Remember “Livin’ La Vida Loca?”
In the old days, Latino artists shook Top 40 radio with their poppified-to-a-bubble-gum-extreme singles.
No more.
Urban flava has become the predominant lengua of the Latin crossover artists. A quick scan of the radio dial releases the sounds of such bumpin’, hip-hoppish tracks as Frankie J’s “Obsession,” Daddy Yankee’s “Gasolina,” Baby Bash’s “Baby I’m Back” and Natalie’s “Goin’ Crazy.” Recess interviewed three of the new genre’s up-and-comers.
Twin divas
“You can see the urban influence,’’ says 19-year-old Nicole Albino, half of the twin duo Nina Sky. “Recently it hasn’t just been Spanish artists doing pop music. It’s strayed away from that. It’s a lot more hip-hop right now out there.... It’s about time that there’s a lot more Hispanics in the music scene.”
Albino says Latin culture has something special to offer mainstream music: a special twist on an old product.
Nina Sky’s debut single “Move Ya Body” was probably last summer’s unofficial anthem as well as a testament to the idea that cultures can fuse together, becoming more than the sum of its parts. “Move Ya Body,” a song constructed out of a bare coolie “riddim,” was one of the first pieces of reggaeton—a Latinized blend of dancehall reggae and hip-hop—to hit mainstream radio.
As a Puerto Rican who grew up in Queens, Albino speaks proudly of her heritage. “Because there aren’t as many Latinos in the hip-hop game, I feel we should get more respect for that fact alone,’’ she says.
Dawg with a lyrical bite
Cuban-American rapper Pitbull, who’s been featured on MTV’s Advance Warning, sampled the same “riddim” as “Move Ya Body” for his hit “Culo,” a modern-day Spanglish send-up of Sir Mix-A-Lot’s “Baby Got Back.” His debut M.I.A.M.I. (Money Is a Major Issue) was released last fall. A new single, “Toma,” with a Lil’ Jon cameo, is currently making inroads on Top 40 radio.
“I’m a Latin rapper from the South. That right there just shows how much I’ve had to endure,” Pitbull says.
And while the rapper has had his share of knocks (including an ill-fated recording session with Inc’s Irv Gotti early in his career), he’s still appreciative of his chance to record and glad that Hispanics are finally getting their chance on radio.
“I think it’s a beautiful thing. Hispanics no longer are a minority,’’ Pitbull says. “And that’s hip-hop. It’s not just a Latino movement. It’s a whole minority movement.’’
Though Pitbull readily admits that his heritage gave him the rhythm that he showcases in his music, he’s also wary of leaning exclusively on his cultural identity to sell his music. In fact, he sees himself as more a part of the Southern hip-hop movement.
“Calling yourself a Latin crossover pigeonholes you. That puts you into a corner,” Pitbull says. “I’m not here to say that I’m a Latin artist; I’m just an artist.”
Crossover bros
“We do everything,’’ says Juan Salinas, Play of the group Play-N-Skillz—his brother, Oscar, is, of course, Skillz. “We’re the Alicia Keys of rap.’’
Play-N-Skillz’ first single “Freaks,” guest-starring Krayzie Bone and Adina Howard, became a regional hit in Texas. Their new single “Let ’Em Go” could be the song that launches them onto national radio.
As the primary producers of Lil’ Flip’s platinum-certified debut U Gotta Feel Me, the Salinas brothers were soon signed by Universal Records. (Their management team Latium Entertainment also oversees the careers of fellow Latin hip-hop trailblazers Natalie, Baby Bash and Frankie J.) Their debut album The Process will be released this fall.
Half-Venezuelan and half-Argentinean, Play recognizes how much his cultural upbringing has affected his music. “My heritage definitely gives my music the rhythm with the congas and production skills,” he says. “It adds flavor like in the way I play the cymbals.’’
In their own way, Play-N-Skillz is trying to fill a void in Latin hip-hop that’s been left empty since Cypress Hill fell off the charts and the creative ledge.
“We’re definitely trying to step up for the Latin people. It’s a black and white thing in hip-hop right now,” Play says. “The only pop success for us has been, like, Ricky Martin, and he was just a flash in the pan. We need more faces.’’
What Latin hip-hop needs is an act the size—in terms of musical ingenuity—and likability of Nelly, he adds.
“Latin culture is just now getting exposed,’’ Play says. “There are radio stations that only cater to Latin listeners. Record labels are finally beginning to realize that there is a market for us.’’
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