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The impact of Latin American music
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3RG Miami, a South Florida fusion rock band that crosses borders. Although cataloged like a band of Rock in Spanish, the sound of 3RG Miami is a fusion of Rock, Reggae and Funk with Latin rhythms. But as Rylo says, leader voice and founder of the band: "if we want to define our style in one word, we can not". And that is precisely the charm of 3RG Miami, a band with the ability to transition between different genres and that has taken them to all audiences, both local and international. Their diverse styles are the legacy of the different musical tastes of its founder and the other 4 members of the band, who have been influenced by the music of Journey or Guns N 'Roses, and undoubtedly by the Latin rhythms such as the salsa Frankie Ruiz, going through the Dominican merengue until Luis …show more content…
However, his name was consolidated and now 3RG Miami is not only one of the most recognized local bands in South Florida, but it is crossing borders and already sound in several countries in Latin America, Europe and even Asia. 3RG Miami started as a cover band and a year and a half ago they decided to release their first single "Loca", which has been heard through streaming all over the world in places as diverse as the Philippines, South Africa, Italy, Norway, Brazil or Mexico. , among others. In Rylo's words, "Loca" launched them to fame and gave them recognition internationally, "it's overwhelming to have fans outside of Miami who enjoy and enjoy our music," he added. "Loca" opened the door to the production of new songs as diverse as its audience, such as "Cheese Factory", with a remarkable rhythmic influence of Funk and Reggae, "Fo, Que Peste" that brings the audience to the hard rock of the 80's with his guitar riffs, to move to a pop ballad of romantic lyrics accompanied by melancholy piano chords in "Do not Tell
Then there was “Torito,” with its careening interscalar soloing and riffs, which Quintero described as a “tribute to nature and animals,” and possessed some of her most inventi...
I will also show how he incorporates two of the most important folk music genres into his compositions such as “Joropo” and “Merengue.” These rhythms and musical genres are also the most common used by Jorge Montilla and Venez...
The third piece, on the other hand, had a faster and more upbeat tempo. “Para Que Me Llorar” had to have a build up before it can start moving quicker. Something that both songs had in common was that they were both played in a triplet format. I also noticed that in most of the songs sung, the singers were able to high pitches. Because mariachi music originates from South America, they all had a formulaic beat that, if it were to be played at a party, would be something to dance to. If there were one specific are in which I learned in class that would relate this type of music, it would be African American music because there were repeated melodies and rhythmic patterns in some of the pieces along with community parties.
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
written by Susan Vega. In this song Calypso is seen as a sad and lonely
Mexico’s drugs wars as well as bloody drug cartels are echoed in a controversial folk music genre commonly known as narco corridos or simply as drug ballads. They tell the stories allied to shootouts, drug lords, betrayals including daring criminal operations. Narco corridos are not a new style in Mexican music, in fact, they have been around for years, and they are popular among the old and the young. This genre has evolved to be modern fugitive music that fuses the emotional responses of antique ballads with the tense gravel of mobster rap. From global idols to rural artists documenting their neighborhood current events in the regions subjugated by guerilla war, narco corridos provides the songwriters in their homes with unique but artistic superiority, investigating the heartland of the infamous Mexican drug trafficking as well as publicizing municipal midpoints such as Los Angeles, in addition to Mexico City.
Over the next few years during the build up of musical influence from Latin America, Mario Bauzá...
In The United States the number of people in prison is over two million, and of those two million it is estimated that two thirds of them will be back in prison within three years (Correctional Populations). Some people argue that rehabilitation is the most effective way to handle prisoners, but the risks don’t outweigh the benefits, especially for murderers. Nobles was an example of a murderer who appeared rehabilitated, but under close examination of his actions, he was no more than a manipulating sociopath. Nobles was not rehabilitated because his actions in court showed how he felt, his faith was a facade, and he was a schizophrenic.
while simultaneously creating an othered persona that is neatly acceptable within the music industry’s messy understanding of hybrid artists. This othered persona is coveted by the U.S. dominant culture which perpetuates it onto the global market as the idealized standard for both crossover artists and U.S.-Colombians, more generally. I will refer to this phenomenon as the globalized crossover artist and seek to explore the ways in which it redefines and problematizes perceptions of crossover artists on a national and international scale. For Shakira, language is not just a lyrical tool, it is also a performative and structural tool that has the power to transcend borders of identities and
Oct. 29: Puerto Rican Music Between Rafael Hernandez and Rafael Cortijo. Guest Lecture by Prof. Lise Waxer, Music Dept., Trinity College
In order to understand the distinct contributions of Latinos in regards to Hip Hop and how they have been taken advantage of and such, one must be aware of the areas of Latino influence within the genre over the years. Many early Hip-hop jams, which began to emerge during the late sixties and seventies, were held in primarily Hispanic areas around New York City, such as Spanish Harlem and other neighborhoods (Barco 65). From early on, Latino participation, especially Puerto Rican, spanned various areas, including rap, graffiti, b-boying, breakdancing, as well as being the active listener and performer (Flores, Recapturing History, 63-65). Puerto Ricans in particular have always had a special connection with Hip-Hop in which they were “using rap as a vehicle for affirming their history, language, and culture”, thus making Hip-Hop history theirs as well (Flores, Puerto Rocks 90, 103). When it is said that Hip-Hop history is Puerto Rican history as well, it is suggest...
Ray Allen, Lois Wilcken. "Island Sounds in the Global City: Caribbean Popular Music and Identity in New York." 1-6. Illinois: University of Illinois Press, 1988.
...ds, ‘Boleros’, Dominican merengue and more recently, modern genres favored by youth, such as Rap and Reggaeton. This last one, originated in Puerto Rico and rapidly became popular worldwide. Puerto Rican music has had and still has a projection with internationally renowned artists, while still developing through educational institutions and programs that promote it.
experienced great commercial success. These rappers, unlike previous Latino rappers, rapped solely in English and focused on common hip-hop themes at the time. Whenever they did decide to use Spanish in their songs, it was limited to basic vocabulary. When they wanted to use more spanish, they created songs entirely in Spanish, such as “Latin Lingo” and “Tres Equis”. In their 1993 #1 Rap hit “Insane in the Brain”, B-Real, the head rapper of the group, starts off by saying: “Who you trying to get crazy with, ése? / Don't you know I'm loco?”. The trio recorded their greatest hits album in Spanish, titled “Los Grandes Exitos en Espanol.” B-Real states in a 1999 interview that “"It's always been a struggle for Latin artists within hip-hop...Even
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.