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Selena Gomez

Erica Hernandez

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Selena Gomez Talks Embracing Her Mexican Heritage on ‘Revelación,’ Greatest Hits & Using Her Social Media Platform for Good

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"I am thankful I waited though because it would have been a completely different project 10 years ago," Gomez told GRAMMY.com about her Spanish EP ‘Revelación.' The album is a "Thank you" to her Latinx fans, the singer added. 
Lucas Villa
GRAMMYs
Mar 23, 2021 - 2:33 pm

After successfully transitioning from Disney Channel star to chart-topping pop singer for over a decade now, Selena Gomez has set her eyes on new ground to break in her career: the Latin music scene. The singer, who is half Mexican-American, has flirted with Spanish-language songs in the past and has included Spanish-language versions of songs on albums with The Scene, but now has fully committed with her first Latin EP, Revelación, released on March 12. On her first Spanish-language album, which features a striking cover shot by Mexican-Colombian photographer Camila Falquez, Gomez tackles reggaeton—a genre she’s experimented with on the 2018 hit “Taki Taki” alongside DJ Snake, Cardi B and Ozuna.

To take on Latin music’s hottest genre of the moment on her own, Gomez called on one of its biggest producers, Puerto Rican GRAMMY-nominated hit-maker Marco "Tainy" Másis, to produce all but one of the 7-tracks on the EP. Gomez also enlisted some of the genre’s most promising names, Puerto Rican artists Rauw Alejandro and Myke Towers, as featured acts on “Baila Conmigo” and “Dámelo To',” respectively.  

The album has already been met with huge success—Revelación debuted at No. 1 on the Billboard Top Latin Albums Chart, making it the first album by a woman to land at the top since 2017.  

Gomez references singing on "Taki Taki" as a catalyst for Revelación and said releasing the album this year felt right. "I have been talking about doing an all-Spanish project for the last 10 years and for one reason or another, it didn't come together," she told GRAMMY.com. "I am thankful I waited though because it would have been a completely different project 10 years ago. Some of the music I worked on the last couple of years kind of naturally led to the timing feeling right."

In an interview over email, Gomez talked with GRAMMY.com about making Revelación during the pandemic, embracing her Latinx heritage on the project and continuing to use her platform to inspire change, including during last year’s Black Lives Matter protests. 

What was the experience like to work with Tainy on Revelación?

Tainy is a genius and has this subtle, stealth approach to producing, which suits me. I met him a couple of years ago when we worked together on "I Can't Get Enough," so we had history together and I felt comfortable exploring this side of me with him. We started recording the EP right before COVID shut down everything. It wasn't easy for me to adjust to recording sessions over Zoom. To say I hated it is an understatement. There were times I would just cancel and leave a session because I was so uninspired. Tainy was amazing and very patient as I worked through my frustrations. Late last summer, I finally turned a corner and that is when the music truly started coming together.

You've sang in Spanish before, but this your first time taking on reggaeton music influences in your own music. Did you listen to reggaeton growing up?

Yes, I am a huge reggaeton fan and I was so happy to be able to have the influences on this EP. Some of my favorites are, of course, Nicky Jam, Daddy Yankee, J Balvin, Ozuna, Bad Bunny, and on and on. I felt honored to have Tainy produce Revelación for me. He's immensely respected and it meant a lot to me to have him by my side for this.

READ: Bad Bunny Wins Best Latin Pop Or Urban Album For 'YHLQMDLG'

Both "Baila Conmigo" and "De Una Vez" are top 5 hits on Billboard's Latin chart. How do you feel to see your music connecting with the Latinx crowd?

I can't even express to you how much it meant to me. A big portion of my audience are Latinx, and I wanted to do this for them as a thank you. I was very nervous before "De Una Vez" was released. My heritage means so much to me and I wanted it to be perfect. I worked closely with my Spanish teacher because I wanted every pronunciation, every word to be perfect. When I saw the reactions, it really made me happy.

Your namesake Selena Quintanilla had to learn Spanish through her songs. Was that a similar experience for you over the years?

No, my experience was different. When I was growing up, my father's side of the family spoke Spanish and I was fluent until like about 7 or 8 [years old.] I started working around that time and over the years, I began to lose my grasp of the language. I could understand Spanish when I heard it but I couldn't necessarily speak it anymore. It felt remarkable to be immersed in the Spanish language for an extended period of time again. I want to keep on going!

With Revelación, how did you feel to be expressing and writing about your experiences in Spanish?

I find it incredibly powerful. The most important thing for me going into creating the EP was I wanted you to feel something whether you understand Spanish or not. I hope everyone listens with an open heart and mind. I also think it's amazing when anyone who doesn't speak Spanish seeks out the translations and realizes they were drawn to a certain song, and after learning what the words meant, they still have the same feeling.

What was the experience like to work with DJ Snake again for "Selfish Love"?

We had talked about working together for years and we finally did with "Taki Taki." He's a producer who has such a deep knowledge and love of all genres of music. It makes him well-rounded and willing to veer off the road in the greatest way. I had the best time performing with him at Coachella and I can't wait to get onstage with him again.

You're a part of a wave of US-born Latinx artists like Becky G, Kali Uchis, and Omar Apollo, who are making music in Spanish and not just in English. Why do you think more artists are embracing their roots in their music?

First of all, I love all those artists and I'm a big fan of their music. There is this amazing sense of pride that artists are having for their heritage. Maybe we are just paying more attention to it? I think it's always been there. I'm not sure if it's all of the access to music through streaming and the internet that we're exposed to different genres, cultures, and artists that would never get played on the radio, so maybe that has something to do with it. No matter what might be the reasons behind it, I am all for it. I think it helps unite people and expands their minds and experiences.

I love your song "Naturally." Which of your early hits do you like?

I started my career so young, so it's not always easy to look back. I wasn't really aware of what it truly meant to be an artist at the beginning. I thought it was more fun than anything. As I got older, I just cared more. I started writing music and developed an appreciation of the whole process of making music. I know I've grown as an artist and with that comes more confidence of what I bring to the table. That being said, I do have a soft spot for "Who Says," which I recorded when I was maybe 16. The message of loving yourself and not allowing someone to tear you down still resonates with me today. I will always perform that song.

Last year was a time of reflection in quarantine. How did you pass the time?

I cannot believe it's been a year since everything shut down. At the beginning, I am not going to lie, I was very lost and it was depressing. I tried to find distractions to stay clear-headed. Whether it was bingeing a new show or painting with watercolors. I just wanted anything to keep my mind off of what was happening. The killing of George Floyd changed everything for me. It was no longer about trying to find mundane things to make time pass. I was saddened. I was enraged and felt motivated. After that, other than keeping everyone safe from COVID, nothing else really mattered.

You have a big social media following and you've used Instagram to highlight mental health awareness and movements like #BlackLivesMatter. How important is it for you to use your platform for issues like these?

Don't get me wrong, I understand the importance of social media to stay connected with my fans and promote my projects. It upsets me greatly though the misinformation and lies that get spread on all social media platforms. In a way, it's a tool that divided us rather than connected us. I am very vocal about my issues with social media and will continue to be until the tech companies take responsibility and make changes. What I can focus on though is how I choose to personally use it and the messages I am putting out in the world.

You've used your platform to support the LGBTQ+ community as well. Do you have a message for your LGBTQ+ fans?

Earlier you mentioned my song "Naturally" and I remember when it was released, it truly started getting played in gay bars before anywhere else. I would hear from older friends that they heard it when they went out. I was so jealous that I was too young to be out and dancing to it with everyone. I hope they hear in my music the importance of self-love and the strength that comes through vulnerability. The LGBTQ+ community has been there for me and I don't take them for granted. Growing up in Texas, I remember when I was a kid, my mother had a group of gay friends and I loved being around them. There was no talk about anyone being "different." It was all pure and genuine love for one another and I'll never forget that. We've come a long way in the last 10 years, but we have so much further to go. The Senate must pass the Equality Act. It's absurd that this is even being debated in 2021.

You've been in the music industry for over a decade now. What have you learned about yourself in that time?

Where do I begin? Sometimes I feel much older with all of the things I've been through in my life. I'd say I've learned to be resilient and not give up, even when the world can feel incredibly dark. In regards to being an artist, I've gained the confidence to be in total control. With my last two albums, it felt empowering to have my vision executed and much more so with the last one, Rare. I didn't want a lot of outside noise. I wanted to be insulated in the studio with my co-writers and producers and make my best music. I think we achieved that and I know I have even more in me to push myself further. 

ReImagined At Home: Francisca Valenzuela Performs A Pindrop Version Of Nine Inch Nails' "Hurt"

GRAMMYs

Tainy

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No Days Off: Tainy Talks Dua Lipa Collab, Contributing To The 'SpongeBob' Soundtrack & More

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The super-busy Puerto Rican producer has had a huge year—and he wants you to know his music no matter what language you speak
Jennifer Velez
GRAMMYs
Aug 17, 2020 - 6:05 pm

Have you heard of him yet? Tainy, the producer behind Cardi B's massive Latin-inspired hit "I Like It" with reggaeton superstars J Balvin and Bad Bunny, is making sure you won't miss out on his tracks no matter what language you speak. The Puerto Rican has become today's most recognized reggaeton producer, and he's continuing to push (and expand) his sound with some of English-language pop's biggest stars. Currently, you'll hear him on Balvin's catchy pop track "One Day" featuring megastar Dua Lipa and Bad Bunny.

The song landed the "Don't Start Now" singer her first No. 1 on a Billboard Latin Chart, but the collab is one that is no doubt elevating the producer as well, earning him his fourth song on the Billboard Hot 100 Chart and the second on the chart with a leading lady (the other was with Selena Gomez, J Blavin and Benny Blanco's "I Can't Get Enough").

Of the "One Day" collab, Tainy says the U.K. singer was the missing ingredient. "I'm so grateful for her, for her talent and how she just gave this amazing energy to the song which elevated it to where we thought it needed to go," he told GRAMMY.com via Zoom. 

The song is just one of the exciting projects the producer has been cooking up. Another? Making SpongeBob perrear (Spanish slang for getting down to reggaeton) in the happy-go-lucky character's forthcoming 2021 movie, The SpongeBob Movie: Sponge on the Run.

But Tainy has more to share. He has also made the time to launch HumanX, an initiative with music executive Tommy Mottola and MITH Media, that is giving back to those in need. 

We spoke to Tainy about the new project benefitting migrant laborers that launched with David Guetta's help, expanding his sound through reggaeton, his vision for the SpongeBob soundtrack, how the pandemic has taken him back to his roots and more.

You've got a lot of awesome things going on. One thing is that you've launched Human X, which will support migrant day laborers. Tell me more about this initiative.

It's this movement we're trying to start to see how we can help our communities, help these different causes and organizations. For me, it's sometimes difficult to know where to go, how to do stuff. This is a way for us to use our platform, our music to put the message out there, to bring information to whoever wants to help different causes and doesn't know where to go to or how to do it. It's something special. I'm so proud to be a part of this and to bring this to the forefront because we're dealing [with] a lot of different issues right now. Being able to help in whatever [way] you feel you want to help is something special.

You launched the initiative with "Pa' La Cultura," with David Guetta which features Sofia Reyes, Abraham Mateo, De La Ghetto, Zion & Lennox, Manuel Turizo, Lalo Ebratt, Thalia and Maejor. Can we expect more tracks like these with big collabs?

It could happen. It's not something that we're ruling out, but I mean, for now the whole focus was giving it that stamp and that opening to what we want to do. And it could be something that could be in the works later on. But for now there hasn't been any talks about something specific. So, I mean, who knows? But we want to continue to help and [I'm] so glad that this started it all off.

You've chosen proceeds to go to the National Day Labor Organizing Network ( NDLON). What made you want to help migrant workers?

It's something that we feel very connected to. Since we're Latinos, we have a real connection to [migrant laborers]. Also, seeing how the pandemic is affecting [their work] on top [of that]. It's something that needs more immediate help and we're all aware on the team, so we wanted to come up with something that would really be helpful. We wanted to start off with this and also be able to just bring [awareness to] different issues at the same time and [give] different organizations a platform to spread [their] message. 

You also have "One Day"/ "Un Dia" with Dua Lipa, J. Balvin and Bad Bunny out, which recently hit number one on the Billboard Hot Latin charts. Do you ever have a day off? 

[Laughs.] I don't really know. I'm always trying to see what's next, work on different projects, whether it's with a specific artist or something that we want to create [within] our team. I just enjoy it so much and I'm happy to be working on something that I really enjoy. I don't really feel that I'm working sometimes. I want to create music. I know it's a difficult moment, and what better thing than to give us that little escape sometimes from reality with music that just fills us and brings that positive energy? I'm super blessed to be a part of something like this. 

Dua Lipa is a huge name. How was working with her?

She's amazing. I've been a huge fan of her music before even being able to collaborate with her. So it made it even more special to be in the track that featured her and also these amazing artists that I've been blessed to work with in the past. To combine all three in one track, it just made it even better. I'm so grateful for her, for her talent, and how she just gave this amazing energy to the song which elevated it to where we thought it needed to go. [I was] so happy that she also enjoyed it and she feels happy about the song. Hopefully, it's not the last time that I work on a track [with her], but [I'm] so happy that it happened with "One Day."

A lot of people expect a reggaeton sound from you, but this is not full-on reggaeton. Can you tell me what inspired the beat?

I'm always trying different ideas, different approaches to music. I am a fan of different types of music. People know me mainly for doing reggaeton and I always want to see how I can merge different sounds, different genres within the same one. You can probably feel there's a bit of the pattern with the percussion on "One Day" but at the same time, it doesn't feel exactly like a typical reggaeton beat. It has a totally different sound. That's what I wanted to bring with it, a totally different approach to what reggaeton should be and it just opened up this door to a different vibe and different artists giving their input, without it necessarily being a strict reggaeton track. It gave it a whole different space to be able to create and bring Dua Lipa's flavor and her artistry to the table. 

During our 2020 GRAMMY week panel in January, you talked about not wanting to be boxed in. How have your fans received the song?

From the ones I've heard from, the response has been amazing. It's always something different when you're bringing a song like this. It doesn't typically say reggaeton, so you don't know exactly what to expect. You don't know how people are going to approach it or feel. [Maybe it] is too different. But you just feel it when you hear a song and you get a feeling just hearing [this song]. I felt that people, as soon as they heard it would probably get the same sense and that feeling I heard when I was working on it. So glad that it did for a lot of people. [It's] not just having an artist like Dua Lipa collaborate with Latin artists, but to have an amazing song as a whole and the message it brings and what it's about. It's super cool to see people appreciate what we were trying to do. What we were trying to do to elevate the music, elevate the genre, elevate everything that we're doing and give us a chance to do so.

You also worked on Kali Uchis and Rico Nasty's "Aqui Yo Mando." Amazing collaboration. How did that come about?

I've always wanted to work with Kali. She has such a specific, amazing sound that I've been a fan of and that's another one that people probably don't feel what I've been doing combines exactly with her sound. But we gave us the time, we came together, we decided that we want to go into a studio for a couple of weeks and just like, "Let's create music." She wanted to really bring in her Latin heritage and put it at the forefront. It was cool to see how she works, her process, and just her tone and her melodies, her everything. It's such a different approach to what I usually work with. So, [I'm] excited for that collaboration.

I think it's the second one because "Solita" already came out and now we've got "Aqui Yo Mando" with Rico Nasty. I mean, it's such an amazing track. I worked the production with Albert Hype, who's also an amazing producer. I can't wait for you guys to hear the rest of it. It's just mind-blowing. It's just a different vibe of than that's happening out there right now. I'm so excited and happy to be able to be a part of it and her trusting me. Can't wait.

You're also executive producing the forthcoming SpongeBob movie soundtrack. What does it mean for you to be doing that?

It's a dream come true. As a producer, you work on artists' albums and just strictly music per se, but you want to have those goals of achieving being on a soundtrack or working for a movie. That's the next step for me. I've seen people that I admire, like Pharrell Williams do it, and that's something that I've always had in mind that, "Wow, someday I would like to be in that position," because I'm a huge fan of cinematography and the film industry. So it's something that I always had in mind and got the opportunity rose [to start working] on this new film.

My team had the opportunity to sit down with them and see what they were looking for and see where we can come in and be of help. They gave us the chance and I started to go into the studio. I'm going to say it was intimidating at the beginning because you have such a big franchise and to merge it into what we're doing, how would that sound? But as soon as I sat down and I started doing my thing, I think everything just felt so easygoing because I just had fun working on it, having Bob be on the track and him have his input. It was just a fun process because we all grew up watching SpongeBob. So it just felt natural to go in and know what to talk about and how to do it and what energy to bring with the music. Excited that they gave us a chance and that people are connecting amazingly with it. At the beginning I thought it would just be for kids or something, but it's all ages. You just have fun when you listen to the song and you can see the TikToks and the Instagram posts and everything. 

Speaking of J Balvin and "Agua," you're from a tropical paradise. Did that influence the sound of that song?

I mean, probably. It's tropical, we're surrounded by water all the time. We have amazing beaches. I think you can get [the vibe] from our music. Reggaeton comes from happiness, dancing and  a tropical [place]. All these combinations come into play. I think it helped a lot to have that essence in me before going into working on it. I think it was a huge component of being able to do it successfully.

Can you tell us anything more about the approach you use for the soundtrack?

I wanted to stay true to the franchise. Who SpongeBob is. You have all of these specific theme songs in the opening and during the end. So you have a lot of special things to work with. If you have the tools and the studio gave us all the tools to work with. As soon as we started with the first one, which was, "Agua," the ball started rolling. Ideas and, "We can use this sound or this melody and combine it with these types of drums or this type of groove and basslines. And this artist will be perfect for this." So it was just an amazing, fun process of coming up with ideas. Knowing what the franchise is about and who could really deliver that message. 

Has it been tough getting used to the new normal as you continue making music?  

For me, the first couple two or three weeks were a bit difficult because we were dependent on our creativity and when you have your mind in so many different things on what is happening, what's going to happen, how long is this going to happen? It was just a sense of not knowing. I feel like the creativity wasn't there, and after a while, I just settled. I got a little bit, not used to, but I started understanding a bit more that we're going to be here for a while. We just need to make the most out of this. I think it brought me back a little bit to my beginnings when I started to produce music, it was just me and my room and my mom's house and having all these ideas and coming up with four or five beats in a single day. It's just you by yourself, you're not with the artists in the studio. You will probably focus on one song the whole day. It just felt cool to go back to that essence of trading ideas and having instrumentals to show to the artists or talking with them through texts and seeing where they're at, what they're looking for and being able to sit down, relax and just create. We're usually in the studio all the time anyways, so I think it's been easier for me than probably other people in their jobs or their careers. 

When you were a teen working with Luny Tunes, did you ever think you would get to this point where you are now?

No. Never, never in a million years. I sit back sometimes and try to watch where my mind was when I start working. I mean, most of the things that I've been able to achieve or do at this point, they didn't seem like a possible thing. My thing was to have Luny Tunes [be] what I'm doing and appreciate it. That, to me, was one of the goals. Having Wisin Y Yandel or Daddy Yankee say that what I'm doing is dope and give me an opportunity and being able to work in this and not just do it as a hobby—I think those were my goals. Then, learning about certain things, you start to get a little bit of more achievements. But I mean, there's a lot that didn't even seem possible to me. Being on the Hot 100 of Billboard, to me, that's something that, us as Latinos, weren't even able to be on. Our chart was the Hot Latin songs. It's an amazing accomplishment, but it's something that we didn't have in mind because I thought it wasn't possible. Thank God and thanks to the artists, I've been able to be there and have a number one song. It just goes to show you that when you just keep pushing and working and putting your heart into it, you can accomplish things that you didn't even think of. I'm super happy and grateful.

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Bad Bunny on The Tonight Show Starring Jimmy Fallon

Bad Bunny performs on Jimmy Fallon's "Tonight Show"

Photo: Andrew Lipovsky/NBC/NBCU/Getty Images

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Bad Bunny's 'YHLQMDLG' Breaks Records, Is The Highest-Charting Spanish Language Album Ever

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The Latin GRAMMY winner's massive sophomore album just debuted at No. 2 on the Billboard 200 and No. 1 on the Top Latin Albums charts
Ana Monroy Yglesias
GRAMMYs
Mar 9, 2020 - 6:53 pm

Puerto Rican rapper/singer/fashion hero Bad Bunny has made history with his recent (Feb. 29) sophomore album, YHLQMDLG, which was just revealed to have debuted at No. 2 on the Billboard 200. His celebratory, hard-hitting celebration of reggaetón, other urbano stars/collaborators, Puerto Rico and being yourself—the acronym of the title translates to "I do what I want"—is now the highest-charting Spanish language album ever on the major all-genre chart.

What a great birthday present for the young Latin GRAMMY winner and 2020 GRAMMY nominee, who turns 26 on March 10.

Read: Bad Bunny Releases Sophomore Album 'YHLQMDLG,' Drops New Music Video For "La Difícil"

The "Vete" artist celebrated the historic moment with an Instagram post (see above) thanking his ever-growing fan base with a heartfelt note and photos of him rocking a very Bad Bunny look: stylish shades, an oversized shirt, long skirt and color-coordinating Nike Airforce Ones.

In a nod to the album's title, he wrote: "I MADE THIS [ALBUM] FOR ALL OF YOU THAT HAD FAITH IN ME!!! I MADE IT BECAUSE I FELT LIKE IT!!! I LOVE YOUUUUUU! HISTORIC #YHLQMDLG!"

More: How Bad Bunny Is Putting Latin Trap On The Map

According to Billboard, the 20-track LP (released on P.R.'s Rimas Entertainment) earned 179,000 equivalent album units in its first week, which accounts for the songs’ 201.4 million streams and 35,000 album sales during its massive debut. Additionally, it earned the No. 1 spot on the Top Latin Albums chart, a feat all three of his albums (including his 2019 J. Balvin collab, Oasis) have achieved. The outlet notes this is “the biggest streaming week ever for a Latin album, and the largest week for a Latin title since Billboard began tracking albums by equivalent album units in December of 2014.”

Before YHLQMDLG, the highest a Spanish-language album had charted on the Billboard 200 was at No. 4—Mana's Amar es Combatir in 2006 and Shakira's Fijación Oral: Vol. 1 in 2005. Ricky Martin's 2011 album Música + Alma + Sexo did hit No. 3 in 2011, but two of its tracks were sung in English.

At the 2020 GRAMMYs, both Oasis and Bad Bunny’s 2018 debut album, X 100PRE, were nominated for Best Latin Rock, Urban Or Alternative Album. He won his first-ever Latin GRAMMY at the 2019 Latin GRAMMYs, for Best Urban Music Album for his triumphant debut project.

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Eddie Palmieri

Eddie Palmieri

Photo: Rob Davidson Media

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Eddie Palmieri On Pioneering Latin Jazz & His Blue Note Residency: "We're Talking About The Greatest Jazz Room In The World"

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At 84, pianist and bandleader Eddie Palmieri is grateful to be alive and performing. And even though he's been at the forefront of Latin jazz for 60 years, he's more interested in the future than the past—as his latest Blue Note residency attests
Morgan Enos
GRAMMYs
Jul 20, 2021 - 2:44 pm

To fully appreciate an Eddie Palmieri show, it helps to see it twice. First, catch the pianist outdoors at New York's Lincoln Center and soak in the space and balance between the septet. Later, head downtown to Blue Note and behold the same ensemble—with the horns mere feet from your face. The effect, as Palmieri said during a recent Blue Note set, is of "a herd of elephants, or 99 Mack trucks."

Why is this music so viscerally overwhelming, capable of pulling your head in seven directions while maintaining precision? It's simple, Palmieri says during a recent phone call. "After I take a piano solo, I give it to one of the drummers and then we synchronize," he tells GRAMMY.com. "And when the horns come in, I guarantee you I'm going to put you to dance in your seat!"

Now, music fans of all backgrounds can watch that equation play out before them. If you're on the East Coast, Palmieri's current run of shows at the West Village institution are a masterclass in swinging and dancing rhythms. 

His next Blue Note gigs are August 2 and 16—and if you can't make those, there are bound to be more. Because, to hear Palmieri tell it, traveling overseas is an ordeal at 84—and the Blue Note is his temple for now. "We're very fortunate to perform at the greatest jazz club in the world," Palmieri says humbly. "But when I'm playing there," he adds with an audible grin, "It's the greatest Latin jazz club in the world!" 

GRAMMY.com caught up with the 10-time GRAMMY winner and 14-time nominee to discuss his 60-year career, the lessons he learned along the way and why the Blue Note is, in his words, "the greatest jazz room in the world."

This interview has been lightly edited and condensed for clarity.

How are you, Mr. Palmieri?

Never been better, my man!

That's good to hear!

Never been. Ever!

Why do you say that? Having a particularly good day?

It's just wonderful to be alive under the conditions that exist. There's so much danger out there and unfortunately, that virus has affected the whole planet. At my age, I've seen so much, but never anything like this. 

There was a bandleader called Vicentico Valdés. That was the singer for Tito Puente in the '50s when my brother, Charlie Palmieri, played piano also for Tito Puente, for two years. Vicentico Valdés made his own orchestra in 1954; I joined in 1956. He taught me this. He said, "Palmieri, remember this. It's dangerous to be alive, but you can't live if you're dead." You know what I mean?

I'm happy to be so healthy and alive and that I can perform. I celebrate that every day.

While the virus remains a threat throughout much of the world, it's calmed down significantly stateside. How does it feel to be onstage again?

Well, you know, the pandemic is still around. That variant is still around. Now, they want to give you a booster and it could be like that for many more years, which is unfortunate. But that's what we have to deal with. It's the most wonderful feeling that I could have ever had [to be back onstage]. We didn't perform for a year and four months, at all.

I thank the gods for the Blue Note that gave us these five engagements. We did two in the summer, July 4 and 5. Then, we're going there on the 19th. Then, we have two more in August, and that's it.

The agency that I work with, Kurland, coming out of Boston, has all the jazz greats in there. Because of the pandemic, by the time they start booking for next year, that means that we're not going to be working until 2023. So, it's been a situation of two and a half years of financial drought because there's no income coming in.

It made it completely hard on every musician. Broadway closed. It changed music in seconds, unfortunately. But there's a saying that without music, the world would be flat.

I was at the Lincoln Center gig and loved it. What's the difference in energy between playing a giant outdoor show like that and the Blue Note?

We did Lincoln Center outdoors and there was a select crowd. They had to get a COVID test. We did that and it was great to play again. But to answer your question, the reason is also that on July 4 and 5, we broke the record playing at the Blue Note. No one put as many people as we put in there July 4 and 5 because we put over 750 people—around there—in four shows. 

So, it wasn't expected. I expected it because of the long time [since] we had performed. I predict that on the 19th that it'll be a sellout, the two shows. I predict that for sure because people are hungry to hear the music and we're very fortunate to perform at the greatest jazz club in the world. But when I'm playing there, it's the greatest Latin jazz club in the world!

The difference is the rhythm section! I call our jazz the fusion of the 21st century mainly because of the rhythm section that stems from Africa. That's called the 8/8 series, and we play in 4/4 time, 6/8 time or 2/4 time. The 8/8 series came from Africa when the captives were brought by force all over the Caribbean and South America.

But I'm talking about one island: Cuba! Cuba was the most incredible cultural exchange between the Spanish and the Africans. Out of that cultural exchange came the mulatto, and the mulatto put the world to dance with the drum. The drum is the pulse of my life. It can make el rumbero del piano, and that's because I'm a percussionist at heart.

I started playing timbale when I was 13 years old, which is the drum in the rhythm section and what creates the rhythmical tension and resistance. Put them together, and you'll reach the high degree of a musical climax—a rhythmical and harmonic climax. After I take a piano solo, I give it to one of the drummers and then we synchronize.

That creates tension and resistance. It starts to swell. And when the horns come in, I guarantee you I'm going to put you to dance in your seat! And like I say as always, that's because I comprehend well the African rhythm, and that African rhythm will always getcha.

Tell me about the material you're performing at these gigs. With your debut album turning 60 soon, does it feel like it's time to look back and survey your career? Or are you more interested in the future?

No, no, no. You've always got to look forward. That's for sure. But the recordings that I have done—remember that my forte was with the big band, OK? Always with the big band.

When I started my orchestra, the trombone was important. [We had] a genius called Barry Rogers, another genius called Jose Rodrigues, a Brazilian. Two trombones up front, a wooden flute, a singer. Timbale and bongo—that was played by one man, Manny Oquendo. Then, we had a conga player, Tommy López, and a bass player, Dave Pérez. Then, Jose Rodrigues came in and then Dave Pérez came in again.

When I was presenting the music, my structures for Latin jazz were danceable. I'm a dance orchestra leader. When we played the Palladium Ballroom, the greatest ballroom in the history of Latin music that started in 1949—and I closed it in 1966; I started playing there in 1963—you had a thousand people dancing. I'm wanting to put people to dance, and little by little, that is the way. 

My wife, who passed away in 2013—Iraida Palmieri—told me: Look at the writing on the wall. The Latin music that you play is not what they're playing now. They have watered it down to a disaster and put it on commercial radio.

When I was a young man, commercial radio had the Machito Orchestra, the Tito Puente Orchestra, the Tito Rodriguez Orchestra coming on commercial radio. But when you turn on commercial radio now, you've got to run to the pharmacy to try to get the largest bottle of Pepto-Bismol because of what you're hearing! That's how bad it is!

So my wife says, "If you can do Latin jazz, then do it. That will extend your career and keep you going with employment." She was completely right. We did the first one, [1994's] Palmas, with the great [trumpeter] Brian Lynch, [saxophonist] Donald Harrison—Chief Donald Harrison from New Orleans! And a great trombone player, Conrad Herwig.

Eddie Palmieri

Eddie Palmieri. Photo: Rob Davidson Media

We did three albums. We did Palmas, [1995's] Arete and [1996's] Vortex. Then, I went back to Latin dance music with [1998's] El Rombero Del Piano. Then, before Tito Puente passed away, that was [2000's] Masterpiece. Then, Tito passed away and we never went on tour after that because he died right after the album was done. So, we keep going and keep going and keep going.

Now, the Blue Note has given me the opportunity to present my new works and the new arrangements I'm doing. I really appreciate the home I have at the Blue Note. I'd like to keep something out because if I keep something out, I can have it—more important—at the Blue Note. 

Which helps me, because at my age—look, I've played five continents already! We've done more than 2,500 concerts since I started going to Europe, and that's many, many years ago. I started in 1974. Being home means a lot to me—staying home and not traveling so much. 

Those trips are very hard to do. We went to Australia five times, Japan seven or eight times. That's 13 hours. When you go to Australia, it's 27 hours. You've got to do 13 hours, then you stay overnight and fly over the Indian Ocean for four more hours. Because from Sydney to Perth is a thousand miles longer than New York to California. It's 4,000 miles. Unbelievable!

So, we did all that. We went to Africa. All over Europe. The body can only take so much. I like to stay more local, and that would be the Blue Note for me. That's why the Blue Note means everything to me. I love the Blue Note very, very much and what they've done for me. 

I hope we can extend these with more and more presentations there with my septet, which is an amazing septet. And that's it for now. You know what I mean?

I do. You're staying here and settling in at your chosen home.

Well, yeah. We're talking about the greatest jazz room in the world! And at the same time, I've played the one in China. I've played the one in Japan four or five times. Then, we went to the one in Italy, in Milan. Now, I want to do the one I'm missing in Hawaii! I want to go, but that's a little bit of a tremendous, long trip.

I'm a Blue Note member. I appreciate them calling me because when we play there, we play hard and we play very good. We've started to pack them in. And when you start packing in the hall, then you've got yourself employment, and that's what I'm after. Health and employment have been my prayers always. I'm 84; I'll be 85 in December. The great Chocolate Armenteros taught me that after 50, you have to start counting by one again. So, I'm 34—I'll be 35 in December!

I'm a happy camper with all my experience. I would say my brother was the pianist; I'm the piano player. It's an incredible story between two brothers who loved each other very much. He died at 60 years young. I've made it my business to not only extend my legacy as far as what I do, but to live as long as I possibly can because there's so much work to do.

Right now, I'm recording a young lady called Arlene G. A lot of this is now back to dance music, and it's going to be a great composition that I did for her. It's going to turn out to be another album. What I want to do at the end of the year is Harlem River Drive, Vol. 2. The new one will be Poverty is the Parent of Wars and Crime.

The importance of staying healthy and alive to me means everything as I reach this stage. Let me put it this way: The great Pablo Casals from Spain—the greatest cellist in the world—was 92. The reporters asked him, "Maestro, at 92, when you've been acclaimed as the greatest cellist alive in the world, why do you keep practicing?" His answer was so simple and so true: "I hear progress." 

So, I hear progress in my playing and see progress in my writing. I'm writing some new compositions with exchanges for five horns. Things that I'm doing and experimenting with. I'm still healthy enough to perform, and that's all of it in a nutshell. Would you agree?

Yes, absolutely. Do you feel that the future of Latin jazz is in good hands? You mentioned that young musician you're working with.

Oh, yeah. Latin jazz is the fusion of the 21st century.

Great talking to you, Mr. Palmieri.

I think you've got enough for a book, my man!

For The Record: Celebrating Cuban Sensation & Queen Of Salsa Celia Cruz

Grammys Newsletter

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Ricky Martin 

Photo: worldjunkies

News

Ricky Martin On The Need For More LGBTQ+ Visibility, Forthcoming Album ‘Play’ & Feeling Like A “Proud Papa” To Younger Latinx Artists

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As Ricky Martin prepares to finish his 11th studio album, he reflects on his trailblazing career, his experience as a gay Latin pop star and shares details behind upcoming tour with Enrique Iglesias
Lucas Villa
GRAMMYs
Jun 16, 2021 - 10:00 am

Ricky Martin is pressing "play" on his music career again after 2020’s PAUSA. The Puerto Rican icon hasn’t released an LP since 2015’s A Quien Quiera Escuchar but released his EP last year, teasing fans who have been waiting for a longer musical comeback. His upcoming album, aptly titled Play, will feature his newest single "Qué Rico Fuera" featuring Chilean-American singer Paloma Mami. In the neon-lit music video, the premier Latin pop star dances through the streets like no time has passed since his launch with Menudo in the ‘80s. The alluring song embraces today’s most popular sounds blending Latin pop music with influences of reggaeton and Afro-beats. The rhythms, he says, are influenced by his DNA.

"[Play is about] going back to my culture and having fun with what I am made of," Martin tells GRAMMY.com. "When we talk about Puerto Rico, we have so many different cultural influences. We have Africa. We have the Anglo influence. I've never been a purist. All I want to do is create fusion and that's where we are today."

Martin reveals fans will have to wait a little longer to hear Play as he's still working on what is to be his 11th studio album. But there’s already something to mark—in November, he will celebrate 30 years of his first solo release, 1991's self-titled LP. The album helped Martin conquer the Latin music world and in 1999, he became a trailblazer in globalizing Latinx culture with his crossover smash "Livin' La Vida Loca." The sultry banger impressively earned him Record of the Year, Best Pop Album and Best Male Pop Vocal Performance nominations at the 2000 GRAMMY Awards Show. Following his success in both the English and Spanish-language markets, Martin is one of the rare unicorns to have earned both a GRAMMY and Latin GRAMMY—he's collected 2 GRAMMYs and 4 Latin GRAMMYs.

Martin’s influence is so wide that when he came out as gay in 2010, it became a cultural touchstone for LGBTQ+ representation in the Latinx community. As he continues to celebrate global success, Latin music artists generations after him get to see that attitudes are changing in a historically machista culture and that they can have a career being their authentic selves after coming out, too.

In an interview over Zoom, Martin talked about collaborating with Paloma Mami, his fall co-headlining tour with Enrique Iglesias, and his legacy in Latin music.

What was the experience like to work with Paloma Mami for "Que Rico Fuera"?

It was amazing. But to be honest, we met the day we shot the video, and that's how it goes nowadays. I'm a little bit obsessed with her. I love her attitude. I love her approach. I love her talent. I love how she's taking the bull by the horns. She's young and I have a lot of hope in this great generation of young artists that are popping out. When it comes to music, I just love what she does. At the end of the day, it's about being open to ideas. It doesn't matter where they're coming from. To be open-minded. That's what I do and I love working like that.

Like "Vente Pa' Ca" and "La Mordidita," it's also a very sensual song.

Yeah! Sex sells and I'm not afraid of that. Everybody can relate, I think. It’s one of those things. [laughs] One thing is sensuality. One thing is sexuality. Let's mix them both. When I walk onstage, I bring my culture with me. I'm Latino and we're not afraid of playing with our sexuality, so that's important. Why run away from that?

Christina Aguilera was another woman you worked with. “Nobody Wants To Be Lonely” turned 20 this year. What do you remember about that collaboration?

Every time I talk about Christina, it brings a smile [to my face] because I think it was a very powerful track. Her delivery, her performance like always was beautiful. Then I had the opportunity to revive the song with my residency in Vegas. I called her and I said, “Baby, I’m going to revive this song, and I would love to shoot a video for you to be there with me while I sing.” She was like, “I’m ready, Ricky. Let’s do this and let’s do it right.” And because of that video, I think it’s one of those songs that I will keep alive as much as I can. 

How did you come up with the idea for the joint tour with Enrique Iglesias?

It had to be now. Not before. This is the time because we both really want to do this. This is not a strategic thing. We talked about this, and we agree on the fact that, at this point, we just feel free in many ways. Imagine a tour with Enrique. His music. My music. People get ready because it's going to be all about dancing. No ballads in this concert. It's about celebrating life, especially after what we've been through.

You're an artist that's won both GRAMMYs and Latin GRAMMYs awards. How do you feel about that?

It's extremely important for me. When people say, "I didn't win, but it's ok." No, no, no. It's important to win. [laughs] It's important to win and it's important to be recognized by your colleagues. It's all the producers in the industry, engineers and composers. It's beautiful to feel the support from people within the industry. I think I’m at six [GRAMMY and Latin GRAMMYs] now. It's really cool. I felt very protected by the [Recording] Academy for many years now and it's still the same. Let’s see what happens. This is only the beginning. Let’s do this. 

It's Pride month and I was wondering if you had a message for your fans in the LGBTQ+ community.

Everybody just be. Just be. Be happy. And it just feels amazing to also feel protected by an amazing community. I became a better person when I was able to be transparent. And for those out there that are still struggling with their identity, I just wish you the best. Everything's going to be good.

What I loved about the Latin GRAMMYs last year was that in the Big Three categories (Song, Record, and Album of the Year), there was you, Kany García, Pablo Alborán, and Jesse y Joy's Joy Huerta. There was a lot of LGBTQ+ representation.

There is a lot of representation, but we want more! This is what's so important about me posting pictures with my family and posting pictures with my husband [Jwan Yosef] because it's about visibility. It's important to normalize families like mine. It feels good. There's a lot that needs to be done. We've taken solid steps, but because of these very beautiful and positive steps, we're also feeling a lot of resistance from people that just don't understand the way we love. So we just have to practice compassion and move forward, but be firm and proud.

This year marks the 30th anniversary of your first solo album. What have you learned about yourself in that time?

That it's important to change. I'm happy to say I'm not doing the same kind of music that I was doing 10 years ago. It's important to evolve. That's why I keep going back to the importance of walking into the studio or creating a very beautiful creative process with people from different generations and different cultural backgrounds. That's one of the things I don't want to change. I've always been very open to that.

In Menudo, my introduction into the music business, I was pretty much told what to do, how to sing, what to say, and how to answer questions. It was good in the sense that I was disciplined, but then it was about going within and finding the emotions and stories to talk about. And apparently people can relate to my stories. They can relate to my sounds. I'm very thankful.

How do you feel to see Latin music being so global now?

It has always been global! [laughs] I know what you mean. It just takes me back to when I was experiencing that very beautiful crossover in the early 2000s. And here we are again with everything that's happening with Bad Bunny, J Balvin, and all these monsters that are doing amazing things for music. It is amazing that they don't have to record in English to be accepted because people are used to the sound of different languages now with all this streaming and for music from all over the world to be so accessible. Obviously language is not an issue anymore. It just feels great. It feels great to see them enjoying and surfing this wave. To see this young generation being so in tune with their needs, it's very special. I feel like a proud papa.

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