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Cuban Duo Gente de Zona Are Transforming Urbano And Making Latinx Music History

Their roses might've arrived 15 years later, but Gente de Zona want to spread the power of reggaetón cubano. 

Gente de Zona is revolutionizing Latinx music like no other Cuban artist has in modern history.

The Grammy award-winning Havana duo, made up of director Alexander Delgado and Randy Malcom, captured international attention in 2014 with the release of their mega-hit “Bailando” with Enrique Iglesias, a tropical earworm that landed at the No. 12 spot of Billboard’s Top 100 chart, signaling the return of Latin urban music three years before Luis Fonsi and Daddy Yankee’s “Despacito” guaranteed the explosive comeback.

Since then, the group, which was the first act signed to Marc Anthony’s entertainment company Magnus Media, has continued to churn out massive successes. There’s “La Gozadera,” the Anthony-assisted, upbeat love letter to Latin America that picked up an award for "La Combinación Perfecta" at the 2016 Premios Juventud; the Latin AMAs-nominated “Traidora,” also featuring the Puerto Rican salsero; the Billboard Hot Latin Songs chart-landing "3 A.M," another banger collaboration, this time with Mexican duo Jesse & Joy; and the Latin pop jam “Ni Tú Ni Yo" with Jennifer Lopez– just to name a few.

With each global hit, Gente de Zona has helped introduce new audiences to reggaetón cubano, a style of the urban genre that’s unique from the more popular riddims of Puerto Rico, the Dominican Republic, Panama and now Colombia. Cubatón, as it has been dubbed on the Caribbean island, blends classic reggaetón beats with Cuba's traditional musical styles, like son, timba and guaguancó, and pairs the joyous soundscapes with more family-friendly lyrics than the grime of old-school reggaetón and new-wave Latin trap.

Gente de Zona’s addictive strains, recorded and performed with a live band, has torn through geographical and political barriers in ways previously unseen. While Latinxs and Latin Americans alike agree that cubanas Celia Cruz and Gloria Estefan are reinas of salsa and Latin pop, respectively, both women reached worldwide renown after their exile from Fidel Castro-controlled Cuba to the U.S.

But with easing political tensions between the two nations and talent capable of energizing the planet whole, Gente de Zona has been able to achieve superstardom that extended outside of the Antilles, into the 50 states and beyond– all while initially residing in Cuba. The feat, alone exceptional, is made all the more astounding for fellas creating music in the oft-condemned and devalued urbano genres.

VIBE VIVA chatted with Delgado and Malcom at the Sony Music Entertainment office in San Juan, Puerto Rico, where the pair was preparing to give their first solo concert on the island. Walking in singing Gomba Jahbari's reggae en español knockout "Acho Puñeta," just like every other Boricua this fall, we had a lively conversation on the duo’s rise to global fame, creating space for cubatón in the urbano musical takeover, gaining inspiration from the genuine joy that lives in the pulse of the Cuban people and their forthcoming album, Otra Cosa, among so much more.

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Gente de Zona has been around for more than 15 years, but you really started gaining global success in about 2014, with the smash hit “Bailando.” How do you think you were able to break into the international scene in a way many Cuban artists haven’t been able to in the past?

Randy Malcom: “Bailando” is a really good song, but I think what it did was give us the opportunity to really express what Gente de Zona is, right? It helped us get out of anonymity because it was a great song and it showed the identity of who is Gente de Zona. Our magic, the sealing of our style of music with our distinct voices, is what attracted an international audience.

I had the pleasure of visiting Cuba several times this year and was immediately drawn to the style of reggaetón being made there because it's much different from what we hear coming out of Puerto Rico, the Dominican Republic, Panama and now Colombia. It’s been described as cubatón, but what exactly is that? How would you describe it?

Alexander Delgado: When reggaetón came to Cuba from Panama, back when El General was making music, we called what we were creating cubatón because we maintained our roots. Cuban artists mixed Cuban music with the reggaetón base and created something organic.

Randy: We mixed urban elements with Cuban rhythms, like son, the timba and the guaguancó, and that's where the cubatón identity is.

I loved the artists I heard while in Cuba, but unfortunately, they’re not getting the same mainstream, international attention as other reggaetóneros. Who are some of your favorite less-known cubatón artists and acts that you think people should keep on their radar?

Randy: Many! Well, from our generation, I believe that El Micha is now expanding to the rest of the world. El Chacal and Jacob Forever, too. There are a lot of us from this generation doing it.

Alexander: I think that Gente de Zona entering the international market has allowed other artists to create a space for themselves there, too. For example, in Miami, there is now a radio station that promotes reggaetón from Cuba. Through that, we have been able to participate in a lot of events and shows, and I think in the next year we will have a bigger position in the international audience.

You were recently the focus of an HBO special, Gente de Zona: En Letra de Otro, where you had the opportunity to return to Alamar, a community in Havana where you grew up, to perform classic Latin hits. What was this like for you, being back where everything started?

Randy: Oh, it was incredible. It was a lot of songs we heard as kids. And the good thing is that HBO and Sony allowed us to choose the songs we wanted. It wasn't strict. It was very free: we pick the songs and perform them in the manner that we want. Alexander chose five songs and I chose five songs, and we brought these classics to 2018.

But it was still very cubano, with us putting in all of the elements that we just talked about, the son, the guaguancó, the bolero, and it was an incredible experience. And to film it in Cuba with HBO made it even better. That made it everything, all the memories we had there in that place growing up.

I know when you first started off in Havana, some people were confused about your style, rapping over classic Cuban rhythms. Why did you keep doing this style of music despite the pushback?

Alexander: The early critics showed us that we were capable of doing this but that it was just a matter of time. When we first started, we didn’t have a lot of time to work and only had about three or four songs, and I never felt that was sufficient for the people to understand the potency of the artists that we were.

I think that with time, well, really, I think that because of the first initial experience where no one had faith in us, we had the opportunity of time, to sit in the studio and dedicate our time to this. We always maintained the faith in our chemistry and that we can do this, and we did.

And being back recently, how is it received there now?

Alexander: It’s a huge difference. Everyone who said no to us is feeling it. [Laughs]

Randy: You can really feel the change, and we felt it, too. We made our music, and in the past, it was just Cubans singing along to it, but now in every concert we have people in every country who are singing, dancing and enjoying it, too. It’s incredible.

Being in Cuba, I witnessed joy as I had never seen it before, and I also feel and see it in your music. Where do you think this genuine happiness and zest for life comes from?

Alexander: This is just our culture. We have a culture that is very family-oriented, very traditional, very much about living together. That idea where children leave the home at 18 years old doesn’t exist in Cuba. You stay living there until you die. [Laughs] It’s true even in relationships.

You can get a divorce and still live together. [Laughs] So that’s our culture. We can say these things and laugh at ourselves for them. And it’s very difficult to be Cuban. It’s not like how it is in other parts of the world. Everywhere has its problems, but in Cuba, we know problems and we know how short life is, so you have to enjoy yourself. If you’re not laughing, life will slip by you without you even realizing it.

Last year, you embarked on your first U.S. tour. While Cuban exiles have done this in the past, it’s definitely not as common for expats like yourselves. What does this mean to you, understanding the history of political conflict between these two nations and yet the vast Latinx community in the U.S. that loves you?

Randy: It was incredible. We knew there were a lot of Cubans in the U.S. When we did shows, we’d go to where we knew Cubans had arrived, mostly Florida or New Jersey or New York, areas where there were already established Cuban communities. But after our album Visualízate won a Grammy and “La Gozadera” became one of the most-listened-to songs in the world in 2016, we went on a tour around the U.S. I think we went to more than 20 cities, and it was an amazing feeling. I didn’t know there were so many people in the U.S. who listened to Gente de Zona, that it was more than just Cubans.

In your wildest dreams, did you anticipate touring the U.S.?

Randy: I think so. We knew that the people were aware of who Gente de Zona was and we knew people wanted to see this tour. They were writing us letting us know this is what they wanted. So it was finally time to do this.

And now you'll soon hit the stage in Puerto Rico. As the saying goes, “Cuba y Puerto Rico, de un pajaro las dos alas” (“Cuba and Puerto Rico, from one bird the two wings”). Why did you want to perform here?

Alexander: First, we weren’t satisfied with the three times we were here previously because we were invited for special events with our performances lasting about 10 to 15 minutes, and fans can’t receive the full Gente de Zona experience within that time.

Time is really important to our shows. For an island where people are familiar with our music and who we are, but aren’t familiar with how we can put on a show, we thought it was time for that. And we wanted to be in Puerto Rico because we know that Puerto Rico is one of the strongest countries in music of all Latin America, so we thought it was the moment for them to see us live and really see what we are capable of doing.

I want to switch back to music. You recently dropped “Te Duele,” a song about an ex who hurt you and is now attempting to come back into your life. What do you do when you are in this situation: entertain or ignore her?

Randy: It depends on the person and the situation, and it's a situation that can happen to anyone. It's part of life. It's happened to me, it's happened to him and I'm sure it's happened to you. And what we like to do is convey the stuff that happens in real life in our music, so that people can identify with it and feel good about it, whichever part resonates with them.

Along with “Te Duele,” you also recently released “Lento” with Thalia and “Nadie Como Yo” with Malu Trevejo. What can you tell us about what you are currently working on?

Randy: We just released a song and music video with El Micha, who I consider as one of the best Cuban urban artists right now, called “Hazle Completo el Cuento.” This song is going to be a part of our next album, which is called Otra Cosa.

I can't say much more about it other than it's something we are working on, and there will be more reggaetón and maybe trap, because this is where the industry is right now.

Exciting! Talking about reggaetón and Latin trap, we see a lot of collaborations among these genres. We can have six artists on one song or remix. You’ve worked in the past with a lot of major pop stars and salseros. You just noted that you recently worked with El Micha, but can we expect more of this, collaborations with other reggeatóneros?

Alexander: Yes, yes, definitely! What I think is that we can adapt to what they do, but I sometimes see it’s a little difficult to adapt to what we do, because it’s a little more complicated. But we can do trap or reggaetón. That’s the advantage of having live music.

Urbano music has exploded in recent years, but trends, as we know, often come and go. In 10 to 20 years from now, where do you see Gente de Zona and what do you hope the people are saying about this group?

Randy: In 20 years, I’ll look a lot older and I hope to leave a legacy in music, in Cuban music for the world. I hope they’ll talk about Gente de Zona as something that revolutionized music and the entire world.

Twenty years, that’s a lot of time. My kids will be older, and maybe they’ll be the ones taking over this. I’ll just sit back and drink my coffee while telling them the history of what was and what is Gente de Zona.

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Luis Fonsi On Coaching ‘La Voz’ Competition And Long-Anticipated Album

With his international knockout "Despacito," Puerto Rican singer-songwriter Luis Fonsi had an explosive 2017. Multiple chart-toppers, like "Échame la Culpa," "Calypso," and his more recent success, "Imposible," helped him follow up with another overwhelmingly strong musical calendar last year. And if this month’s any indication, 2019 also belongs to the Latinx pop hitmaker.

After delivering back-to-back global hits over the last two years, Fonsi is ready to share some new-new with his fans. The 40-year-old singer is kicking off the año nuevo with Vida, his long-anticipated ninth studio album. A blend of the heart-tugging guitar ballads that started his career and the energetic pop jams that made him an international superstar, Vida, his first full-length project in five years, will show his worldwide fans exactly who Fonsi is.

“I think people will get to know, really, who I am,” the Grammy award-winning artist told VIBE VIVA during a phone interview. “I have that pop uptempo side but also this soft romantic side as well.”

Vida, which Fonsi teases is slated to release “very soon,” isn’t the only way fans will further acquaint themselves with the luminary in 2019. The seven-time Guinness World Records-holder is also a coach on Telemundo’s forthcoming La Voz. The Spanish-language version of the successful music competition reality TV show (The Voice), which premieres Jan. 13, will bring Fonsi and megastars Alejandra Guzmán, Wisin and Carlos Vives together to find and nurture the most promising Latinx vocalists in the nation, tasks he’s already undertaken as a coach on the show’s offshoots across Latin America and Spain.

Carving out some time from his excitingly busy new year, Fonsi discusses the making of Vida, what fans can look forward to on La Voz, the abundance of young Latin musical talent and key lessons on persistence that every creative dreamer can gain from.

VIBE VIVA: The Voice is one of the most successful singing competitions in the country. Why do you think a Spanish-language version of this show was needed here?

Luis Fonsi: There’s so many ways of answering this question. First of all, because we are part of the music culture, because we’re part of the music equation because our talent level is incredible. Latinos, we breathe music, we speak with rhythm, we dance when we walk. Music is in our blood, so it was absolutely needed.

There are so many young kids who have either recently moved to the U.S. or maybe have been born here and are of Latinx descent and want to be able to share their talent with the world, so to have that opportunity to sing, whether in English or Spanish, because the show, while it’s called La Voz and is on Telemundo, we’re going to have plenty of people out there who will sing in English, is great. And we’ve seen in the NBC version of the show how many Latin contestants have gone the distance, and some have sung in Spanish.

It’s part of the equation, so to be able to make it more formal and celebrate the differences between our Latin culture, by having someone from Mexico sing una ranchera, have someone from Puerto Rico sing something more Caribbean, have someone from Colombia sing something more vallenato. This format gives us the space and those parameters to be able to do that.

La Voz has been successfully exported to multiple Latin American countries including Mexico, Colombia, Argentina, Chile, Brazil, Peru, and Spain. How will this U.S.-based show be different from those?

I’ve been a coach in many of these different formats, in almost all of them. Right now, for example, I’m doing simultaneously La Voz Spain. The biggest and most obvious difference is when a contestant is done singing in Spain, I ask, “Where are you from,” and they tell me the city, “Madrid, Seville.” Here it’s like, “Hey, where are you from,” and they can be from a completely different country.

They could be from New York and their parents are from Mexico and moved here 40 years ago or you can be from the south of Argentina. Culturally, although we are speaking the same language and although we’re in the States, culturally we’re so dramatically different versus being from the same country and just a different city. So that in itself already gives it something different; the accents, the styles, it gives it such a different vibe.

You were the first one to join the show as a coach. Why were you eager to participate in the U.S. version of La Voz?

I love the format. I truly believe in the format. I’m one of those guys that I’m grateful. I remember where I come from, who opened the door for me and also who closed it. But I’m very grateful for the people who have gotten me to where I am today. When I entered this industry 20 years ago, there weren’t any reality shows like this. And if I would have had that opportunity, I would have probably auditioned for one, because very early in my life I knew that I wanted to be a singer. I actually went to college and got a music degree, that’s how serious I was about music.

It wasn’t about being famous; it was about being a musician, to me. I always think that reality singing shows are good. They’re good for everybody. It’s good for music. It’s good for the judges, or, in this case, the coaches. And I have to say sincerely, by far, my favorite format is The Voice. It’s a positive, family show. It’s all about giving constructive criticism.

It’s not about putting them down but rather about lifting them up, even if they don’t get through the first round. Everybody leaves with their head up and wanting to keep learning, keep singing, and to keep experiencing life, and that’s something that is much needed.

Latin music, in no small part due to your own megahits, has taken over the globe with new talent and viral songs appearing almost every day. Why do you think it’s enticing a universal audience?

You’re right! Right now, Latinx music is in a really good place. Latinx music is global. We’ve seen how so many — and I’m not talking about my songs, I’m talking in general, I’m looking at it with a way bigger spectrum — we’ve seen how many Latinx songs and how many Latinx artists have had success worldwide singing in Spanish. I really do believe that the world is coming together and that this was long overdue.

As a judge, what are you looking for in contestants? What's going to make you turn your chair?

Magic, that wow moment, that feeling you get when you get excited that you don’t know how to describe it. When the hair on the back of your neck stands up. You’ll see it. You’ll see me. I can’t stop moving when I hear that voice, and all of a sudden I’m like, “What is this?” I get antsy. I get up from my chair. Sometimes, I hit that button without my brain processing it, it’s like my hand just moves. It’s just like an instinct, a reflex. And it’s not about perfection or a specific genre.

It’s not about a specific country or whether you’re young or old, male or female. It’s about that “wow moment,” that thing that you get when a voice moves you. I’ve pressed my button for contestants who haven’t had perfect auditions, but they had something I connected with. And it’s the same the other way around.

We’ve had contestants that have not made it to the next phase and have had a solid, amazing audition, but for some reason, there was something there that didn’t connect with us coaches. And that’s the toughest because it’s tough to explain to them that, “Hey, you did amazing, you have an amazing voice, it was a perfect audition, you didn’t screw up, but we didn’t turn our chairs.”

It’s horrible, but at the end of the day, it’s life, and that’s what music is all about. Sometimes you can be in your car driving and you hear a song and it’s an amazing voice, but there’s something about that performance that you just don’t connect with it and you don’t identify yourself with it, and that’s exactly how it is to be a coach. It’s fun, and I think people are really going to enjoy it.

 

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As a coach, what do you hope to offer mentees?

Just a little piece of me, what I’ve learned as a professional singer in a 20-year career, the mistakes that I’ve made, the goods and the bads, all of them. I’m going to put it out there in hopes that they could use it toward their journey. What I’ve learned as a musician. I’ve been studying music since I was eight years old. I’ve been studying guitar and piano. I have a degree in vocal performance, a formal classical degree. So I can speak to them as a musician, not just as a recording artist. And you know what, sometimes it’s not even about the technical part.

It’s about having a conversation with them and making them feel comfortable, choosing the right song. Every contestant is different. Sometimes you have to get really technical with them, and sometimes it’s a little bit more about the psychology behind it. The talent is there, but you have to make them believe in themselves.

That actually leads right into my next question. For non-Spanish-speaking folks, you came into the scene in 2017 with "Despacito," but the truth is you've been putting in work for years, from your boy band as a high school student in Orlando, to touring with Britney Spears to your own early megahits like "No Me Doy Por Vencido," "Llegaste Tu" and many more. Sometimes, when you've been putting in work for a long time and not seeing the results you hope for, it can be discouraging and debilitating. What do you think you can teach these contestants about persistence?

It’s about knowing where you want to get to and believing in your craft and knowing that to get to that point it’s not always going to be a straight shot. It’s not always going to be right there in front of you. You have to go out and get it. You’re going to fall, and you’re going to make mistakes. I have never heard an artist say, “Every song I’ve put out has been a hit. Every album I’ve made has gone platinum. I never made a mistake. I never had crappy performances.” It’s all part of the deal.

It’s like falling in love. We have to get dumped, make mistakes, we have to have a broken heart to appreciate our perfect person when they come along. That’s music. When I’m making an album, I write hundreds of songs, sometimes two songs a day. I wish I can say every song I’ve written has been recorded and has been a hit. Absolutely not! I had to write hundreds of songs to get to “Despacito,” to get to "No Me Doy Por Vencido," to get to "Aqui Estoy Yo," to get to “Échame La Culpa.” It’s an ongoing journey, and that’s what I tell them.

We talk a lot about this on the show. It’s cool to hear the other coaches’ stories because it’s something that you don’t hear every day. We see Carlos Vives and Alejandra, and to hear how many times people have completely shut the door on us, but you have to be resilient and have to believe in yourself. And we also have to be a little stubborn sometimes. You have to say, “I know I have it.” Be humble about it, but also believe in what you have to offer and keep fighting for it. That’s what it’s all about, having that hunger.

Talking about the coaches, this year the team includes you, Alejandra Guzmán, Wisin and Carlos Vives — all megastars. Describe the energy among you all on the show?

Wow! The dynamic between the coaches is incredible. We all love each other. We all make fun of each other. There’s so much honest respect. It’s crazy. You’ll see.

I want to switch gears to you and your own music. I know you are dropping an album this year, your first in five years. What can you tell us about this?

Wow. My last album was in 2014. So we’re talking about five years. A lot changes in five years, and when we talk about pop music, it has completely shifted in five years. The cool thing about this album is that by the time the album comes out, I have released five singles, four of them I can humbly say have been hits. “Imposible” is on its way; it’s already Top 10. And my first three singles have been No. 1 songs, “Despacito,” “Échame La Culpa” and “Calypso.”

To be able to drop an album already having this success on the charts is such a blessing because it’s usually like you release one single and then you put the album out there. People already really know the essence of the album, and it makes it that much more exciting to hear the other songs that are there, that tell so many stories, the ballads, for example.

I’m always happy to hear about ballads. With the major success of uptempo hits like "Despacito," "Échame La Culpa" and "Calypso," why return to ballads?

I’ve never abandoned it. I’m a pop artist. I love the dance tracks and the reggaeton-infused tracks, but I also love a guitar ballad. That, to me, is just as powerful. There's a song in there that I wrote for my son, similar to what I did for my daughter with “Llegaste Tu,” a song I did five years ago with Juan Luis Guerra. You can put a little bit of that personal touch in an album that you can’t just do with a single. You have more room to be able to tell stories and different stories. It’s cool. I think people will get to know, really, who I am.

And how would you describe yourself as an artist?

I’m bad at explaining who I am as an artist, because, again, I have that pop uptempo side but also this soft romantic side as well. That’s who I’ve been ever since I started my career in 1998. It’s not just now. I’ve never been that sort of clean-cut balladeer who wears a suit as they’re singing. I’ve never been that clean-cut crooner. And, again, nothing wrong with them. I love the Luis Miguels and the Michael Bublés. I’m a fan of those guys, but I’m too hyperactive to wear a suit for a full show. And I’ve never been a super crazy pop act that all I do is dance and dance. I have those two sides. I love to grab my guitar and just sing as well.

Hearing you speak about this album is very exciting. When can fans expect to listen to it?

I have a release date, but I can’t share it. What I can say is that it will be out very soon. I’m excited. I definitely think it’s going to be the most important album of my career. And I think people are going to be surprised. I hope people are going to be surprised.

Returning to La Voz, why should Latinxs tune into Telemundo to watch this program?

They should tune in because we’re celebrating who we are. I always say, Latinos, we have music running through our veins. We speak with rhythm. We dance as we walk. Music is such a huge part of us, so to be able to celebrate that with the most important music competition format in the world, when we finally bring it to the biggest stage in the world, the U.S., it’s time to celebrate who we are. For those who don’t know to see how much talent there is out there. And I’m going to tell you, they’re going to flip. They’re going to be so surprised to see how much talent there is out there. I’m really excited. I’m hoping that it’s going to be a very big show for Hispanic television.

La Voz premieres Sunday, January 13 at 9 p.m./8 c.t on Telemundo and its digital platforms.

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Latin Albums Are Now More Popular Than Country Records In The U.S.

Latin artists dominated in 2018, and all of their hard work is starting to show some real results. According to a new-year report from data, music consumption company BuzzAngle, Latin music consumption is now more popular than that of country music.

According to the report, Latin music accounted for 9.4 percent of all album listening in the United States in 2018. It was reportedly measured by combining the physical and digital sales, song downloads, and on-demand streams. The growth in music consumption surpassed country music consumption, which only accounted for 8.7 percent of all album consumption in the U.S.

The prior year, country music accounted for 8.1 percent of album-listening, while Latin music clocked in at 7.5 percent.

Individual song-listening has also increased in popularity. In the past year, fans have increased their consumption from 9.5 percent to 10.8 percent. Country music is still behind at 7.8 percent. Latin artist video views have also increased to 24.3 percent from 21.9 percent.

While country music still dominates on the radio, the Latin music genre is reportedly closing in on R&B and rock, which are tallied at 11.2 percent and 11.7 percent respectively.

The music industry better look out because Latin music is bound to keep climbing the ladder in the new year.

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