In 2002, after the Latin Grammys had existed for two years, grad student Gustavo Arellano took the award show to task in an article titled “Latin Grammys Hide the Big, Uncool Truth.” (Arellano would go on to write the invaluable “¡Ask a Mexican!” column and book, which you’ve seen linked over on my blogroll.) At issue: regional Mexican music, especially norteño and banda, accounted for more than half of Latin music sales in the U.S. — and it continues to do so today — but the Latin Grammy ceremonies had given regional Mexican artists very few performance slots. “Meanwhile, previous Latin Grammy ceremonies have featured decidedly non-Latino acts like Destiny’s Child and NSYNC to perform,” wrote Arellano. He went on:
The definers of Latin culture have decided that the most popular Latin music genre in the United States isn’t worthy of promotion because it might lead people to believe that Latinos are poor and culturally backward, not slick and “with it.”
Indeed, statistics prove that Mexican regional’s primary audience is composed of recent immigrants with little money — 53 percent of adults who prefer it did not complete high school, and most who like it make less than $25,000 a year, according to a report commissioned by Arbitron. For music executives, these demographics are anathema to their promotions and extra products departments and discourage them from considering Mexican regional music for crossover attempts like “rock en espanol” and Latin pop.
Aha! This could explain why you never see regional Mexican acts at the overall not-just-Latin Grammys, even though a song like Intocable’s “Te Amo (Para Siempre),” whose parent album was nominated in 2014 for Best Regional Mexican Music Album, would totally slay a crossover audience who likes pretty things. At Latin Grammy ceremonies over the years, a handful of norteño’s biggest stars (Intocable, Jenni Rivera, Los Tigres, Gerardo Ortíz, Calibre 50) have landed performance slots, but even there, the small percentage of regMex performances and award categories understates how much this music drives the industry.
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Every Grammy article must contain a disclaimer explaining how little its author cares about the Grammys. In that spirit… oh, I can’t front, I kind of enjoy them. Or at least aspects of them. True, the Grammys are stodgy and 90 percent of their nominations make no sense. By leaning heavily toward chart hits in the main categories and NPR-friendly middlebrow stuff in the lower echelons, they reward money over vitality. Archival work has led me to seek out Grammy nominees from previous years, but the Grammys have never inspired me to check out current music, not the way Oscar and Emmy nominees have made me check out movies and TV shows. Maybe because music is my field, I’ve already formed an opinion of most of the nominees, vicariously if I haven’t heard them, and Grammy’s endorsement in no way guarantees quality. That said, the performances sometimes rule. At their best, they feel like gate-crashing a party at a rich dude’s house. I remember my friends’ and my excitement when Metallica played “Enter Sandman” back in the early ’90s; recent revelations include Miguel and “Swagger Like Us.” In fact, let’s pause for a moment to recall a time when “Swagger Like Us” was everywhere.
Critics hit the awards from two different directions — I just did it above. The Grammys either reward popular crap at the expense of, you know, Art; or they blatantly reflect the tastes of older people with money and Good Taste at the expense of, you know, popular crap. Partly this is a class issue. Membership in NARAS, which votes for the Grammys, costs around $100 a year; LARAS, overseers of the Latin Grammys, charge you $85 a year; and both organizations limit voting to active participants in the industry. This doesn’t mean everyone who votes is old and wealthy, but it does mean that “[o]lder people already settled in their fields tend to be the ones who join professional organizations like NARAS… so they’re not always in tune with the times,” says Thomas O’Neil in his book The Grammys. Besides that, many musicians want to reward music that reflects well on their line of work — music that showcases the virtues of artistic ambition, tasteful musicality, positive messages, and respect to elders. Critics and mass audiences don’t care so much about such stuff. That’s why Hole’s great, scabrous album Live Through This went platinum, scored radio hits, and won El Norte’s biggest national critics’ poll, but earned only one Grammy nomination, and that for a video.
This year’s NARAS Grammy field is especially stodgy. On February 8, the nominees for Best Regional Mexican Music Album (including Tejano) will be:
Pepe Aguilar – Lastima Que Sean Ajenas (Sony Music Latin)
Vicente Fernández – Mano A Mano – Tangos A La Manera De Vicente Fernández (Sony Music Latin)
Ixya Herrera featuring Elias Torres – Voz Y Guitarra (Rampart Latino Records)
Mariachi Divas De Cindy Shea – 15 Aniversario (East Side Records/Shea Records)
Mariachi Los Arrieros Del Valle – Alegría Del Mariachi (Mariachi Los Arrieros Del Valle)
What do we see there? A whole lotta mariachi, including two tributes to man-myth-legend Vicente Fernández, one by the man-myth-legend himself and one by Pepe Aguilar. A lovely album of duets for voz y guitarra by the traditional ranchera singer Ixya Herrera. And ZERO norteño! In an eligibility period that included Gerardo Ortiz’s career-defining Archivos de Mi Vida! (He would’ve slain the Grammy audience with his beautiful “Eres Una Niña” — I could even imagine one of those “Grammy moments” duets with King Romeo or someone.) These nominations do have one advantage over most regional Mexican radio playlists — 40% of the nominees are female. But as far as representing where both popularity and innovation live in regional Mexican — and yes, the two often go hand in hand, as when “Eres Una Niña” mixes up the banda with the bachata — this list reads more like a museum piece. Or like an installation at a Disneyland resort, where the fine Mariachi Divas serve as the house band. In no way is it a snapshot of the best music of the year, if by “best” we mean “relevant” or “exciting” or “did something new” or “affected people’s everyday lives.”
To be fair, in recent years Grammy has come up with better lists — I mentioned Intocable last year, and ribald banda-pop characters Banda Los Recoditos have been nominated a couple times. One year the award even went to corridista El Chapo de Sinaloa, whose commitment to positive messages might be more… flexible than most Grammy voters’. But this year’s list demonstrates that NARAS, at least, is still shaky on where the action is.
In 2013, Arellano renewed his critique of LARAS and the Latin Grammys with an even better article (and title), “Why the Latin Grammys Remain America’s Biggest Anti-Mexican Sham”:
[Mexican performers] count as only three of the 15 scheduled performers for the evening… accounting for a pathetic 20 percent of all performances in a country where people of Mexican descent make up more than 60 percent of the total Latino pozole pot. There are only five awards categories devoted to Mexican regional music — shit, more than five distinct musical genres exist in Mexico City alone, from sonidero to rock urbano — while seven are given to Brazil, a beautiful, sonically rich country that nevertheless sells sells as much music combined in the States as Vicente Fernández can sell in one night from a street corner in Huntington Park.
There’s not a single Mexican artist this year nominated for Record of the Year or Album of the Year. And while two are nominated for Song of the Year… and Best New Artist… they’re dreck — and neither of them come from regional Mexican music. I’m not even going to bother looking at past nominees in these biggest of categories; any Latin music awards that never bothered to declare the late Jenni Rivera a winner EVER is about as much a Latino cultural authority as Rick Bayless.
He concluded:
The Latin Grammys are obviously an awards ceremony meant to celebrate Latin music in the United States, not Latin America, and specifically the Latin music that its organizers — centered mostly in Florida and New York — favor, far from the maddening Mexican crowds that buy the albums that keeps their labels afloat.
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You know what else has had trouble getting Grammy respect? Hard rock and metal. The award for Best Hard Rock/Metal Performance didn’t come along until 1989, when Jethro Tull infamously beat Metallica and the category split into two the following year. Guns ‘n’ Roses never won a Grammy, and their debut album — one of the biggest and, in retrospect, most critically lauded albums of the ’80s — wasn’t nominated for anything. You can read into this slight that early G’n’R, like much hard rock in general, didn’t check off the proper Grammy boxes: they weren’t aiming for art (though plenty of exceptions exist — see Metallica’s heavy Grammy shelf), they weren’t tasteful, and they didn’t traffic in positive messages or elderlove. Raving about G’n’R, critic Chuck Eddy wrote, “I’m not saying I’d want ’em to eat dinner at my house (I’d sooner invite [Grammy winner] Suzanne Vega — she’d probably eat less!).”
Because I’m a straight white American male in my 30s, I’ve compared norteño to hair metal before. Both showcase instrumental chops, speed, and wild drumming, and both have unsavory messages about illicit drugs and working-class life. (U.S. privilege being what it is, the norteño characters mostly produce the drugs and the metal characters consume them.) Lots of corridistas seem like intimidating dinner guests, though my librarian’s friend knows El Komander and says he’s very sweet. As Arellano’s earlier article suggested, some cultural gatekeepers are either ashamed of norteño music or look down their noses at it, because they think it reflects poorly on their industry as a whole — same as metal.
And it’s not just the members of recording academies. In a 2014 “Latin Music Roundtable,” the Wondering Sound website convened five hip music writers to expound on the state of the scene. I’ve pretty much accepted that Julianne Escobedo Shepherd has had better taste than me for, like, three years now, so I can’t be too critical. But man, it took them a long time to get around to norteño music. And when they did, Carlos Reyes, who founded the hipster Latin music site Club Fonograma, said something interesting:
Residing in such a politically-boiling state like Arizona, I do get exposed to Regional Mexican music just by walking on the streets. [NorteñoBlog notes: Me too! Up here in suburban Chicago!] Just like Julianne hears bachata in her neighborhood in NY, I hear trucks blasting rancheras and corridos in my predominantly Mexican neighborhood in Phoenix. And I can’t help but wonder why people feel the need to externalize what they’re listening to. Every culture seems to have its reason. I once asked my dad (who plays the accordion and is a corrido enthusiast) why he turned the volume up particularly for this genre of music. He told me that it was to acquire some visibility: “Arizona still treats us like we don’t even exist.”…
So why is it that I feel guilt when enjoying a narco-corrido? Take, for example, the biggest narco-corrido hit in the last few years: Gerardo Ortiz’s “Damaso.” [NorteñoBlog notes: Great song!] Everything from the syncopated horns, the rhythm-shifting assault, to the blossoming of the melodies make it one hell of a track. And yet despite recognizing its pristine construction, I couldn’t push myself to celebrate it as one of last year’s best. The college-educated hipster kid isn’t supposed to like narco-corridos. Yes, I’m cheating and redeeming myself here. The change of heart came when realizing I was being a hypocrite for being so outspoken about being a Breaking Bad fanatic, and keeping a masterpiece of a song like “Damaso” on my shameful vault of guilty pleasures.
Is that attitude widespread among Latino music fans? It certainly was among white middle-class music fans when I was a kid. We knew listening to rap, country, and metal might reflect poorly on us, until we either found like-minded kids or decided to rebel, and then we had to have them all the time. This may be why I’ve grown to love banda and norteño so much lately. They feel like wide-open spaces where musicians can play with their least respectable — i.e., most vital — impulses, and it’ll usually come up sounding like a million bucks. And by the way? Chinga tu Grammy.
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