Entertainment

Kane Brown And Becky G Are Keeping The Latin/Country Music Fusion Alive With The ‘Lost In The Middle Of Nowhere’ Remix

At a musical crossroads, two genres unexpectedly meet: country and reggaeton music for the Spanish remix of Kane Brown’s “Lost in the Middle of Nowhere” featuring Becky G. Both rising stars come together and push the limits of the genres they’ve been successful in. As groundbreaking as the move seems, Spanish-language music and country music have a bit of history that Brown and Becky G are only enriching with their unique collaboration.

Back in November, Brown, 25, released his second album “Experiment” with an English-language version of “Lost in the Middle of Nowhere” featuring Mexican-American singer Becky G, 22. As a multiracial artist who is white on his mother’s side and African-American and Cherokee on his father’s side, Brown decided to play up his maverick identity in a white-dominated country music field.

Credit: kanebrown_music / Instagram

“When I named my album ‘Experiment,’ one of the things that was important to me was to not feel limited sonically in what I could do,” Brown said in a press release about the album. “I’m a country artist, but I have a range of influences. I didn’t feel pressured to keep it in a certain box because of the way my fans have always been there for me.”

In the last week of March, Brown released “Lost in the Middle of Nowhere” as the third single from “Experiment” with a rollout of two versions of the song:  the English-language one from the album and a brand new Spanish-language version. The latter features a fuller reggaeton music sound mixed with a splash country music. The steel guitars meet tropical beats. Becky G sings in Spanish and surprisingly, so does Brown.

Credit: iambeckyg / Instagram

“I love that Kane has been such a pioneer in country music himself being so young, his background and his story,” Becky G said in an interview with Beats 1. “When he sent me his version of the Spanish chorus, I was like ‘Oh my God, you sound so good. You have such a great accent.’ And he was like, ‘Yeah, man.'” Becky G imitated the strong twang in his voice when quoting him.

As unheard of as the mix of country and Latin music seems, Brown and Becky G follow in the footsteps of those before them that paved the way for a collaboration like this to happen. Since the Americana genre’s beginnings, it has always had an affinity for the region of Mexico closest to the borders. As Wide Open Country noted, “American country music’s ties to an obsession with Texas alone should make for more than songs about Mexico. Or at least those songs about our South of the Border neighbors could paint the place as more than a getaway for drunks and criminals on the run.”

With country music and Mexico’s close ties, there have been a few Latin artists that have hit it big in the genre previously. Going beyond the banditos and borrachos stereotypes, Tejano singer Freddy Fender took his heartbreaking bilingual ballad “Before the Next Teardrop Falls” to No. 1 on both Billboard’s country music and the all-genre Hot 100 chart in 1975. Another Mexican-American singer from Texas, Rick Trevino, topped the country music chart over 20 years later with “Running Out of Reasons to Run” and its Spanish-language counterpart “Se Escapan Mis Razones.”

The strides Latin music has made as a global presence in a post-“Despacito” society have also been undeniable.  A report from BuzzAngle at the top of the year revealed that Latin music consumption outpaced country music in the U.S. in 2018. With music, in general, taking a turn to Latin influences, it was a smart move on Brown’s part to enlist Becky G for “Lost in the Middle of Nowhere” as she’s become a force in reggaeton since pairing up with Puerto Rican rapper Bad Bunny on “Mayores.”

The Spanish remix of “Lost in the Middle of Nowhere” is already proving to be a hit alongside the original version. Brown and Becky G debuted at No. 13 on Billboard’s Hot Latin Songs chart while the primarily country music mix  has reached No. 4 on the Country Digital Songs Sales chart. The remix music video featuring the duo in the middle of a jungle nears 11 million views on YouTube compared to the original version’s almost 1.3 million views.

The release of “Lost in the Middle of Nowhere” also coincided with the news of Billboard removing rapper Lil Nas X’s twangy banger “Old Town Road” from the Hot Country Songs chart. “Upon further review, it was determined that ‘Old Town Road’ by Lil Nas X does not currently merit inclusion on Billboard’s country charts,” Billboard said about the controversial move. Lil Nas X later bucked it by releasing a remix of the song with country music legend Billy Ray Cyrus and he has since galloped to No. 1 on all-genre Hot 100 chart.

Credit: lilnasx / Instagram

As music continues to push boundaries, like country music blending with reggaeton music on “Lost in the Middle of Nowhere,” it’s going to be more difficult to box-in the sound, but the songs are going to be as refreshingly far-out as ever. On the same day as Brown’s release, Country music artist Jake Owen teamed up with social-media-star-turned singer Lele Pons from Venezuela on their dreamy collaboration “Señorita.”

Brown and Becky G throw caution to the wind their free-wheeling and rhythmic banger. Where the two singers get lost, there’s no borders, but only open-road opportunities for them to find new and exciting directions for their respective genres.

Watch the “Lost in the Middle of Nowhere” video below.

Honestly, this fusion is a definite bop.

READ: Country Music Is Losing Steam As Latin Music Experienced Major Growth In Popularity Last Year

Lil Nas Is Performing His Super Hit “Old Town Road” At The Grammys Alongside BTS—The First Ever K-Pop Band To Be Invited On Stage

Entertainment

Lil Nas Is Performing His Super Hit “Old Town Road” At The Grammys Alongside BTS—The First Ever K-Pop Band To Be Invited On Stage

lilnasx / Instagram

BTS and Lil Nas definitely dominated the music scene in 2019. Radio stations couldn’t stop playing their music — and we couldn’t stop listening. And because we can’t decide who we love the most, The Recording Academy and CBS confirmed that the rapper and K-pop group will be performing together at this year’s Grammys.

BTS is going to perform at the Grammys!

The news was shared by the Recording Academy itself just a short time ago, and it’s even more exciting than an initial report that said only RM would be performing. 

Initially, fans thought that only one BTS member would be performing.

An initial report that said only RM would be performing. In a lengthy profile on Lil Nas X published yesterday by Variety, sources suggested that the BTS singer, producer and rapper would take part in an “Old Town Road” showing, but that hadn’t been confirmed by the Recording Academy. Now, the entire band has been included, which is much, much more thrilling for all involved, especially for BTS’s Army.

BTS will make history as the first K-pop group to perform at the Grammys.

While fans were hoping they’d attend the 2020 ceremony as nominees, this is still an incredible leap forward when it comes to Korean acts being considered by the American music industry.

Get ready for a K-country-hip-pop crossover.

This won’t be the first time all these genres mash up though. In July 2019, a remix of Nas’ “Old Town Road” was released that featured the Korean group’s rapper, RM, retitled “Seoul Town Road,” a mashup that’s likely to fit into their Grammys collaboration.

BTS and Lil Nas won’t be the only ones at the “Old Town” party.

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😉

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The Grammys have other eclectic guests slated to join in for the number as well. Country star Billy Ray Cyruswill, of course, reprise the duet part that took the tune into overdrive early in its chart life. Diplo’s also going to be on stage.

The EDM star did his own “Old Town Road” remix.

Diplo invited Lil Nas X onto his stage last May at the Stagecoach Festival for the young rapper’s first live appearance, so it’s only natural that Lil Nas would make the DJ and producer a part of his show. And lastly, to really mix it up back in the direction of country, young yodeler Mason Ramsey is also joining the chart-topping artists on stage.

With six nominations in total, including Album of the Year and Record of the Year, Lil Nas X is one of the artists with the most nominations.

Lil Nas is tied with the most nominations with Billie Eilish. The two are surpassed only by Lizzo, so it makes sense that he’d want to make his performance extra special by including all of the musicians that helped make his hit even more popular. 

The star-studded performance was planned to honor the song’s many remixes

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2020 🧞‍♂️🧞‍♂️🧞‍♂️

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The segment has been called “Old Town Road All-Stars,” and in it, we’ll see the six-time nominee deliver a thrilling show of his 19-week No. 1.

According to Forbes, inIncluding BTS in its telecast is sure to help the Grammys improve ratings.

The award show’s ratings have been slipping for years. An issue that many award ceremonies have faced over the past decade. Which is why adding the most popular and beloved band in the world is sure to get plenty of people to turn on their TVs who otherwise probably would not have.

BTS and Lil Nas will be joining an incredible lineup of previously-announced performers, such as Billie Eilish, Lizzo, Ariana Grande, Jonas Brothers, Camila Cabello, and many, many more. The Grammys will air live on CBS this Sunday, January 26 at 8 PM EST.

How ‘Guantanamera’ Sung By Celia Cruz Helped Me To Better Understand My Abuelo’s Exile From Cuba

Fierce

How ‘Guantanamera’ Sung By Celia Cruz Helped Me To Better Understand My Abuelo’s Exile From Cuba

credit: Cuban passport image belonging to writer's mother / Photograph provided by Alexandria Portée / Flower design by Canva.com

My mother was six when she fled to the United States from Cuba with my abuela and her two siblings. After reuniting with my abuelo who fought against Fidel Castro in the Bay of Pigs War, they moved to Chicago, where they built a life for themselves completely from scratch, still gripping tenderly onto the heritage and cultures that connected them to families and friends back at home. In their efforts to keep and sustain our family’s Cuban heritage, my abuelos and my mother taught me and my siblings to love and cherish the many different and beautiful contributions that their island country has given to the world: cuisine, cafecito, Bacardí, music, and José Marti.

Naturally, as any proud Cuban-American, I have benevolently held onto all of these as my own personal tokens from an island I have never visited or known. I’m quick to boast about each of them as if they were conjured up by my own mother’s hard work in the kitchen. Still, none have Cuba’s treasures have made me feel quite so intimately linked to my family’s first home like the beloved Cuban song “Guantanamera.”

Like my abuelos and my mother’s stories of Cuba, “Guantanamera” is a song that has grown and adapted through its journey. I have heard the story of my abuelos’ wedding day more than a hundred times; the tale of how my mother cried when kids at her school called my abuelo —a Bay of Pigs prisoner who singlehandedly saved hundreds of lives after being captured by Castro — a criminal; the account of my abuela wringing her hands as she debated enrolling her children in Operation Peter Pan and how she later boarded a cargo ship holding onto only her children and memories of her life to meet my abuelo in the United States. Each anecdote is the same but is always slightly altered in some way depending on the storyteller’s mood and time that I plead for their retelling. Some days they’re drawn out, told with prideful smiles, but often they’re said quickly with an ache to forget the portal of bittersweet memories my questions have sent them through. So similarly goes the many different versions of “Guantanamera.”

It is widely accepted that the original lyrics of the song, considered to be Cuba’s unofficial anthem, were romantic in nature, but over time, the song has been interpreted as a political ode. Brought from the rural regions of the island and to airwaves by Cuban radio host Joseíto Fernández in the 1920s, the song quickly caught on among fans. Fernández performed it regularly on his show and, in the tradition of most folk music, improvised and changed verses based on the week’s events. Some days he sang about politics, and other days he purred lyrics that harped about azucar and its rising costs. Still, the song’s opening lines and chorus, “Guantanamera, guajira Guantanamera / Guantanamera, guajira Guantanamera,” always remained the same.

Cuban composer Julián Orbón adapted the “official” lyrics to the song using verses from Cuban freedom fighter José Martí’s poetry collection “Versos Sencillos.” Orbón’s version, the one most commonly recorded by music artists, used Marti’s lines about a “sincere man” who was from “where the palm trees grow (Yo soy un hombre sincero/ De donde crece la palma).

This adaptation, combined with other lyrics from Martí’s poems that express compassion for Cuba’s poor, is ultimately what turned “Guantanamera” into the country’s most recognized patriotic anthem. In the U.S. and internationally, the song has been interpreted and adopted as a rally for peace (in 2004, for instance, the Swedish government flipped it into an offbeat rap song to promote recycling) and performed by a wide range of artists. In 1966, the Sandpipers did a version that became an international hit, and in the years that followed, singers like Jimmy Buffett, Pitbull and even the Fugees recorded their own editions. My personal favorite is the one sung by Cuban-born singer Celía Cruz on her album “Bravo” in 1967.

My Spanish has never quite allowed me to communicate with my abuelo in his native language fluently, but “Guantanamera” has let me do so.

Most conversations with my abuelo come with a melding of his so-so English and my mediocre Spanish. Together, we’re able to find a common ground that allows us to make each other laugh, exchange “te quiero mucho muchos” and grants me the ability to learn about the family and life he was forced to leave behind. In worse case scenarios, my abuela, a retired Spanish teacher, or my mother will intervene to translate. But when it comes to “Guantanamera,” abuelo and I have never needed assistance. Together, we’ve sung the song, our separately known variants, not always familiar with the lines each other sings but always well aware that in those moments they fill us with a deep love for each other and the versions of Cuba we both know.

Recently, during a visit with my abuelos, we sat together in their snug living room listening to Celía Cruz’s illustrious take of “Guantanamera” as her throaty voice sang over flute trills and drums. Old pictures of primos and tias looked down at us from the walls as we first listened carefully to the lyrics.

There’s no knowing what will prompt one of the Cubans in my family to break out into song. My most playful tía will chorus a line to tell stories; my brother does it at the dinner table even though he knows he’ll be told it’s rude, and my mother does it when she wants you to be in a better mood. Like them, my abuelos and I couldn’t help ourselves as Celía’s lively low-range voice started the chorus. Not against the charms of “Guantanamera.” Soon enough, abuela, abuelo and I were all singing the different Spanish versions of the song we hold dear.

Truthfully, if ever there was a moment that I thought I could burst from feeling so whole, it was sitting there in their living room, watching as the burden of my abuelo’s struggles of exile, always easy to decipher in his quietly distracted stares, seemed almost completely forgotten as he sang with pure delight.

“Guantanamera” is a song that has had a rhythmic presence in my life for as long as I can remember.

Like the smell of aftershave on my abuelo’s worn blue guayabera and the cheekiness of my abuela’s wily grin, I could make out that song anywhere, even despite the many versions it holds. Including the one I’ve heard my abuelo hum while brushing his teeth and the one my mother tries to keep in tune to while singing along to Cruz as she drives in the car. Like the different impressions of the song, Cuba is a country that has been strongly woven into our different narratives. Still, while my relationship and experience with Cuba will never tug on the strings of my heart with the same pang as it does on my abuelos or my mother, “Guantanamera” reminds me that the island is much more of a home than a foreign place that my family’s exile might try to make me believe.