annotated - Peter Zawel UW-20 Prof. Guerra 3/19/09...

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Peter Zawel UW-20 Prof. Guerra 3/19/09 Annotated Bibliography “Mucho loco for Ricky Martin” In the article “Mucho loco for Ricky Martin”, written by Maria Elena Cepeda, Cepeda identifies an underlying question and theme regarding Latino crossover artists in the U.S. The question that emerges from the text is: are Latino crossover artist being portrayed one-dimensionally by the U.S. recording industry? Cepeda states, “Throughout the broadcast U.S. Latina/o performers are presented to viewers as museum pieces and labeled accordingly (Ricky Martin, Jennifer Lopez, and Enrique Iglesias are respectively introduced as ‘Exhibit A’, ‘Exhibit B,’ and the ‘third exhibit’)” (57). In making this comment, Cepeda is arguing that crossover artists are portrayed in one type of way due to the fact that people in the U.S. are more inclined to listen to their music if it is presented in a certain way. Cepeda reinstates this by stating, “Americans [are] longing for music more rooted in a certain place and produced more honestly” and that “Anglos” have a latent attraction to the “Primitivistic Other” (57). The attraction to a “Primitivistic Other” that Cepeda mentions is the attraction to wild, natural and primal ideals. Or in the case of Latino crossover artists, Cepeda says that the artists are usually associated with adjectives like heat, intoxication, and spice. Cepeda observes this “ latent attraction” in Jennifer Lopez’s music video and Ricky Martin’s 2000 Grammy performance. In Jennifer
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Lopez’s music video “Waiting for Tonight,” the theme is utterly wild and almost animal- like. Lopez is completely covered in shiny glitter and the backdrop for the video is leaves and flashing green lights, representing a jungle-like theme. In Ricky Martin’s 2000 Grammy performance, Martin was entirely surrounded by African tribal drummers where he danced and sang a song within a ring of fire. These two examples do backup Cepeda’s argument that Anglos may have a latent attraction to wild-like things. And ultimately, according to Cepeda, that is why crossover artists are usually portrayed one- dimensionally. A major underlying theme in the article is investigating the politics of a crossover artist. The essence of Cepeda’s argument is that if a crossover artist refers to “that process whereby an artist or a recording from a secondary or specialty marketing category… achieves hit status in the mainstream market… historically it connoted movement from a marginal category to the mainstream,” then for example, Christina Aguilera’s success raises a crucial question regarding the politics of a crossover artist, within the Anglo-dominated U.S. recording industry. Cepeda raises the issue that, after Aguilera won a Grammy in 1999 for Best New Artist, BMG/RCA (her recording company) launched a massive campaign to re-situate Aguilera within the U.S. market not as an artist with just an ambiguous foreign-sounding last name, but as a U.S. Latina about
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This note was uploaded on 09/28/2009 for the course GEOL 002 taught by Professor Brown during the Spring '09 term at GWU.

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annotated - Peter Zawel UW-20 Prof. Guerra 3/19/09...

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