Awards shows routinely ignore groundbreaking Black or brown artists in favor of seemingly apolitical white ones.
self-absorbed. Both celebrate and innovate on the lineages of specific dance cultures that arose as forms of resistance.is a tribute to Black, queer house music and the reprieve of dance halls as sites of ecstatic community in American cities like New York and Chicago. Consider this line from “Alien Superstar:” “Stilettos kicking vintage crystal off the bar.” It’s a world unto itself.
These two albums are indebted to particular histories, and Beyoncé and Bad Bunny have each made their influences clear.is a love letter to summer in Puerto Rico. It’s a raucously horny ode to partying in Bad Bunny’s home country. It’s a celebration of Caribbean music and dance traditions, like perreo, a form of twerking born from 1980s Puerto Rican reggaeton, and bomba, a dance originally developed by enslaved Africans in Puerto Rico to resist the dehumanization of colonial rule.
These two albums are indebted to particular histories, and Beyoncé and Bad Bunny have each made their influences clear. At the Grammys last night, accepting an award for Best Dance/Electronic Music Album, Beyoncé thanked the queer community for “inventing the genre.” Accepting his award for Best Música Urbana Album, Bad Bunny said, “I want to dedicate this award to Puerto Rico, the cradle and capital of reggaeton in the world.
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