Willow Smith's "b i g f e e l i n g s" is the final song on her new album, "empathogen." And, according to Smith, it's "the most complex piece of music I've created in my entire career."
"Hopefully not the last - definitely not the last," she qualifies. "But this one is pretty awesome."
The entire record - the 24-year-old's sixth solo studio album - represents a sonic departure. Ahead of its release on May 3, Smith was a little nervous about putting it out into the world. But mostly, she was energized.
"I'm a risk-taker, what can I say?"
"This whole album is different from anything I've done, and I'm just so excited for people to hear it," she says. "You always take a little bit of a risk, but I'm a risk-taker, what can I say?"
Indeed, Smith has made a name for herself throughout her career for criss-crossing genres and stretching the bounds of her art. And she's never shied away from being open and honest about how she chooses to live her life outside of music, too. That ethos is very much reflected in this latest album, she says.
"I think I'm in a place right now in my life where I'm realizing that there's no destination, there's only choices every day that we make that bring us through our lives. I want to make the decision every day to be more compassionate, to be more honest, to practice my instrument with deep presence and treat it as a spiritual experience," Smith adds. "This album is an expression of me coming to that understanding."
Even the album art embodies that approach - on the cover, Smith is shown smiling emphatically, her Afro and grillz standing out against an earth-colored backdrop. In another shot, she's literally stripped down. It all connotes that honesty, that coming into herself. Smith says it was important to be present in her own body throughout making the album. Even if it wasn't traditional, eyes-closed meditation, she'd just "tune in every once in a while."
"Like, can I feel my feet, can I feel my fingers, am I tapped in how my heart is feeling right now, am I tapped into my emotional state right now, instead of just being on autopilot," she explains.
It'd be difficult for Smith to be on autopilot right now, given everything that's going on in her life. Just days after her album comes out, she's releasing her debut novel, "Black Shield Maiden," which she co-wrote with Jess Hendel. She's also a global ambassador for LG and their Life's Good campaign, a partnership she says was "super on the nose" given her and the brand's commitment to high-quality audio.
Amid all the moving parts, physical presence and mindfulness don't just fuel her creative process; they also help her relax.
"Pilates also kicks my ass."
"Weirdly enough, if I work out, it kind of counterbalances the mental and emotional fatigue. It gives me energy. I know people say that, I know that there are studies on that. But the last thing you want to do after you've been working all day is work out," she says.
Her favorite workouts right now are hot yoga and "pilates also kicks my ass," she laughs. She loves running, too, and often listens to podcasts while doing it. Right now, she's into "The Ancients" (she recently listened to an episode about ancient Polynesian sailing techniques) and the science podcast "Ologies with Alie Ward."
It's very clear that Smith loves to learn. She's almost done reading "The Dawn of Everything" by David Graeber and David Wengrow, a nonfiction book that looks at how society came to be. "I honestly can't even really explain it that well because it's deeply complex and I'm still trying to figure it out, but that's been really cooking my noodle," she quips.
Getting inspired by these other forms of media brings us back to her process. It's all about getting inspired by the possibilities within other realms. Smith says she loves walking around museums alone, for example, just taking in "all the cool shit." And in releasing this album back out into the world, she's keeping that inspiration loop going round and round.
"I'm just interested to see what people get from this art I've been creating, and I hope that it's a cathartic experience," she says. That comes back to "b i g f e e l i n g s," too: "I just want to keep helping people be inspired and feeling like they're less alone."
It's a drizzly Thursday afternoon in New York City, and Nicki Nicole has spent most of her day answering back-to-back interview questions from journalists. For someone who just concluded a tour between Latin America and Europe, not to mention nine sold-out shows at the Movistar Arena in Buenos Aires, where more than 100,000 fans were in attendance, you'd think she was ready to slow down. But hours before our conversation, she announced that her first US headlining tour would kick off next month in Mexico City. You can see the tunnel vision in her green eyes. Her fans, who have been by her side since day one, are what motivate her to keep going.
The 23-year-old budding singer, rapper, and songwriter has cemented a name for herself in her native country of Argentina. Nicole Cucco prides herself on never sticking to just one genre when creating music; it helped define her place as a multidimensional creative keen on bridging the gap between singing and rapping.
With the announcement of the US leg of her tour comes new music that does just that. Her first single of the year, "Ojos Verdes," is a cumbia ballad inspired by personal situations she's gone through, quite possibly alluding to her recent public breakup with Peso Pluma. The lyrics translate to: "But I brought out the best in you / And you realized it the day I left."
"Since I was a young girl, I've listened to cumbia and know so much about it. The only other time I've worked on a cumbia song before was with the [band] Angeles Azules," she says. "Now I feel comfortable and prepared to make my own song, so this is me doing it on my own."
Nicole has come a far way in a short amount of time. Her 2019 debut album "Recuedros," filled with sprinkles of pop, soulful R&B, and urbano tones, includes her standout single, "Wapo Traketero," which she performed a couple of years later on "The Tonight Show Starring Jimmy Fallon" - making her the first Argentine artist to ever perform on the late-night show.
Meanwhile, her 2021 sophomore studio album, "Parte de MA," plays around with reggaeton, hip-hop, and upbeat pop sounds, along with heavy collaborations from acts like Rauw Alejandro, Mora, and Mon Lafarte, just to name a few. "ALMA," a self-exploration album that ties reggaeton, Latin R&B, and dark ballads all together, was nominated for "Best Urban Album" at the 2023 Latin Grammys.
"The truth is, every album and every song I put out has really helped me to evolve my sound," she says. "If you listen to my first and third albums, you can see the growth not only vocally but down to the overall concepts, even the way I express myself. I love when people can notice that evolution in my music."
Her fourth studio album is still a work in progress, but Nicole notes that the project's overall concept is finished. "I don't want to limit myself or rush the album. I'm always learning something new. Just being here in New York for a week, I made some incredible songs," she says. "For this next project, when it comes to structure and melodies, there will be a lot of hip-hop, R&B, and rap - that will be the focus. Musically, though, aside from my next project, there will be many surprises that will come about this year."
Growing up, Nicole's musical influences varied. She grew up listening to tango, cumbia, rock, and various genres. "Amy Winehouse, Christina Aguilera, Kendrick Lamar are some of the artists who have influenced my music. I've never worked on rock music as a solo artist, but that's something I plan to explore as well," she says.
Nicole's love for hip-hop began when she was 15, around the time she started attending freestyle battle competitions. She remembers being intrigued by "The Get Down," the Netflix series that centers on the birth and rise of hip-hop in New York City, and wanting to learn more about the genre's origins.
"Before watching [the series], I knew somewhat of the history of hip-hop, but as I continued watching I wanted to learn more about this world, it really caught my attention," Nicole says. "I started to listen to more rap music; I fell in love with it all. I was sad that there was only one season of the show."
At 17, a younger Nicki Nicole was joining in on freestyle competitions, which helped shape her wordplay today. Her favorite past and present rappers include Nuyorican rapper Hurricane G, Lauryn Hill, Ivy Queen, Nathy Peluso, and her sister, SofAa Gabanna. The rise of hip-hop culture in Argentina isn't new; it's been a movement for some time now. Nicole is grateful for El Quinto EscalA3n, dubbed Argentina's most prominent rap competition, which was held from 2012 to 2017 in Buenos Aires. Duki, Paolo Londra, Milo J, and many others - each with their own style and essence - have all participated in the competition and are key players in the Argentine hip-hop scene today.
As a white Argentine woman, Nicole understands that she occupies a space created and originated by Black folks - hip-hop is Black history. It was never hers to begin with, so as an outsider, it's imperative for her to navigate it thoughtfully and avoid any appropriation of the culture.
"This didn't start out as my fight, and it's easy for anyone to co-opt a space that they didn't begin in, but I'll never take ownership of a space I'm a guest in," she says. "To know the origins of hip-hop is important, bringing visibility to things that went on in the culture in the past, and so many incredible rappers that make up these spaces, appropriating the space is something I don't ever plan to do."
She says she also owes hip-hop and rap culture for helping her get out of her shell and shaping her ability to freestyle.
"I feel like hip-hop, but mostly rap, taught me how to express myself when freestyling. Not just musically, but also it taught me how to get out of my shell because I used to be really shy," she shares. "Everything I didn't have the [courage] to say in person, I would say it in a freestyle, in a studio, in a battle, and I learned to express myself this way. And through freestyling, I learned how to socialize, and it also served me in my personal life in how to speak to people."
With so much music and talent coming out of Argentina - Cazzu, Emilia, Tiago PZK, Duki, Maria Becerra, and so many more - Nicki Nicole is proud of the greatness coming from her country.
"I know that every single Argentine artist that is putting in the work right now really deserves all of the recognition," she says. "I know a lot of them personally, so it makes me happy because I know all of the work and effort that goes behind it all, and I know that they do all of this because they dreamt it. It's an honor to know them."
As Nicki Nicole prepares for her tour and plans her world domination, she is unphased by any outside noise - anything that comes between her work. Nothing can stop her, unless it's an opportunity to get in the studio with the legendary Tego Calderon or electropop band Miranda, which she hopes will happen one day. What's keeping her grounded is her family and friends, and enjoying what she does.
"I'm really achieving everything I ever dreamed of, and that's what keeps me going," she says. "To be able to support my parents, to be able to spend time with the people I love, that's the most important thing to me in this world of music."
As the anniversary of Jennifer Lopez's sixth studio album "Love?" approaches, it's a fitting time to reflect on this album's significance within J Lo's career, its impact on fans, and its continued relevance in light of her recent endeavors.
Released on April 29, 2011, "Love?" came at a time when Lopez was already a multifaceted force in entertainment. Music, film, and fashion-she'd conquered them all. Yet, "Love?" transcended mere career markers. It delved into love, a theme central to Lopez's personal narrative.
This wasn't just an album; it was a declaration. Through "Love?" Lopez explored her own quest for love and fulfillment. The title track, "(What Is) LOVE?" beautifully captures this yearning. Lopez laid bare her vulnerabilities through her music, creating an emotional connection with her audience. Take the poignant question - "Is this just a dream / Is this what it seems?" - which echoes a longing for validation, her desire to be someone's girlfriend, and the fulfillment of romantic love.
Fast forward to 2024. Lopez's recent projects, including her latest album and musical film by the same name, "This Is Me... Now," and the documentary "The Greatest Love Story Never Told," were released on Amazon in March and offer a deeper look into her relationship with self-worth, love, and her ex-fiance turned husband, Ben Affleck.
The documentary sheds light on the last two decades of Lopez's personal life, including her struggles with self-love and the pressures of fame. Although the documentary has been arguably overshadowed by a viral clip where she references being from the Bronx, Lopez is still very raw about her emotions throughout the doc. She shares why she had been constantly searching for love and highlights her self-love journey. She also admits that her back-to-back marriages and relationships resulted from not being in a good place with herself.
Similarly, her musical film underscores her journey toward self-acceptance and empowerment. In these works, Lopez confronts the need for validation head-on, emphasizing the importance of self-love and resilience.
While "Love?" may not be Lopez's biggest commercial success, its strength lies in its raw honesty. The album humanizes her, connecting listeners with her experiences and emotions. Debuting at number five on the US Billboard 200 chart, it holds immense significance in J Lo's journey of love, self-love, and healing for a few key reasons. Produced while she was pregnant with her twins Emme and Max, "Love?" marked a period of introspection for Lopez and served as a platform for her to shed her usual glamorous image and expose her vulnerabilities.
"Love?" explored Lopez's own needs and desires but marked a crucial step in her journey towards self-love and understanding. She seemed to prioritize honesty over mainstream appeal, baring her insecurities and desires for love. The themes Lopez explored in "Love?" laid the groundwork for her recent documentary and self-love music video/album, echoing the messages of self-acceptance and resilience first seeded in this album.
In many ways, the album served as a turning point for Lopez, allowing her to explore her inner world and pave the way for her continued growth and self-discovery. Despite all of Lopez's accolades throughout her career, some still question her talents, as she openly shared in her 2022 documentary "Halftime." Lopez's achievements speak volumes. Her multifaceted success includes her influence on the Latine community, her role as a businesswoman, and her contributions to pop culture through film, music, fashion, and beauty.
Ultimately, "Love?" is a testament to Lopez's authenticity and resilience as an artist. It reminds us that even the most celebrated figures crave love and acceptance. As we celebrate the album's anniversary, let's appreciate its honesty, acknowledge its impact, and recognize J Lo's continued significance as an artist and cultural icon.
Throughout her illustrious career, Thalia has proudly represented Mexican culture through her music, iconic looks, and unforgettable performances. With mAosica Mexicana going global, the Mexican pop icon is tapping into the sounds of her roots through her new album "A Mucha Honra," where she pays homage to the music of her country while embracing the new wave of corridos.
"This album is called 'A Mucha Honra' because, as a Mexican, it makes me so excited to sing this music," she tells PS. "It's in my DNA. I feel like with everything happening now with our music on a global level, it's made us so proud. This is a celebration of our music and Mexican culture."
Thalia's career spans five decades since she entered the scene in the '80s as a member of the Mexican children's group Timbiriche. In the '90s, she launched her solo career, which took her worldwide, transforming her into a global artist. Among the many genres she's explored as a top Latina pop star, Mexican rhythms like mariachi and ranchera have always been present in her biggest hits like the empowering "Piel Morena" or the sultry "Amor a la Mexicana." Thalia credits her longevity to always changing with the times.
"Follow your pulse," she says. "Follow your intuition, which will soon guide you in learning different things about yourself. Sing different styles of music. Embrace things that will help you refresh your style and help you grow, change, and evolve. You have to dare yourself to take chances. I believe that's always been a principle of my career."
"A Mucha Honra" isn't Thalia's first rodeo in the mAosica Mexicana realm. In addition to her aforementioned hits, she also released a banda music album in 2001. "Thalia Con Banda: Grandes Axitos" included her classics like "Arrasando," "Entre el Mar y una Estrella," and "MarAa la del Barrio," the theme song to one of her famous telenovelas, which was rerecorded in the banda style. Thalia shakes off the criticisms of people who overlook her past in the mAosica Mexicana genre.
"In my music, I've always sung with Mexican arrangements in different albums throughout my career," she says. "It's something that's always been constant within my discography. I have a wonderful fan base. My Thali-familia are incredible for remembering things that we've done together. That's beautiful because they have a strong connection with me. This isn't something that I'm doing out of nowhere. I've always done it."
What is different about Thalia's latest exploration of mAosica Mexicana is that she's taking on contemporary sounds. What has helped the genre go global is the rise of corridos tumbados, or the trap-infused take on the traditional Mexican corrido and sierreA+-o. Corridos tumbados were first popularized in 2019 by Mexican singer Natanael Cano and his LA-based label Rancho Humilde. More Gen Z artists like his labelmates Junior H and Fuerza Regida and Mexican superstar Peso Pluma have pushed corridos tumbados to the top of the charts. SierreA+-o has also made waves thanks to the success of the Mexican American group Eslabon Armado. For "A Mucha Honra," Thalia tapped Rancho Humilde founder Jimmy Humilde and Edgar RodrAguez, who has produced hits for this new generation of artists. She seamlessly blends sierreA+-o and pop in the heartbreaking ballad "BebA(c), PerdA3n."
"[Edgar] has the Yellow Room [recording studio] where all the mAosica Mexicana stars have recorded," she says. "This album was created at the center of the Mexican movement that's taking over. It has that strong and intense essence of that movement and captures what Jimmy and Edgar do best. The songs and arrangements are spectacular."
Men largely dominate the mAosica Mexicana scene. Though there have been patronas in the past, like the late Selena Quintanilla and Jenni Rivera, young women are still trying to break through in this latest movement. Thalia uses her platform to highlight those women in the genre, like Estilo Sin Limite's Dania Valenzuela and Angela Aguilar, the daughter of mAosica Mexicana icon Pepe Aguilar. Thalia and Valenzuela tell their exes to get lost in the kiss-off corrido "Choro," and Aguilar later joins her for the tequila-kissed love song "Troca."
"I love to be able to bring girl power to mAosica Mexicana," she says. "It's beautiful to plant this seed and open that door so that more women can exist in this genre."
MAosica Mexicana also has a history of excluding the LGBTQ+ community, who make up a large part of Thalia's fan base. When I tell her that queer fans are ready to put on their cowboy boots and sombreros to enjoy this album, she says with a laugh, "I love that!" She adds, "The message in my music has always been about love. It's about unity. That's what I've always wanted to share. It's a celebration of life. If I can unite hearts through my music, that is the most beautiful gift to me as a singer and artist."
Thalia has continued to thrive over the years, thanks to her willingness to embrace different genres. She blended reggaeton and pop in the global hits "No Me Acuerdo" with Natti Natasha and "Desde Esa Noche" featuring Maluma, both of which have over a billion views on YouTube. She also looks to the past for inspiration, such as with her last album, "Thalia's Mixtape," where she revisited rock en espaA+-ol with the legends of that era. Now Thalia is adding corridos and sierreA+-o to her mAosica Mexicana palette.
A surprise that all Thalia fans will love on "A Mucha Honra" is her new version of "Amor a la Mexicana." She rerecorded the 1997 hit with a fiery corrido arrangement. Like throughout most of the album, Thalia digs deep to show off a more husky and soulful side to her voice. Nearly 30 years later, she still knows how to fiercely serve up love - Mexican style.
"What more I could do to round out this full-circle moment was sing a song that's a part of my stamp on music," she says. "It's what I've always been singing for - Mexico. It's logical. When I finished recording that new version, I said, 'Wow! That's really me now.'"
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.
Tanner Adell fell in love with country music young.
She grew up splitting her time between Los Angeles and Star Valley, WY, which created a stark contrast - but it was the country lifestyle, and specifically the music, that held her heart. Adell remembers falling in love with Keith Urban when he released "Somebody Like You." And every summer, when she and her mom would set out to drive back to LA from Star Valley, she'd sit in the back of the car and "just silently cry my eyes out as we'd start on this road trip back to California," she remembers.
These days, Adell is a rising country music star. And ever since BeyoncA(c) released "Texas Hold 'Em" and "16 Carriages" on Super Bowl Sunday and announced her forthcoming country album, the spotlight has been on Black women country artists like her. A lot of that attention has been positive; Adell and others say they're incredibly excited about what this will mean for the genre. But it's also been a bit contentious. After an Oklahoma radio station refused to play BeyoncA(c) because it "is a country music station," an online uproar convinced the station to reverse its decision - and ignited a larger conversation around inclusion within the genre.
On March 19, BeyoncA(c) announced "Act II: Cowboy Carter" will be released on March 29. In an Instagram post, she opened up about what it means to be a Black woman in country. "This album has been over five years in the making. It was born out of an experience that I had years ago where I did not feel welcomeda|and it was very clear that I wasn't. But, because of that experience, I did a deeper dive into the history of Country music and studied our rich musical archive. It feels good to see how music can unite so many people around the world, while also amplifying the voices of some of the people who have dedicated so much of their lives educating on our musical history," she wrote. "The criticisms I faced when I first entered this genre forced me to propel past the limitations that were put on me. act ii is a result of challenging myself, and taking my time to bend and blend genres together to create this body of work."
"Country music is how you feel, it's your story, it's part of you."
Indeed, for other Black women artists like Adell, pursuing country music often transcends the difficulty that might come with navigating their identity in a genre dominated by white men. As she puts it, "Country music is how you feel, it's your story, it's part of you."
The same was true for Tiera Kennedy when she started writing songs in high school. She was a big fan of Taylor Swift at the time, and she just fell into expressing herself through the genre. "I always say I don't feel like I found country music, I feel like country music found me," she tells POPSUGAR. "When I started making music, it just came out that way. I was writing what I was going through at the time, which was boy drama. And I fell in love with all things country music and just dove into it."
Moving to Nashville seven years ago was "a big deal" for Kennedy in terms of building up her career: "Everyone told me that if you want to be in country music, you have to be in Nashville." When she got there, she was surprised she was so welcomed by others in the industry, which doesn't necessarily happen for everyone, given how tight-knit the city can be. "I was super thankful and blessed to have met so many people early on who have opened doors for me without asking for anything in return," Kennedy says.
For Adell, too, moving to the "capital of country music" almost three years ago was huge in pushing her career forward. And an essential part of that has been finding a community of other Black women artists. "Oh, we have a group chat," she quips. "We're extremely supportive, and I think sometimes people are trying to pin us against each other or even pin us against BeyoncA(c), but you're not going to get that beef or that drama."
"Country is just as much a part of the fabric of Black culture as hip-hop is."
But while these artists have been able to foster a strong community within Nashville, it's no secret that country music has been facing a reckoning when it comes to racism and sexism. Chart-topping artists like Jason Aldean and Morgan Wallen have recently weaponized racism as a marketing tool, per NPR. In September, Maren Morris said she was distancing herself from the genre for some of these reasons. "After the Trump years, people's biases were on full display," she told the Los Angeles Times. "It just revealed who people really were and that they were proud to be misogynistic and racist and homophobic and transphobic."
But the reality is that Black artists have always been part of the foundation of country. As Prana Supreme Diggs - who performs with her mom, Tekitha, as O.N.E the Duo - says, "Black Americans, so much of our history is rooted in the South. Country is just as much a part of the fabric of Black culture as hip-hop is."
Diggs grew up in California watching her mother, a vocalist for Wu-Tang Clan, host jam sessions at her house. She's been wanting to perform professionally with her mom since she was a teenager, but it wasn't until the beginning of the pandemic that they really committed to their joint country project.
For Diggs, there's been nothing but excitement since BeyoncA(c)'s commercial came on during the Super Bowl. She immediately ran to her computer to listen to the songs. "And the second the instrumental came on for 'Texas Hold 'Em' came on, I was like, oh my god, it's happening," she says. "We are finally here."
Tekitha felt the same way. "In the Black and country community, we've really been needing a champion," she says. "We've been needing someone who can kind of blow the door open and to recognize our voice is important in this genre."
Adell says that given how iconic BeyoncA(c) is, the criticism she's received speaks volumes about how far country still has to go. "For her to have given so much of herself to the world and when she decides to have a little stylistic change to not just be supported - I don't understand it," she says. "I don't understand why people aren't just like, 'This is cool, BeyoncA(c)'s coming out with a country album!'"
Kennedy tries to focus on the positives of the industry (if she gets shut out of an opportunity, for example, she won't dwell, she'll just go after the next), but being a Black woman in America will always come with systemic challenges. "No, it hasn't always been easy," she says. "There are so many layers tacked onto that: being a new artist, being female, being Black in country music. But I think if I focused on how hard that is, I would fall out of love with country music."
That positive thinking has been paying off. After the Super Bowl, Kennedy released a cover of "Texas Hold 'Em," and it went viral. After she posted the video, new fans streamed into her DMs, telling her they didn't even know her type of country, which is infused with R&B, existed. It's something other Black women country stars are echoing: that the new focus on their contributions to the genre is a long time coming - and a huge opportunity.
"I'm super thankful that BeyoncA(c) is entering into this genre and bringing this whole audience with her," Kennedy says. "And hopefully that'll bring up some of the artists that have been in town a long time and grinding at it. I don't think there's anybody better than BeyoncA(c) to do it."
Image Source: Getty / Alberto E. Rodriguez
Where I'm From: Now and Gen features in-conversation pieces between generations - like a younger woman and her grandmother - discussing a topic like beauty rituals, finances, or marriage. We sat down with filmmaker Sean Wang and his grandmothers, Yi Yan Fuei and Chang Li Hua, the subjects of Wang's Oscar-nominated documentary short, "NCi Nai & WA i PA3." Read their heartwarming chat about friendship below.
In 2021, in the wake of increased anti-Asian violence and the ongoing pandemic, filmmaker Sean Wang moved back home to San Francisco. There, he started observing - then filming - NCi Nai and WA i PA3, his 94-year-old paternal grandmother and 83-year-old maternal grandmother, respectively, who happen to be inseparable friends and roommates. As he captured the mundane moments and joys of their daily lives, he created "NCi Nai & WA i PA3," an Oscar-nominated documentary short that recently landed on Disney+.
"As much as this movie is about my grandmothers and my relationship with them, it is about friendship, sisterhood, and the bonds that you maintain and water in old age."
The Taiwanese American director - whose debut feature film, "DA!di," recently premiered at the 2024 Sundance Film Festival - essentially filmed a series of home videos, which he turned into a beautiful 17-minute "personal love letter" to his grandmothers. "As much as this movie is about my grandmothers and my relationship with them, it is about friendship, sisterhood, and the bonds that you maintain and water in old age," he tells POPSUGAR. "I'm not 86, 96 years old. But I think [their friendship] is a good north star - hopefully, the friendships I have now that I feel are deeply special in my life, the ones that I know will last, that I hope could be NCi Nai and WA i PA3 in our old age, are still as silly and vibrant and fun."
Ahead of the 2024 Oscars, Wang and his grandmothers discuss their decades-long bond, the power of friendship, and the life lessons they've taught one another.
Chang Li Hua (WA i PA3): Us being able to spend our days together and live together is also a form of fate and good fortune. NCi Nai is older than me by 10 years, so I have always seen her like my own big sister. I am younger than her by 10 years, so anytime I am able to help her and take care of her, I will do my best to do so. We have almost all the same hobbies. Reading the newspaper, exercising in the backyard, going out for walks. Every day, we go to our orchard together to check and see which tree has grown fruits. Every day, we eat fruits together, and we take the peels of fruits and vegetables to the backyard and make fertilizer.
Yi Yan Fuei (NCi Nai): [WA i PA3 and I] have the same attitude. We both love friends, we love to exercise, and we love to read the news, so we are able to be together harmoniously, just like sisters. Sean knows too. He became close with us, and I cherish the time we spent together every day.
Sean Wang: They're my grandmothers. And as their sort of mischievous, young filmmaker grandson, I think our relationship is one of such joy, silliness, and this childlike, youthful energy. They mention it in the film that I bring it out of them, but they also bring it out of me. I think that results in some fun collaborations and these silly videos that we make. A lot of those were the seeds that became one half of "NCi Nai & WA i PA3." The silliness, the chaotic joy, I like to call it, that balances out of with the more poignant, deeply human grounded pains of their lives.
Sean Wang: I think I knew all the broad strokes of their lives, but getting to really talk to them about their childhoods and their lives before they were my grandmothers was really enlightening. But cutting to present day - and maybe I always knew this - I learned just how much of these creative spirits they are.
So much of this film was just a way to give them a platform that I think nobody had ever really considered them for. They dance, play, and allow their silliness to take center stage. And now that they're going to the Oscars and being enveloped in this world that is full of spectacle and fancy dresses, they're really loving it and getting to express a muscle that they so clearly have, that no one has ever allowed them to flex.
Yi Yan Fuei (NCi Nai): Sean was very approachable with us old people. He didn't treat us as old people at all. He joked with us every day. He didn't even act like we were dozens of years older than him. We were very happy having fun together.
Chang Li Hua (WA i PA3): I found that Sean was very talented - he has a great vision. Also, he was very patient with us when we were filming the movie. He would teach us how to pose. He's a kid who loves to teach his friends. He's able to hang out with old people, children, or friends of the same age. He's a young man with a lively personality, but also works very hard.
"The days we spend feeling joy and the days we spend feeling pain are the same days spent, so I'm going to choose joy."
Sean Wang: There's a line in the movie that NCi Nai says that has really stuck with me. She says, "The days we spend feeling joy and the days we spend feeling pain are the same days spent, so I'm going to choose joy." I think that very simple decision is a powerful one: choosing joy. Especially for someone like her who's in the twilight years of her life, knowing that her days are more limited than mine. In our dumpster fire of a world at times, allowing yourself to choose joy and celebrate the people around you is a worthy decision.
Yi Yan Fuei (NCi Nai): This young kid can get along so well with others. He doesn't treat us like old people; he still shouts like us young people in front of us every day. When he's here, we have a very happy life. We should be like him, whether he's young or old. He is our friend.
Chang Li Hua (WA i PA3): He helped us learn we're not useless when we are old. We can still be useful people when we are old. We can still dance, make movies, and be actors. Old people should not underestimate themselves. The elderly are also capable of doing so many things.
This interview has been translated, edited, and condensed for clarity.
In season three of "The Morning Show," a race scandal rocks UBA, the broadcast network that serves as the show's backdrop. The storyline sees Karen Pittman's Mia and Greta Lee's Stella strikingly depict the realities of women of color in largely white, corporate spaces like network television. "That's me and Greta actually, in a real way," Pittman tells POPSUGAR after speaking at the 2024 Makers Conference on Feb. 28.
Through characters like Mia and Nya on "And Just Like That...," Pittman brings incredible nuance to her portrayal of strong Black women who navigate their race in their respective environments, which she opened up about in conversation with "Succession" actor J. Smith-Cameron. The two spoke at the three-day summit hosted by Makers, a community-focused media brand owned by Yahoo that's focused on accelerating equity for women in the workplace.
"I pride myself on having characters that don't resemble me as an actor."
For Pittman, identity-driven storytelling is inherently intentional. "I think the storytellers and writers are always looking for ways to imbue your personal, authentic perspective, whatever you have been through in your life," she says. But for the actor and activist, that authenticity is less about sharing her lived experiences and more about bringing complex emotions to her characters. "I pride myself on having characters that don't resemble me as an actor," she explains. "I don't see any of myself in Mia, and I hope to never see any of myself."
Instead, she "influences the storytelling" by ensuring there's depth to her characters. "I remind [writers], 'Let's make sure we show the heart of this character instead of just showing she's a strong woman.' That can end up being a trope," she says. She likes to create characters through their "emotional landscape" in particular. "Knowing what the heart of that woman is and being able to convey that to the camera visually is really where I feel like the greatest influence I have as an actor in any story. That is what makes an audience connect."
With a high-powered, independent TV producer like Mia, she's focused on channeling vulnerability, a quality not often associated with Black women on screen. "The writers of ['The Morning Show'] are always hoping to reflect back the strength and the nimbleness of African American women," she says. "Sometimes that can be one-sided, so I'm always trying to infuse moments of fragility, softness, tenderness, and suppleness of what it means to be a woman in that job, in the same ways that you might see a white woman in those jobs."
Image Source: MaxWhen it comes to Nya, Miranda's professor-turned-friend on "And Just Like That...," it was important to Pittman - and creator Michael Patrick King - that she wear her hair in braids. As she puts it, "I think it is important to reflect, especially on that platform, what it is to have an African American woman who completely accepts her naturalness, who isn't trying to change or look different, who is embodying this construct of Blackness completely, and has decided that she's going to live in a place of love and education - and to share that intelligence on the show." Pittman also understands that Nya's friendship with Miranda allows the opportunity to show viewers what it looks like for a woman of color to build a relationship with a white woman who may not know any other WOC. That's especially impactful in a series with so much fanfare and generational popularity.
But while she's able to start conversations about her characters in some ways, she also acknowledges the challenges that come with being a Black woman in the acting world. In her conversation with Smith-Cameron, Pittman shed light on Hollywood's cultural reckoning in response to George Floyd's murder by police in 2020. While there was an initial shift in the industry, she believes it's since reverted back to the status quo.
"My white colleagues don't have to have these conversations."
"People are forgetful," she tells POPSUGAR. "People forget, and as an actor, you don't want to always have your finger on the pulse of culture trying to teach them or remind them, 'Hey, we need to pump some life into this.' My white colleagues don't have to have these conversations."
As with women of color in any field, she'd like to solely focus on the job at hand: acting. "I would love to go into an experience where the only thing that I'm called to do is to bring the full breadth of my craft and not have to concern myself with anything else," she says. But, as she reminds us, this is the reality for any othered person in our society.
As Pittman underscored in her conversation with Smith-Cameron, "the system is broken," and she knows it'll take time for the industry to progress. But what she can do is collaborate with allies to advocate for the stories and characters they feel are important. "I want to be a human that builds coalition, that keeps common ground," she tells POPSUGAR. "One of the reasons I love portraying these characters is because they have their hand out for connection; they are reflecting back to the culture. There is space for all of us. Certainly in my career, as a mother, as a human being, that is the way I am in the world."
She's also hopeful for change. "If you're an actor or if you're an artist, you are an optimist and an activist," she says. "And if you're an activist or an optimist, you believe that humanity can do something different."
Image Source: Netflix
There are numerous standout stars on the newest season of "Love Is Blind" - Megan Fox (Chelsea Blackwell), AD's mother, Kenneth's phone, and the EpiPen, to name a few - but no star shines quite as bright as the famed gold cups. You know the ones we're talking about: those metallic-tinged wine glasses that pop up in nearly every frame of the Netflix dating series.
As omnipresent as the drama, the shiny goblets, of both the stemmed and stemless variety, aren't just sipped by contestants in the pods; they also score a ticket to the all-inclusive honeymoon resort in the Dominican Republic and make appearances, well, pretty much everywhere. Viewers can see them at the group pool party in North Carolina, the wedding-dress shop, every family's house, and every contestant's apartment. We'll put it this way: if "take a shot every time you see a gold cup" was part of a "Love Is Blind" drinking game, you'd likely end up with a massive hangover after just one episode.
So, what's the purpose of the ubiquitous drinking vessels, and where on earth did they come from? Wonder no more, because we've got answers right here.
"Love Is Blind" creator Chris Coelen told Variety that he chose the cups as a way to aesthetically distinguish the series - because holing up would-be lovers in tiny pods separated by an illuminated wall wasn't enough to do so, apparently. "When you turn on the show, you know it's our show," he said. "It's a very authentic, really true following of these people's journeys, but I like the fact that we have this sort of connective tissue with that in a really light way." Beyond that, the opaque nature of the glasses allows for seamless continuity; editors can cobble together scenes without worrying about how much alcohol, water, coffee, or whatever preferred liquid is left in each contestant's cup. Plus, the fact that they're metal and therefore harder to break than glass helps, too.
POPSUGAR also reached out to Netflix about where they scored the viral gold cups - y'know, just in case we plan a "Love Is Blind"-themed party in the future. A representative from the show's production company, Kinetic Content, told us they were, unsurprisingly, purchased in bulk from Amazon and transported from location to location by production vans. Although they were unable to provide the exact brand,
While the inescapable glasses made a splash among eagle-eyed "Love Is Blind" fans, they also became a mascot of sorts for every contestant - especially the women from season two. Deepti Vempati, who got engaged to but later broke things off with Shake Chatterjee, told E! News that she and the other ladies from the show's season want to get matching tattoos of the golden wine glasses. "We've been through so much, and we would always put all of our drinks in the gold goblets," she said. "It's just a symbolic thing for us."
Black. It is the color that absorbs all colors, the shade that holds the sun's warmth as it moves east to west. It is the color of a people, not just African but Caribbean, Middle Eastern, American, and more. But it is also music: the color at the center of the trumpet's brass ring, the shadow that fills the club when the lights get low and the party begins. Over the decades, Latin music has built a reputation for being wildly popular, no doubt in part due to its danceable nature. But what often gets lost in the conversation is the contribution that Black Latines had in cultivating the sound that, today, many of us regard as uniquely "Latin."
As a kid, I was guilty of just that. It wasn't until years later that I came to understand the importance of claiming my Afro-Puerto Rican heritage and how it shaped not only my identity but also the rhythms that moved me. Yes, that's rhythms, plural. From salsa to cumbia to reggaetA3n, an undeniable AfricanAa drives these genres. And it's just as much a part of our music's DNA as the language we sing it in.
We can't talk about the influence of Black Latines and not mention Machito. Frank "Machito" Grillo, along with band director Mario BauzA!, pioneered the sound of Afro-Cuban jazz in New York City in the 1940s. They took the Big Band format that was popular at that time and added conga, bongos, and timbales.
These instruments are staples of traditional African music and provide Latin jazz with signature percussive elements and rhythmic structure. These elements would later become the foundation of salsa music, which evolved from son montuno and Latin jazz; it upped the tempo but kept the African fundamentals, especially "la clave."
Growing up, my mother used to tell me that la clave was the heartbeat of salsa and, therefore, it was our heartbeat as well. However, while I thought of the clave as something uniquely Latino, the origins of the iconic "ta, ta, ta . . . ta, ta" began in Africa; la clave is an essential part of traditional African music. And even as the first slaves were ripped from their homes and crossed the Caribbean Sea with nothing but a lifetime of servitude awaiting them, la clave came with them. It was as simple as taking two sticks and knocking them together in rhythm, and it would become a staple of the music they produced. It would also eventually embed itself in Latin Caribbean music - not just salsa and son montuno, but other genres as well like danza, rumba, and mambo.
Similarly to jazz in the US, these musical genres would become an avenue to success for Black Latines worldwide and give rise to artists that would forever change the game, like Cheo Feliciano, Celia Cruz, Roberto Roena, Mongo SantamarAa, and "El Sonero Mayor" Ismael Rivera.
But it's not just salsa and its predecessors that are heavily influenced by our African ancestry. Merengue, as we know it today, has its roots in the leisure time given to slaves, during which they would imitate the balls and ballroom dances of their European masters, creating something entirely new in the process. This music would remain mostly confined to the Dominican Republic until the 1930s when pioneer Eduardo Brito brought the music to New York. During the 1960s, merengue would experience another surge in popularity as Dominicans migrated en masse to the city, and Afro-Latino merengueros like JoseAto Mateo would help bring the art form to new heights.
Cumbia music, like merengue, has its origins in dances practiced by the slaves brought to Colombia. Over the years, it evolved to incorporate traditional European instruments and became popular across Latin America. While the sound became extremely popular during the '90s thanks to pop artists like the late Selena Quintanilla and others, it's important to remember that the first person to record a cumbia song was the Afro-Colombian artist Luis Carlos Meyer.
Yet another example of this fusion of African and European is the Mexican folk genre of son jarocho. It's a staple of the Caribbean town of Veracruz, and I first heard of it when I interviewed singer-songwriter Silvana Estrada. When asked about her unique style and influences, the Veracruzan songstress spoke at length about the town's African history and how it led to the creation of son jarocho's unique sound.
Before it was known by its current name, reggaetA3n went through a series of names and transformations. Reggae en espaA+-ol, melaza, underground, rap y reggae -the list goes on. But maybe the most fitting name for it was "La MAosica Negra." Not only did this name epitomize the status of the underground movement that was burgeoning in the barrios, but it also identified it as a product of the Black Latines and Afro-descendientes that lived in them.
From El General and Nando Boom in Panama to DJ Negro and Tego CalderA3n in Puerto Rico, many of the genre's pioneers in the '90s and early 2000s were Black Latines. But beyond just the faces that flashed across the television during the music videos, the music itself was inherently African. Pulling from American hip-hop and Jamaican dancehall, reggaetA3n saw the European elements of Latin music scaled back in favor of an emphasis on heavy percussion. The dembow itself, though taken directly from riddims created by Jamaican producers, correlates with rhythms already found in traditional African music and Caribbean genres (such as Puerto Rican bomba).
African influence has been a part of Latin culture since the very beginning, and that's not even bringing Spain's mixed African heritage into the mix. And yet today, if we look at all the genres mentioned above, we see that what started as Black music sung by Black artists has become progressively lighter. ReggaetA3n is a prime example of this, with artists like Karol G, J Balvin, and Bad Bunny all being lighter skinned. For this reason, remembering the African contribution to our music and our culture in its entirety is incredibly important. We must pay homage to the pioneers of these genres and also make space for today's Black Latine artists to grow alongside their lighter-skinned counterparts.
Because at the end of the day, from the lightest to the darkest of us, our African heritage is something that we share; it connects us. And as we see when we take a closer look at our music, Latin music IS Black music. It's high time we recognize it as such.
Laufey has always felt "undefined." Whether it was her unique, modern jazz sound or her identity as a Chinese Icelandic artist, the 24-year-old singer-songwriter and producer tells POPSUGAR she "always felt like an anomaly and a bit of an outsider in my communities."
"Being a bit different became my status quo."
The artist, who recently took home her first Grammy for best traditional pop vocal album, has taken the music world - and TikTok - by storm. Since going viral on the platform in early 2022, she's released two albums, the second of which earned her the accolade. "Being a bit different became my status quo. I took my experience of being undefined into the music industry," she says.
Laufey's background growing up with Chinese and Icelandic parents in Iceland and later living in the US was pivotal to building her sound and, eventually, her career in music. "I had such a mix of experiences learning music," she says. Her first foray into music was connected to her Chinese culture - through her mother, a world-class violinist, and her maternal grandfather, who taught the instrument.
Laufey took piano lessons at Beijing's prestigious Central Conservatory of Music, and she performed as a solo cellist for the Iceland Symphony Orchestra at 15. When she started attending Berklee College of Music in Boston, she learned jazz and pop for the first time. "All of those experiences allowed me to grow up hearing the different sounds of each of my cultures and taught me about the things that bind different musical disciplines together and what sets them apart," she explains. Her blend of jazz, classical, and pop is so unique that there's often debate over defining her exact genre of music.
In addition to influencing her music, her college experience allowed her to embrace more of her Asian heritage, which she says she wasn't exposed to growing up in Iceland. "Living in the US has given me exposure to bigger Asian communities that I didn't necessarily have growing up in Iceland, where my mother and a few of her friends were the extent of my Asian community," she says. "Outside of the music industry, I've been able to embrace my identity as an Asian and be more proud of that side of me." In turn, that shift has given her the opportunity to "connect on a deeper level" with her fans of Asian descent.
And now, as a young woman in the music industry, Laufey is passionate about opening up opportunities for other women artists, particularly those of color. She can count the number of women producers she's worked with on one hand. Through Bose's Turn the Dial initiative, which aims to close the gender gap in music production, the musician collaborated with Eunike Tanzil, a rising producer and composer, to create a song from scratch in just three hours. "Eunike has such a beautiful way of approaching a simple melody, which is what drew me to her in the beginning," Laufey says. "It's an honor to create music with other Asian women in the industry. Together, we bring to our music a type of sincerity that is unique to our backgrounds."
As she continues to climb the charts, Laufey understands her undefined genre and identity represent what mainstream music and media have been missing. For Laufey, her recent Grammy win was "for those who couldn't figure out who they wanted to be."
As she puts it: "It was a stamp of approval proving that you don't have to follow a certain path in order to succeed in music."
If you had a hard time understanding Jennifer Lopez's recent music video project "This Is Me... Now: A Love Story," her documentary "The Greatest Love Story Never Told" might answer some of your questions. In the doc, Lopez shares that the inspiration behind both "This Is Me... Now: A Love Story" and her ninth studio album, "This Is Me... Now" (both of which released on Feb. 16), was to finally set the record straight about her love life.
"I've been married four times now. I'm sure people watching from the outside were like, 'What is this girl's fucking problem?' You saw kind of a compulsive behavior," Lopez says in the documentary's introduction. "What I portrayed to the world was, 'Oh this didn't work out and it's fine and I'm good and they're good.' And all of that was kind of bullshit."
The documentary goes behind the scenes in the making of both the film and the album, and Lopez also walks viewers down the last two decades of her personal life. She admits all those back-to-back marriages and relationships were a result of not being good with herself.
"I didn't think much of myself. So the world didn't think much of me. That lined up," she says in tears.
She also reveals that part of the inspiration behind her self-financed multimedia project was getting back with the love of her life and now-husband, Ben Affleck, who appears in both the musical (as an incognito character) and the documentary. Lopez shares that she was completely devastated after their 2004 breakup because she felt like she didn't just lose the love of her life but also the best friend she'd ever had. The public scrutiny that followed only made things worse.Similarly to the musical film, the documentary touches on Lopez's love life for the past 20 years, the reason she was in constant search for love, and her love story with Affleck. But more importantly, it highlights her self-love journey and explores why it took her so long to get to a better relationship with herself.
"'This Is Me... Now' is about truth and facing the truth of who you really are and embracing that, and the truth is I'm not the same as I was 20 years ago," she says.
In the documentary, Lopez shares how being the middle child made her constantly feel a need to show her parents and family that she had value and worth. She felt ignored by her dad, who was always working, and her mom, whom she claims was always the center of attention. Feeling emotionally neglected forced her to become hardworking and disciplined, she says, and somewhere down the line she started seeking the love she didn't feel she received growing up from men.
At first, it was hard for me to believe that Lopez isn't the same person she was 20 years ago - at least when it comes to her love life and her need to constantly be in a romantic relationship. When have we ever seen her single? Very shortly after her breakup with baseball star Alex Rodriguez in 2021, she was already being publicly seen with Affleck. Can someone really get over their fear of being alone and their need to constantly be in partnership without ever taking a significant break from dating? I'd argue no. But in the doc, Lopez admits there was a period when she did finally embrace singlehood.In the musical, there's a scene where Fat Joe, who plays her fictional therapist, asks her if she has "ever considered being alone for a minute." Her incognito character begins to break down in tears. Lopez admits in the documentary that the scene with Fat Joe parallels an actual conversation she had with a therapist.
"I used to be terrified to be alone," Lopez shares. "I didn't know what I was going to do by myself. Who was going to take care of me? Who was going to protect me? This one therapist said to me, 'Can you be alone?' And I was like, 'I can do it. I can be alone. I can be alone. I'll be alone until Christmas.'"
Lopez's therapist suggested she erase everyone from her phone who might pose temptation. According to Lopez, she listened and took some significant time to be alone and address whatever it was she needed to heal - like feeling emotionally abandoned as a child.
It's been easy for some fans to dismiss Lopez's recent projects - the film, the album, and the doc - as silly or unnecessary. But I couldn't help but empathize with her after having more insight into her journey and the things she's struggled with when it comes to love and relationships. I now believe Lopez when she says she took the time to be alone and heal - whenever that was.
Ultimately, it's clear that investing $20 million in this project was for herself, not for fans or viewers. Documenting her own journey was more a therapeutic act of self-love than anything else. Lopez likely didn't put out these projects to be nominated for awards or because she believes they'll be major hits; she put them out because they were the final process in her healing journey.
If these projects do anything, I hope they inspire viewers struggling with self-worth to take the time to reflect, heal, and give themselves the self-love they've always deserved. Because at the end of the day, the only love that we can guarantee in this life is the love we can give ourselves.
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, Grammy-winning artist Goyo, a member of legendary group ChocQuibTown, drops in to talk about her latest turn as a solo act, Afro-Latine representation, and what she's got in store for us in 2024.
As reggaetA3n, afrobeats, and trap become global, their distinct sounds and formulas become more cemented. However, rapper and singer Goyo has always defied the confines of a single genre. As a member of the award-winning group ChocQuibTown, the sound that she helped craft along with her brother Miguel "Slow" Martinez and Carlos "Tostao" Valencia, combined elements of traditional African percussion, Colombian folk, hip-hop, dancehall, and reggaetA3n. Now, as she continues her musical journey, this time as a solo artist, Goyo still finds it difficult to put a label on exactly what her sound is.
"The truth is that it's difficult for me to classify myself as one single thing . . . I can easily do a song that's straight hip-hop or a song that's straight folkloric. It's part of what I am," says the artist.
When she first arrived on the scene, it was just as difficult for the industry to classify her and her fellow group members. They won their first Grammy under the rock/alternative category for the song "De Donde Vengo Yo," as there was no urbano category at that time. But since that time, the genre has exploded allowing young artists from barrios across the globe to chase their dreams and allowing female emcees to show what they are capable of.
Yet, despite this influx of new talent, there is a fluidity and maturity to Goyo's sound that immediately sets her apart.
"Within the urbano movement, hip hop, rapping, singing, that's where I feel most comfortable," she tells POPSUGAR.
For long-time fans of ChocQuibTown, this should come as no surprise, as Goyo's talent for melodic hooks and precise lyricism has been evident since ChocQuibTown's debut album "Somos Pacifico" in 2006. However, now that the spotlight is solely focused on her, she's able to fully embrace her versatility, crafting songs and exploring concepts that highlight a more personal journey.
"With ChocQuibTown, what we wanted to do was put ChocA3 on the map, to vindicate our culture, and in some way say that 'hey, we're here.' We're representing our hood."
"With ChocQuibTown, what we wanted to do was put ChocA3 on the map, to vindicate our culture, and in some way say that 'hey, we're here.' We're representing our hood," Goyo shares. "The difference now [as a soloist] is the experience, everything that I've lived, showing everything that I am as a versatile woman."
It's a journey that has many parallels with a certain hip-hop legend and one of Goyo's idols: Ms. Lauryn Hill. Both were the sole female members of powerhouse rap groups. Both burst onto the scene to immediate acclaim and not only could harmonize and provide R&B elements to compliment their male group members' raps, but they were also powerhouse spitters in their own right. The similarities aren't lost on Goyo as she admits to looking to Ms. Hill, not only as a source of inspiration but a teacher of sorts, helping her build confidence as a young emcee.
"For me, she's a teacher in the way that [listening to her music] was able to rid me of a lot of fear and allow me to be myself when it came time to write [my verses]," Goyo says.
Along with Hill, Goyo mentions Foxy Brown, and Rah Digga as major influences. On the Latin side of things, artists like Tego Calderon, Celia Cruz, and Grupo Niche have all had a tremendous impact on her.
"I grew up surrounded by music, my mother and my aunts always singing in the house. So while I was growing up influences would always come to me from all different sides," she recalls.
These different sides were something she got to showcase in the HBO special, "En Letra de Otro," where she put her spin on classic songs like Don Omar's "Otra Noche" and Tito Puente's "Oye Como Va." But don't get it twisted, these weren't just Goyo's interpretations of classics. She truly made them her own, rearranging them with completely original lyrics and beats.
Now, she's ready to follow up that project with a new album of all original tracks. And if the first two singles are anything to go by, Goyo is using the deep waters of the urbano genre as her playground.
"Tumbao" gives reggaetA3n de la vieja vibes with its simple dembow and traditional percussion elements. Insomnia on the other hand is a complete 180. Produced by hip-hop producer IllMind, it starts with a heavy rock riff before leading into some snappy snare drums and driving a Jersey-style bassline over which Goyo flows between a melodic chorus and more pointed raps with ease.
"Within the creative process, it's important to have a concept, a beginning, and an end," she says."But in rap, sometimes you'll have a punchline that doesn't have anything to do with the concept but you can make it connect with the next verse. It's a beautiful game and it's the thing I most enjoy, that it's not rigid. That I can start a song melodically and when I get bored, switch to rapping."
But despite the growth that she's undergone and despite her career entering a new chapter, Goyo affirms that she's still the Goyo her fans were introduced to back in 2006. And as an Afro-Colombiana in a genre that, despite its Afro-Latine origins, has become increasingly whitened, she understands that the representation that she's championed ever since her ensemble days is just as important now as it was in the earlier days of her career.
"I think that the process [by which Afro-Latines find success] is a process that takes time, that maybe in my generation, I won't see as many changes as the next generation will, but [the work is being done]," she says."And the important thing is that we are conscious of that work . . . that we understand where we come from and take beauty from that a| so that we can keep advancing and make the load lighter for [future generations]."
When it comes to lightening the load, Goyo has played a significant role since stepping onto the world stage. Not only did she help put the historically Black neighborhood of ChocA3 on the map, but her continued success helped to make room and provide a blueprint for the next generation of Afro-Latine artists, showing them that commercial and critical success is possible while still staying true to your sound and where you come from.
Yet, for an artist who has already achieved so much and stands as an inspiration to her people, Goyo wants her fans to know that she's still got more to achieve at this stage of her career and is looking forward to bringing them along for the ride.
"We're putting a lot of love into the album, "La Pantera," and I hope that the fans like it and connect with [it] . . . ," she says. "Something I've always wanted to achieve is to have a solo album - to perform, to tour as a soloist and reconnect with the fans who have followed us and also to find along this new route more people to accompany me in the process. Now, I'm able to materialize that dream."
Now that we've got you hyped for Goyo's upcoming project, keep reading to get the deets on who she'd like to collaborate with, what she'd be doing if she wasn't rapping, and what she does cuando la insomnia se la pega.
POPSUGAR: Where is your happy place?
Goyo: Wherever my family is.
POPSUGAR: What song would you play to get the party started?
Goyo: Blessings (Remix) by Victor Thompson.
POPSUGAR: What do you do when you can't sleep?
Goyo: Write. Read.
POPSUGAR: Who's your most listened to artist right now?
Goyo: Fridayy. I'm crazy about Fridayy
POPSUGAR: Which artists would you like to collaborate with in the future?
Goyo: Don Omar. Tego Calderon. And Eladio. He goes super hard.
POPSUGAR: If it wasn't music, what passion would you dedicate yourself to?
Goyo: Writing.
POPSUGAR: What was the best thing about being in a music group?
Goyo: Being the only woman.
POPSUGAR: What was the most difficult thing?
Goyo: Being the only woman.
POPSUGAR: Finally, how would you define the word "Tumbao"?
Goyo: Tumbao is that special something that I have and that you have but is different for everyone.
"I get way more scared and embarrassed having to talk about my personal life in interviews than saying it in a song," Prince Royce admits during an interview in Los Angeles for his new album, "Llamada Perdida," which dropped Friday. With a decade-plus career that has generally been free of controversy, the Dominican American bachata artist and pop star is wearing his heart on his sleeve in his first LP since a very public divorce. Prince Royce says he has found healing through music while re-prioritizing himself and pushing the bachata genre to new places.
"Right now, I feel like I'm in a good place," he tells POPSUGAR. "Everybody has problems. It's just how you deal with them, and I think it's all part of growth. That's how I took in this experience in my personal life that happened in the last two years."
Royce is referring to his split with ex-wife and Mexican Lebanese actress Emeraude Toubia. After their fairy-tale-like wedding in 2018, the two announced their divorce in 2022 after 12 years together. For Prince Royce, it was the first time that a difficult moment in his private life had gone very public.
"Some of these things in my personal life had been going on for a while. You're kind of battling this thing in private until it actually explodes to the people."
"A lot of people thought when they saw it on Instagram, that's when it actually happened," he recalls. "Some of these things in my personal life had been going on for a while. You're kind of battling this thing in private until it actually explodes to the people. Fans want to know what happened, and what if I don't want the fans to know? I tried to stay away from social media for some time."
Prince Royce's vast catalog of hits includes love songs alongside bachata tracks about heartbreak. There's classics like 2014's "El Amor Que Perdimos," and "Culpa al CorazA3n," which was released a few years later. He admits that while he didn't experience any breakups while writing those songs, they struck a different chord when he revisited them after his divorce.
"I started listening to songs of the past, and I started to believe I was living what I wrote," he says. "I was living my past songs in the present. It was actually mad weird and scary. I cried to one of my old songs, and I felt like I was vibing with a Prince Royce that saw Prince Royce's future."
Prince Royce's divorce, compounded with the COVID-19 pandemic, left him with a lot to reflect on. He temporarily stepped away from the spotlight and surrounded himself with loved ones. During his brief hiatus from music, the bachatero reevaluated how he wanted to move on with his life and his career.
"I started listening to these podcasts about manifestation," he says. "When problems come, I just try to be positive. I'm genuinely trying to be a better person, make better decisions, and take care of my health. I want to try to put out the best music that I can do. I want to feel good about it. I want to do new things."
For Prince Royce, creating "Llamada Perdida" was a cathartic experience. On the 23-track LP, there are several bachata songs about heartbreak: he sings about suffering from heartache in "Sufro" and later wanting to numb the pain with morphine in the R&B-infused "Morfina," featuring Paloma Mami. But he maintains that "not every song has to be real."
"Some songs are fictional. Some songs are just inspired by [something]. Some songs are not 100 percent. I like to hide myself behind the artistry of what if it is or what if it isn't," he explains.
Throughout his career, Prince Royce has proudly represented bachata music from the Dominican Republic. While recording the album, he rediscovered his joy for making music and innovating the age-old genre in his own way. One of the most poignant collaborations is "Boogie Chata," featuring A Boogie Wit da Hoodie. The song seamlessly blends bachata with elements of hip-hop.
"[A Boogie Wit da Hoodie] is such a talented dude," Prince Royce says. "He's from the Bronx. I wanted to do something that was like Bronx representation. That's another one of my favorites. It was a great fusion. We did it just kind of doing our thing and having fun."
Prince Royce also taps into the mAosica Mexicana explosion with the song "Cosas de la Peda." Rising Mexican singer Gabito Ballesteros is featured in the heartbreaking song, which is a freshly unique mix of bachata with corridos tumbados. In the music video, Prince Royce also embraces a Mexican vaquero style as he sings with Ballesteros in a cantina.
"I did 'Incondicional' that had mariachi, and I recorded before with [Mexican singers] Roberto Tapia and Gerardo Ortiz," he says. "I wanted to push the envelope even more and have a bachata song with a deeper regional Mexican influence. I got to do that on this album. I just felt more free. I wanted to represent bachata and where I'm from with this type of album and still give a little bit of everything."
Prince Royce was also excited to explore more Dominican genres - like dembow in "Le Doy 20 Mil" and merengue tApico in the fiery "FrAo en el Infierno." One of the songs that mean the most to him is the empowering "La Vida Te Hace Fuerte," where he sings about the hard knocks of life making him stronger.
"We all go through very difficult things in our lives very differently," he says. "We all go through problems, but how do we solve them together? This is an album about overcoming obstacles. I want to just be here, do my thing, do things that make me happy, and try to keep touching people's hearts."
In the rapidly advancing landscape of AI technology and innovation, LimeWire emerges as a unique platform in the realm of generative AI tools. This platform not only stands out from the multitude of existing AI tools but also brings a fresh approach to content generation. LimeWire not only empowers users to create AI content but also provides creators with creative ways to share and monetize their creations.
As we explore LimeWire, our aim is to uncover its features, benefits for creators, and the exciting possibilities it offers for AI content generation. This platform presents an opportunity for users to harness the power of AI in image creation, all while enjoying the advantages of a free and accessible service.
Let's unravel the distinctive features that set LimeWire apart in the dynamic landscape of AI-powered tools, understanding how creators can leverage its capabilities to craft unique and engaging AI-generated images.
This revamped LimeWire invites users to register and unleash their creativity by crafting original AI content, which can then be shared and showcased on the LimeWire Studio. Notably, even acclaimed artists and musicians, such as Deadmau5, Soulja Boy, and Sean Kingston, have embraced this platform to publish their content in the form of NFT music, videos, and images.
Beyond providing a space for content creation and sharing, LimeWire introduces monetization models to empower users to earn revenue from their creations. This includes avenues such as earning ad revenue and participating in the burgeoning market of Non-Fungible Tokens (NFTs). As we delve further, we'll explore these monetization strategies in more detail to provide a comprehensive understanding of LimeWire's innovative approach to content creation and distribution.
LimeWire Studio welcomes content creators into its fold, providing a space to craft personalized AI-focused content for sharing with fans and followers. Within this creative hub, every piece of content generated becomes not just a creation but a unique assetaownable and tradable. Fans have the opportunity to subscribe to creators' pages, immersing themselves in the creative journey and gaining ownership of digital collectibles that hold tradeable value within the LimeWire community. Notably, creators earn a 2.5% royalty each time their content is traded, adding a rewarding element to the creative process.
The platform's flexibility is evident in its content publication options. Creators can choose to share their work freely with the public or opt for a premium subscription model, granting exclusive access to specialized content for subscribers.
As of the present moment, LimeWire focuses on AI Image Generation, offering a spectrum of creative possibilities to its user base. The platform, however, has ambitious plans on the horizon, aiming to broaden its offerings by introducing AI music and video generation tools in the near future. This strategic expansion promises creators even more avenues for expression and engagement with their audience, positioning LimeWire Studio as a dynamic and evolving platform within the realm of AI-powered content creation.
The LimeWire AI image generation tool presents a versatile platform for both the creation and editing of images. Supporting advanced models such as Stable Diffusion 2.1, Stable Diffusion XL, and DALL-E 2, LimeWire offers a sophisticated toolkit for users to delve into the realm of generative AI art.
Much like other tools in the generative AI landscape, LimeWire provides a range of options catering to various levels of complexity in image creation. Users can initiate the creative process with prompts as simple as a few words or opt for more intricate instructions, tailoring the output to their artistic vision.
What sets LimeWire apart is its seamless integration of different AI models and design styles. Users have the flexibility to effortlessly switch between various AI models, exploring diverse design styles such as cinematic, digital art, pixel art, anime, analog film, and more. Each style imparts a distinctive visual identity to the generated AI art, enabling users to explore a broad spectrum of creative possibilities.
The platform also offers additional features, including samplers, allowing users to fine-tune the quality and detail levels of their creations. Customization options and prompt guidance further enhance the user experience, providing a user-friendly interface for both novice and experienced creators.
Excitingly, LimeWire is actively developing its proprietary AI model, signaling ongoing innovation and enhancements to its image generation capabilities. This upcoming addition holds the promise of further expanding the creative horizons for LimeWire users, making it an evolving and dynamic platform within the landscape of AI-driven art and image creation.
Sign Up Now To Get Free Credits
Upon completing your creative endeavor on LimeWire, the platform allows you the option to publish your content. An intriguing feature follows this step: LimeWire automates the process of minting your creation as a Non-Fungible Token (NFT), utilizing either the Polygon or Algorand blockchain. This transformative step imbues your artwork with a unique digital signature, securing its authenticity and ownership in the decentralized realm.
Creators on LimeWire hold the power to decide the accessibility of their NFT creations. By opting for a public release, the content becomes discoverable by anyone, fostering a space for engagement and interaction. Furthermore, this choice opens the avenue for enthusiasts to trade the NFTs, adding a layer of community involvement to the artistic journey.
Alternatively, LimeWire acknowledges the importance of exclusivity. Creators can choose to share their posts exclusively with their premium subscribers. In doing so, the content remains a special offering solely for dedicated fans, creating an intimate and personalized experience within the LimeWire community. This flexibility in sharing options emphasizes LimeWire's commitment to empowering creators with choices in how they connect with their audience and distribute their digital creations.
After creating your content, you can choose to publish the content. It will automatically mint your creation as an NFT on the Polygon or Algorand blockchain. You can also choose whether to make it public or subscriber-only.
If you make it public, anyone can discover your content and even trade the NFTs. If you choose to share the post only with your premium subscribers, it will be exclusive only to your fans.
Additionally, you can earn ad revenue from your content creations as well.
When you publish content on LimeWire, you will receive 70% of all ad revenue from other users who view your images, music, and videos on the platform.
This revenue model will be much more beneficial to designers. You can experiment with the AI image and content generation tools and share your creations while earning a small income on the side.
The revenue you earn from your creations will come in the form of LMWR tokens, LimeWireas own cryptocurrency.
Your earnings will be paid every month in LMWR, which you can then trade on many popular crypto exchange platforms like Kraken, ByBit, and UniSwap.
You can also use your LMWR tokens to pay for prompts when using LimeWire generative AI tools.
You can sign up to LimeWire to use its AI tools for free. You will receive 10 credits to use and generate up to 20 AI images per day. You will also receive 50% of the ad revenue share. However, you will get more benefits with premium plans.
For $9.99 per month, you will get 1,000 credits per month, up to 2a,000 image generations, early access to new AI models, and 50% ad revenue share
For $29 per month, you will get 3750 credits per month, up to 7500 image generations, early access to new AI models, and 60% ad revenue share
For $49 per month, you will get 5,000 credits per month, up to 10,000 image generations, early access to new AI models, and 70% ad revenue share
For $99 per month, you will get 11,250 credits per month, up to 2a2,500 image generations, early access to new AI models, and 70% ad revenue share
With all premium plans, you will receive a Pro profile badge, full creation history, faster image generation, and no ads.
Sign Up Now To Get Free Credits
In conclusion, LimeWire emerges as a democratizing force in the creative landscape, providing an inclusive platform where anyone can unleash their artistic potential and effortlessly share their work. With the integration of AI, LimeWire eliminates traditional barriers, empowering designers, musicians, and artists to publish their creations and earn revenue with just a few clicks.
The ongoing commitment of LimeWire to innovation is evident in its plans to enhance generative AI tools with new features and models. The upcoming expansion to include music and video generation tools holds the promise of unlocking even more possibilities for creators. It sparks anticipation about the diverse and innovative ways in which artists will leverage these tools to produce and publish their own unique creations.
For those eager to explore, LimeWire's AI tools are readily accessible for free, providing an opportunity to experiment and delve into the world of generative art. As LimeWire continues to evolve, creators are encouraged to stay tuned for the launch of its forthcoming AI music and video generation tools, promising a future brimming with creative potential and endless artistic exploration
In this article, we explore the top 10 AI tools that are driving innovation and efficiency in various industries. These tools are designed to automate repetitive tasks, improve workflow, and increase productivity. The tools included in our list are some of the most advanced and widely used in the market, and are suitable for a variety of applications. Some of the tools focus on natural language processing, such as ChatGPT and Grammarly, while others focus on image and video generation, such as DALL-E and Lumen5. Other tools such as OpenAI Codex, Tabnine, Canva, Jasper AI,, and Surfer SEO are designed to help with specific tasks such as code understanding content writing and website optimization. This list is a great starting point for anyone looking to explore the possibilities of AI and how it can be applied to their business or project.
So letas dive into
ChatGPT is a large language model that generates human-like responses to a variety of prompts. It can be used for tasks such as language translation, question answering, and text completion. It can handle a wide range of topics and styles of writing, and generates coherent and fluent text, but should be used with care as it may generate text that is biased, offensive, or factually incorrect.
Pros:
Cons:
Overall, ChatGPT is a powerful tool for natural language processing, but it should be used with care and with an understanding of its limitations.
DALL-E is a generative model developed by OpenAI that is capable of generating images from text prompts. It is based on the GPT-3 architecture, which is a transformer-based neural network language model that has been trained on a massive dataset of text. DALL-E can generate images that are similar to a training dataset and it can generate high-resolution images that are suitable for commercial use.
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Overall, DALL-E is a powerful AI-based tool for generating images, it can be used for a variety of applications such as creating images for commercial use, gaming, and other creative projects. It is important to note that the generated images should be reviewed and used with care, as they may not be entirely original and could be influenced by the training data.
Lumen5 is a content creation platform that uses AI to help users create videos, social media posts, and other types of content. It has several features that make it useful for content creation and marketing, including:
Pros:
Cons:
Overall, Lumen5 is a useful tool for creating content quickly and easily, it can help automate the process of creating videos, social media posts, and other types of content. However, the quality of the generated content may vary depending on the source material and it is important to review and edit the content before publishing it.
Grammarly is a writing-enhancement platform that uses AI to check for grammar, punctuation, and spelling errors in the text. It also provides suggestions for improving the clarity, concision, and readability of the text. It has several features that make it useful for improving writing, including:
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OpenAI Codex is a system developed by OpenAI that can create code from natural language descriptions of software tasks. The system is based on the GPT-3 model and can generate code in multiple programming languages.
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Overall, OpenAI Codex is a powerful tool that can help automate the process of writing code and make it more accessible to non-technical people. However, the quality of the generated code may vary depending on the task description and it is important to review and test the code before using it in a production environment. It is important to use the tool as an aid, not a replacement for the developer's knowledge.
Tabnine is a code completion tool that uses AI to predict and suggest code snippets. It is compatible with multiple programming languages and can be integrated with various code editors.
Pros:
Cons:
Overall, TabNine is a useful tool for developers that can help improve coding efficiency and reduce the time spent on writing code. However, it is important to review the suggestions provided by the tool and use them with caution, as they may not always be accurate or appropriate. It is important to use the tool as an aid, not a replacement for the developer's knowledge.
Jasper is a content writing and content generation tool that uses artificial intelligence to identify the best words and sentences for your writing style and medium in the most efficient, quick, and accessible way.
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Surfer SEO is a software tool designed to help website owners and digital marketers improve their search engine optimization (SEO) efforts. The tool provides a variety of features that can be used to analyze a website's on-page SEO, including:
Features:
Pros:
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Overall, Surfer SEO can be a useful tool for website owners and digital marketers looking to improve their SEO efforts. However, it is important to remember that it is just a tool and should be used in conjunction with other SEO best practices. Additionally, the tool is not a guarantee of better ranking.
Zapier is a web automation tool that allows users to automate repetitive tasks by connecting different web applications together. It does this by creating "Zaps" that automatically move data between apps, and can also be used to trigger certain actions in one app based on events in another app.
Features:
Pros:
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Overall, Zapier is a useful tool that can help users automate repetitive tasks and improve workflow. It can save time and increase productivity by connecting different web applications together. However, it may require some technical skills and some features may require a paid subscription. It is important to use the tool with caution and not to rely too much on it, to understand the apps better.
Compose AI is a company that specializes in developing natural language generation (NLG) software. Their software uses AI to automatically generate written or spoken text from structured data, such as spreadsheets, databases, or APIs.
Features:
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Overall, Compose AI's NLG software can be a useful tool for automating the process of creating written or spoken content from structured data. However, the quality of the generated content may vary depending on the data source, and it is essential to review the generated content before using it in a production environment. It is important to use the tool as an aid, not a replacement for the understanding of the data.
AI tools are becoming increasingly important in today's business and technology landscape. They are designed to automate repetitive tasks, improve workflow, and increase productivity. The top 10 AI tools included in this article are some of the most advanced and widely used in the market, and are suitable for various applications. Whether you're looking to improve your natural language processing, create high-resolution images, or optimize your website, there is an AI tool that can help. It's important to research and evaluate the different tools available to determine which one is the best fit for your specific needs. As AI technology continues to evolve, these tools will become even more powerful and versatile and will play an even greater role in shaping the future of business and technology.
Are you looking for a way to create content that is both effective and efficient? If so, then you should consider using an AI content generator. AI content generators are a great way to create content that is both engaging and relevant to your audience.
There are a number of different AI content generator tools available on the market, and it can be difficult to know which one is right for you. To help you make the best decision, we have compiled a list of the top 10 AI content generator tools that you should use in 2022.
So, without further ado, letas get started!
Boss Mode: $99/Month
Copy.ai is a content writing tool that enables its users to create marketing copy, social media posts, Facebook Ads, and many more formats by using more than 90 templates such as Bullet Points to Blogs, General Ads, Hook Text, etc.
The utility of this service can be used for short-term or format business purposes such as product descriptions, website copy, market copy, and sales reports.
Free Trial a 7 days with 24/7 email support and 100 runs per day.
Pro Plan: $49 and yearly, it will cost you $420 i.e. $35 per month.
Wait! I've got a pretty sweet deal for you. Sign up through the link below, and you'll get (7,000 Free Words Plus 40% OFF) if you upgrade to the paid plan within four days.
Claim Your 7,000 Free Words With This Special Link - No Credit Card Required
Just like Outranking, Frase is an AI that helps you research, create and optimize your content to make it high quality within seconds. Frase works on SEO optimization where the content is made to the liking of search engines by optimizing keywords and keywords.
Solo Plan: $14.99/Month and $12/Month if billed yearly with 4 Document Credits for 1 user seat.
Basic Plan: $44.99/month and $39.99/month if billed yearly with 30 Document Credits for 1 user seat.
Team Plan: $114.99/month and $99.99/month if billed yearly for unlimited document credits for 3 users.
*SEO Add-ons and other premium features for $35/month irrespective of the plan.
Article Forge is another content generator that operates quite differently from the others on this list. Unlike Jasper.ai, which requires you to provide a brief and some information on what you want it to write this tool only asks for a keyword. From there, itall generate a complete article for you.
Whatas excellent about Article Forge is they provide a 30-day money-back guarantee. You can choose between a monthly or yearly subscription. Unfortunately, they offer a free trial and no free plan:
Basic Plan: $27/Month
This plan allows users to produce up to 25k words each month. This is excellent for smaller blogs or those who are just starting.
Standard Plan: $57/month)
Unlimited Plan: $117/month
Itas important to note that Article Forge guarantees that all content generated through the platform passes Copyscape.
Rytr.me is a free AI content generator perfect for small businesses, bloggers, and students. The software is easy to use and can generate SEO-friendly blog posts, articles, and school papers in minutes.
Cons
Pricing
Rytr offers a free plan that comes with limited features. It covers up to 5,000 characters generated each month and has access to the built-in plagiarism checker. If you want to use all the features of the software, you can purchase one of the following plans:
Saver Plan: $9/month, $90/year
Writesonic is a free, easy-to-use AI content generator. The software is designed to help you create copy for marketing content, websites, and blogs. It's also helpful for small businesses or solopreneurs who need to produce content on a budget.
Writesonic is free with limited features. The free plan is more like a free trial, providing ten credits. After that, youad need to upgrade to a paid plan. Here are your options:
Short-form: $15/month
Features:
Long-Form: $19/month
CopySmith is an AI content generator that can be used to create personal and professional documents, blogs, and presentations. It offers a wide range of features including the ability to easily create documents and presentations.
CopySmith also has several templates that you can use to get started quickly.
CopySmith offers a free trial with no credit card required. After the free trial, the paid plans are as follows:
Starter Plan: $19/month
Hypotenuse.ai is a free online tool that can help you create AI content. It's great for beginners because it allows you to create videos, articles, and infographics with ease. The software has a simple and easy-to-use interface that makes it perfect for new people looking for AI content generation.
Special Features
Hypotenuse doesnat offer a free plan. Instead, it offers a free trial period where you can take the software for a run before deciding whether itas the right choice for you or not. Other than that, here are its paid options:
Starter Plan: $29/month
Growth Plan: $59/month
Enterprise a pricing is custom, so donat hesitate to contact the company for more information.
Kafkai comes with a free trial to help you understand whether itas the right choice for you or not. Additionally, you can also take a look at its paid plans:
Writer Plan: $29/month Create 100 articles per month. $0.29/article
Newsroom Plan $49/month a Generate 250 articles a month at $0.20 per article.
Printing Press Plan: $129 /month Create up to 1000 articles a month at roughly $0.13/article.
Industrial Printer Plan: ($199 a month) a Generate 2500 articles each month for $0.08/article.
Peppertype.ai is an online AI content generator thatas easy to use and best for small business owners looking for a powerful copy and content writing tool to help them craft and generate various content for many purposes.
Unfortunately, Peppertype.ai isnat free. However, it does have a free trial to try out the software before deciding whether itas the right choice for you. Here are its paid plans:
personal Plan:$35/Month
Team Plan: $199/month
Enterprise a pricing is custom, so please contact the company for more information.
It is no longer a secret that humans are getting overwhelmed with the daily task of creating content. Our lives are busy, and the process of writing blog posts, video scripts, or other types of content is not our day job. In comparison, AI writers are not only cheaper to hire, but also perform tasks at a high level of excellence. This article explores 10 writing tools that used AI to create better content choose the one which meets your requirements and budget but in my opinion Jasper ai is one of the best tools to use to make high-quality content.
If you have any questions ask in the comments section
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The marketing industry is turning to artificial intelligence (AI) as a way to save time and execute smarter, more personalized campaigns. 61% of marketers say AI software is the most important aspect of their data strategy.
If youare late to the AI party, donat worry. Itas easier than you think to start leveraging artificial intelligence tools in your marketing strategy. Here are 11 AI marketing tools every marketer should start using today.
Personalize is an AI-powered technology that helps you identify and produce highly targeted sales and marketing campaigns by tracking the products and services your contacts are most interested in at any given time. The platform uses an algorithm to identify each contactas top three interests, which are updated in real-time based on recent site activity.
Key Features
Seventh Sense provides behavioral analytics that helps you win attention in your customersa overcrowded email inboxes. Choosing the best day and time to send an email is always a gamble. And while some days of the week generally get higher open rates than others, youall never be able to nail down a time thatas best for every customer. Seventh Sense eases your stress of having to figure out the perfect send-time and day for your email campaigns. The AI-based platform figures out the best timing and email frequency for each contact based on when theyare opening emails. The tool is primarily geared toward HubSpot and Marketo customers
Key Features
Phrasee uses artificial intelligence to help you write more effective subject lines. With its AI-based Natural Language Generation system, Phrasee uses data-driven insights to generate millions of natural-sounding copy variants that match your brand voice. The model is end-to-end, meaning when you feed the results back to Phrasee, the prediction model rebuilds so it can continuously learn from your audience.
Key Features
HubSpot Search Engine Optimization (SEO) is an integral tool for the Human Content team. It uses machine learning to determine how search engines understand and categorize your content. HubSpot SEO helps you improve your search engine rankings and outrank your competitors. Search engines reward websites that organize their content around core subjects, or topic clusters. HubSpot SEO helps you discover and rank for the topics that matter to your business and customers.
Key Features
When youare limited to testing two variables against each other at a time, it can take months to get the results youare looking for. Evolv AI lets you test all your ideas at once. It uses advanced algorithms to identify the top-performing concepts, combine them with each other, and repeat the process to achieve the best site experience.
Key Features
Acrolinx is a content alignment platform that helps brands scale and improves the quality of their content. Itas geared toward enterprises a its major customers include big brands like Google, Adobe, and Amazon - to help them scale their writing efforts. Instead of spending time chasing down and fixing typos in multiple places throughout an article or blog post, you can use Acrolinx to do it all right there in one place. You start by setting your preferences for style, grammar, tone of voice, and company-specific word usage. Then, Acrolinx checks and scores your existing content to find whatas working and suggest areas for improvement. The platform provides real-time guidance and suggestions to make writing better and strengthen weak pages.
Key features
MarketMuse uses an algorithm to help marketers build content strategies. The tool shows you where to target keywords to rank in specific topic categories, and recommends keywords you should go after if you want to own particular topics. It also identifies gaps and opportunities for new content and prioritizes them by their probable impact on your rankings. The algorithm compares your content with thousands of articles related to the same topic to uncover whatas missing from your site.
Key features:
Copilot is a suite of tools that help eCommerce businesses maintain real-time communication with customers around the clock at every stage of the funnel. Promote products, recover shopping carts and send updates or reminders directly through Messenger.
Key features:
Yotpoas deep learning technology evaluates your customersa product reviews to help you make better business decisions. It identifies key topics that customers mention related to your productsaand their feelings toward them. The AI engine extracts relevant reviews from past buyers and presents them in smart displays to convert new shoppers. Yotpo also saves you time moderating reviews. The AI-powered moderation tool automatically assigns a score to each review and flags reviews with negative sentiment so you can focus on quality control instead of manually reviewing every post.
Key features:
Albert is a self-learning software that automates the creation of marketing campaigns for your brand. It analyzes vast amounts of data to run optimized campaigns autonomously, allowing you to feed in your own creative content and target markets, and then use data from its database to determine key characteristics of a serious buyer. Albert identifies potential customers that match those traits, and runs trial campaigns on a small group of customersawith results refined by Albert himselfabefore launching it on a larger scale.
Albert plugs into your existing marketing technology stack, so you still have access to your accounts, ads, search, social media, and more. Albert maps tracking and attribution to your source of truth so you can determine which channels are driving your business.
Key features:
There are many tools and companies out there that offer AI tools, but this is a small list of resources that we have found to be helpful. If you have any other suggestions, feel free to share them in the comments below this article. As marketing evolves at such a rapid pace, new marketing strategies will be invented that we haven't even dreamed of yet. But for now, this list should give you a good starting point on your way to implementing AI into your marketing mix.
Note: This article contains affiliate links, meaning we make a small commission if you buy any premium plan from our link.
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