “You should do a Christmas album.” And I was like, “I don’t know that I should at this juncture.” Because, you know, I was very young and was just starting out and I felt like people do Christmas albums later in their lives. But now people have started to do them whenever, like right at the top of their career. So, I mean, what was I feeling like? I was a little bit apprehensive and then I was like, “I love this.” And I decorated the studio and just had the best time.
AP: Chappell Roan has made headlines for speaking out about how she is grappling with sudden fame. As someone who has been in the public eye for so long, do you have advice for young artists who are dealing with this? CAREY: Well, I have been through my share of dramas and it’s not fun because you grow up thinking, “I want to be famous.” I mean, really with me, it was always, “I want to be a singer. I want to write songs.” But “I want to be famous” was right there with it. I feel like it was probably because I didn’t feel like I was good enough on my own because of the things I went through growing up. And that’s not a good way to feel, you know?
But my advice would be try your hardest to go into this industry with a love of your talent or what’s really real for you. You know, if it’s like, “I want to be famous. I want to run around with those people, whoever they are, the famous people,” then it’s probably not the best idea.
AP: Have you seen Ari Aster’s “Beau Is Afraid” with Joaquin Phoenix? CAREY: Yes. I had to approve that. I thought it was interesting the way they used my song, “Always Be My Baby.” That was interesting. I mean, it didn’t really match with the movie, but, you know, I was just being edgy by saying, “You know, okay, fine.” It was very different. I mean, I wasn’t reluctant, but I thought, “This is something way different than I’ve done ever.”