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This music video talks about Victoria Santa Cruz's childhood experience with racism—the purpose of the song of racism against the Afro-Latinidad community and how they weren't perceived to be Latinos. By repeatedly mentioning "Negra" in the chorus of the lyrics, she is emphasizing her pride in her heritage and culture and that the color of one's skin should not limit their ability to thrive in any society.

Author: Vivian Lin

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Victoria Santa Cruz | Me Gritaron Negra (Afro Perú) | Music MGP

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The title of “Como La Flor” translates to “Like The Flower” and describes a heartbreaking experience with an end to something romantic, particularly a relationship aka something sad. It gives the bittersweet vibes as she compares love to a beautiful flower as well as emphasizing the beauty of love. The melody is in Spanish and we can hear multiple instruments accompanying the rhythm. Selena is a female singer from Texas, making this a Texmex Cumbia. Her positive facial expression emphasizes that even when there is something that doesn't go expected, she doesn't take it to heart and tries to remind herself of the positive in which we can all learn to let things go as things are probably the way it should be.

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Selena - Como La Flor (Live From Astrodome)

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Afro-Latinas/os by Tanya Kateri Hernandez

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Afro-Latinas/os by Tanya Kateri Hernandez

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The text emphasizes the intersectionality of race, ethnicity, and nationality, illustrating how Afro-Latinas/os navigate multiple identities. Hernandez sheds light on issues such as discrimination, cultural representation, and the struggle for recognition within Latinx and Black movements. This relates to Samba because being that it originated in the 20th century in Brazil within Afro-Brazilian communities, it’s also rooted in African rhythms and traditions brought by enslaved Africans. The dance style served as a means of cultural resistance and expression for Afro-Brazilians, allowing them to reclaim their identities during colonial oppression and racism. Afro-Latinas/os continue to navigate their identities in a society that often overlooks their contributions, similar to how Samba's origins are sometimes overshadowed.

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Settlement?

Latinx community must learn about the Indigenous community and culture

reposition themselves as visitors

forces people of Latinx community to confront romanticization of both indigenity and Latinidad

Anti-Blackness wound?

exposes the dark history of African descendents in which their ancestors arrived in the Americas through being kidnapped, chained, transported, and enslaved

Femicide?

definied as those who identify as a woman (cisgender women, transwomen, tradesmen) are at greater risk of violence

Inarticulation?

Latinx doesn't make grammatical sense according to critics

"x" is used by activists in the queer, trans, feminist, Black, and Indigenous subcultures

Author: Vivian Lin

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"Mulher" by Linn da Quebrada

According to the lyrics, she repeated "Mulher", which means woman, to emphasize on the struggles that women face in patriarchal societies.

"Her secret ignored by everyone even in the mirror"

This quote reflects that the hardships that many women have to face are overlooked or dismissed by society. For just simply being born a "female", a woman is vulnerable to rape, kidnapping, gender violence (such as femicide), etc. It also raises awareness in hopes that this could be changed so that women can live in a more liberating society where their safety can be prioritized.

Author: Vivian Lin

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Cepeda made connections between the violence and flaws found in communities, with the emotional outlet that music can provide. Speaking of Latin music and Colombian music specifically, the art medium has been reaching many and has captivated multiple crowds. The nature of popular culture invites globalization and allows stories to transcend borders. Colombianidad, thus, is transforming into a melting pot of social aspects that then fabricate a more prideful identity. Nationalism and a sense of community/identity is on the rise as many Colombian-Americans long for a stronger connection to their home...

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Paloma Negra- Chavela Vargas/Jenni Rivera

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Paloma Negra- Chavela Vargas/Jenni Rivera

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Jenni's cover of Paloma Negra, originally sung y Chavela Vargas, has been seen as a tribute to her daughter after they had a falling out. Jenni's strong and classic voice rings out in a tone that is so melancholy and evokes a painful and sorrowful mood. Vargas' lyrics are a poetic description of a betrayal and a feeling of "desamor." Vargas sings with strong emotions and conveys her pain through an almost weeping cadence in her voice, which at times softens but maintains a certain raspy sound nonetheless.

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The music video contains imagery and messages connecting to the violence and aggression that women, and more specifically transgressions against trans women in Puerto Rico. The term "yo perreo sola" translates into "I twerk alone", and calls forth an awareness of wxmens rights. It is a call to action regarding the urge for conscientiousness in men. Bad Bunny goes beyond advocacy, as he artistically switches from his masculine self, to a version of him in drag (wearing prosthetic breasts, a wig, makeup) and breaking the boundaries of gender perceptions. The music video overall exudes femininity, as the scenes contain pink shades all around--background dancers dressed as pink flowers, Bad Bunny's all-pink outfit, fluorescent pink neon lights, etc. The diversity in the wxmen featured doesn't go unnoticed either, there are wxmen of all ages, body types, races! Overall, this song serves as an anthem of solidarity among women, especially highlighting the unfortunate experiences trans women and cis women go through in Latin America.

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BAD BUNNY - YO PERREO SOLA | YHLQMDLG (Video Oficial)

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To listen to detail means to capture the different elements of the music, including rhythm, melody, harmony, instrumentation, and dynamics, and understand how these elements work together to convey a particular emotion, message, or narrative. The composer's choice of elements describes what they want to portray. The article talked about Cuban music in the 1950s, which was at the same time as the Cuban Revolution. Therefore, Villa would "make the piano suffer 'un poquito'" to show the necessary sacrifice of the Cuban Revolution. This also relates to race since even before the revolution, the hierarchy of races was an issue, and the revolution was an attempt to reform the current status quo and demand more equal treatment of everyone regardless of skin color.

Author: Vivian Lin

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A Baiana is a term to describe a woman from the state of Bahia in Brazil. The song mostly describes the pride of being a Baiana. Carmen Miranda includes many imagery, including

silk twist

gold earrings

gold chain

coast-cloth

lacy gown

gold bracelet

stretched skirt

decorated Sandel

This imagery describes the richness of Afro-Brazilian culture. Many of these outfits are considered very prestigious and luxurious, emphasizing Carmen Miranda's pride in her own culture and in being a woman.

Not only do we have the pride, but we can also see the influence of Disney in the musical elements. As the song was from the 1930s-1940s, we can interpret the influence of the United States, hinting globalization.

Author: Vivian Lin

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CARMEN MIRANDA - O QUE É QUE A BAIANA TEM

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This idea of recognizing who we are and being proud of our identities can be further seen in the song “Me Gritaron Negra” by Victoria Santa Cruz. Cruz expresses her feelings of at first being shocked and discouraged by the color of her skin. However, as the song continues, she realizes that this is who she is, and she begins to take pride in her identity. “Finally! I finally realized! (Finally!) I don’t step back anymore (Finally!) I walk safe (Finally!) I walk and hope (Finally!) And I bless the Heaven because God wanted that My skin was jet black color, And I understood (Finally!) That I have total control: Black! Black! Black! Black!”

Author: Bryce Barnum

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Victoria Santa Cruz | Me Gritaron Negra (Afro Perú) | Music MGP

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Chiquita Bannana and the Cannibals: Racist Cartoon

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Chiquita Bannana and the Cannibals: Racist Cartoon

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The video presented above is quite disgusting, and it speaks volumes about how people of color were treated and stereotyped in the past. We see that not only the black man has the appearance of a monkey, he is also depicted as the "bad guy" for wanting to eat the white man to he "good guy". The way indigenous people were animalized and portrayed as cannibals all for food commercials is dehumanizing.

Author: Bryce Barnum

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One of the critiques discussed in this reading is the historical gendered differences between rock and pop music. Rock is usually identified as masculine while pop is identified as feminine. Female musicians in rock deal with stereotypes and expectations of their sexuality and role in this industry. The author analyzes how women in pop and rock have been criticized for being too commercial and not authentic enough.

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Olga Guillot uses a passionate voice to show that she was betrayed in perhaps a romantic relationship. The mood of the music video is betrayal, false promises, and heartbreak. However, contrasting to Selena's "Como La Flor", she gives off a more hateful tone showing no mercy. Some musical elements are

slower tempo

electronic music as accompaniment

minor key

repetition of "Bravo"

strong, passionate tone of anger

Some examples that could lead to such a music video would be a cheating and disloyal partner.

Author: Vivian Lin

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In contrast to "Brazo," which carries a more intense or confrontational tone, the tone of this music video is more nostalgic that is complemented with the slow tempo. According to the lyrics, Olga was focusing more on positive memories rather than betrayal. The song begins with a combination of string instruments, harp, and brass. It gives the style of a Waltz setting a romantic atmosphere. The repetition of "Sabor a mi" conveys a deep connection of love during the relationship that is worth remembering for years to come, even after they parted ways as well as reflecting a sense of emotional maturity and grace, as the singer acknowledges the love that once existed without allowing the past to entirely define her present.

Author: Vivian Lin

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2. Sabor a Mí - Olga Guillot - Reina del Bolero, Vol. 1

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"As Jenni Rivera’s musical power increased throughout her music career, especially among mexicanas residing in the United States and throughout Mexico who followed banda and narcocorrido music, her performance of mexicana gender and sexuality became more unabashed and discourteous of the boundaries of feminine normativity" (Deborah R. Vargas, 34). (In the music video, we see how the women shown by Jeni display acts of criminality, pushing away the stereotypical actions associated with females.

Author: Bryce Barnum

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Jenni Rivera - Las Malandrinas (Official Video)

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Bolero is described as a genre that involves romance and nostalgia. Beyond its melodic beauty, bolero has served as a cultural and political vehicle for resistance and change. In particular, the genre has played a significant role in challenging traditional societal norms and providing a space for marginalized communities, including women and the LGBTQ+ community, to express their desires, frustrations, and defiance.

"In performing boleros, social roles may flip: women may be defiant or aggressive, and men may be forlorn, destitute, or disinterested" (Quiroga 2000, 156).

Many have been defiant of traditional societal norms which allow for the dominance of heterosexual men. Through bolero, marginalized communities have a voice to challenge how they are being oppressed. Bolero in particular was a sign of progression of ideologies that shift from patriarchy and macho to acceptance of non-hetero sexualities and equal rights/treatement of women

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"Jenni Rivera’s musical performance represents a queer musical archive that activates everyday possibilities of sonic disobedience to normative Mexicanidad or Latina citizenship" (Vargas 2018, 33)

Rivera’s advocacy for freedom of expression is particularly significant in a cultural milieu where traditional gender roles and heteronormative values have long dominated. Women in Mexican and Latina communities, as well as LGBTQ+ individuals, have often been silenced or excluded by societal norms that superioizes in heterosexual men (patriarchy). Rivera, through her powerful voice, provocative lyrics, and defiant stage presence, creates an alternative narrative where these communities are given a voice, a platform, and the freedom to embrace and express their true identities.

Author: Vivian Lin

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La Lupe’s shows totally push the limits of what’s considered traditional femininity. Her over-the-top and "monstrous" style goes against the idea that women should act a certain way in both Anglo and Latino cultures. By openly showing real emotions and being super physical, she takes back femininity as a powerful space, flipping the script on the norms that try to box in or tone down how women express themselves. In the play, this rebellion sets the stage for imagining new kinds of Latina identities that aren't held back by society's rules.

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Juan Gabriel's life, music, and public persona highlight the relationship between gender and identity. Through his distinctive style, vocal characteristics, and performative elements, he posed questions regarding traditional notions of masculinity and heteronormativity, becoming a representation of jotería (queerness). His public image presented an alternative identity that moved beyond strict gender norms, allowing others to explore diverse expressions of gender and sexuality. His effeminate mannerisms and unique vocal qualities emphasized the performative aspects of gender, resonating with Judith Butler’s idea of gender performativity, which suggests that gender is not an inherent trait but rather an act that is continually performed and affirmed.

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This passage examines the interplay of Afro-Cuban music, dance, and spirituality with gender, identity, and race. Gender is conveyed through orisha gestures in Yoruba traditions, influencing both sacred and secular dances that embrace fluid and queer identities. Rooted in the legacies of slavery and colonialism, race plays a key role, with clave representing the fusion of African traditions and Cuban experiences. Dance becomes a medium for asserting identity, preserving collective memory, and resisting erasure, uniting individuals while highlighting the complexities of race, gender, and cultural expression.

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I can tell that most of his singing in live performances are likely improvised, as he kind of plays around and repeats lines and phrases that aren’t usually repeated or dragged out. It’s interesting noticing that he thinks of his delivery of the song on the spot, as the song keeps advancing. He makes dramatic pauses and makes some words extra breathy, showing a type of desperation that perfectly communicates the themes of the song. His voice has this quality that contains squeaks, cracks, and vocal manipulations that sound like small whines as well. Then, the mariachi orchestra begins strumming and playing out hair-raising melodies that accompany Juan Gabriel’s crying out on the song. He adds extra lyrics and seems to even be speaking to the audience with a sense of anguish, then a sense of playfulness. I can see why people called him flamboyant and feminine, since his stage presence is very experimental and showcases himself as a a graceful and playful performer. His dancing and his posture seems to give off feminine vibes, accompanied by his sparkly suit and high pitched, perky vocals.

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Juan Gabriel - Hasta Que Te Conocí (En Vivo [Desde el Instituto Nacional de Bellas Artes])

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Villano repeats “yo no soy una chica normal” meaning she isn’t a normal, likely referencing her identity as a trans woman and how she expresses her sexuality. The references to being a doll  can be connected to how people critique her body transformations and looks. Her femininity is the topic of the song, as Ana Macho also hops on the track and raps on expressing oneself as the “femme fatale” and showcasing femininity in a particularly sensual and explicit way. Toward the end, a snippet of Villano talking plays over the trap beat as she argues that she wants to be a “different” trans girl, pushing barriers. Villano’s lyrics on this song and the message already show that she is different, at least since she is female presenting and her voice clashes a bit with her femininity. Despite there being this particular aspect about her, her femininity is not any less, and neither is it diminished just because others judge. She speaks on her identity and sexuality in a way that radiates pride, confidence, and a strong attitude.

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Villano Antillano x Ana Macho - Muñeca  (Video Oficial)

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"Is it really submission of the female dancer we are invited to look at in this scene? Is it the reduction of woman to bitch that so concerns Vazquez about perreo that we witness in this flashy advertisement?" (Rivera-Servera 2016, 100)

By posing these critical questions, Rivera-Servera pushes us to reflect on how women’s bodies and identities are commodified in both popular culture and everyday life. The sexualization and objectification of women, especially in dance and music genres like reggaeton, are central to ongoing debates about gender roles, power, and agency. The quote highlights how the normalization of these depictions reinforces traditional gender hierarchies and the marginalization of women, especially those who exist outside of heteronormative standards. It raises awareness that we should look at women as equals rather than objectifying them in order to have a more well functioning society.

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This song's lyrics and music video caused controversy for its explicit lyrics and insensitive imagery. The lyrics portray women as a sexual and animalistic being. The word choice included calling women "hungry" for sex and even having "rabies." The lyrics, were very inappropriate for many listeners, despite Tokischa's usual lyrics are very explicit and at times set back female representation. It can be argued that Tokischa's role in the song was actually just representing Latina women in a sensual and sexually liberating way. Regardless of the lewd lyrics, the imagery in the music is what mainly stirred up disgust among listeners. The video depicted Balvin walking two Afro-Latinas walking on all fours, chained up in their leashes. This was absolutely appalling to see from black viewers, and especially Afro-Latinx fans, since there is already so much hate and a lack of acceptance of black women in latino culture. Depicting black women as rabid beasts, animalizing and ultimately dehumanizing them to the point of only serving as sex objects.

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Balvin, Tokischa ft. J  Balvin - Perra  (Official Video).

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Vivian Lin, Katherine Bernal Beltran, Juliana Silva, Bryce Barnum