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Dikran Abrelian
Prof. Ken McLeod
VPMC84H3 (Popular Music)
November 28, 2014
The Recreation of Identities through the Hybridization of
Popular Music
Historically speaking, music has had the power of constructing
various gender, ethnic, racial, and in recent years sexual identities. As
a result of globalization in the recent decades through the creation of a
global music market, popular music has been utilized as a tool for
influencing and shaping identities. This also relates to the notion of
authenticity, where in its most common use refers to classes of
performance that might synonymously be termed historically
informed or historically aware, or employing period or original
instruments and techniques. (Butt, Grove Music Online) However as a
result of globalization and more specifically hybridization and fusion of
different musical styles, the argument of whether or not a musical work
is authentic can often be tricky. Often due to mass-market demands,
musicians arguably lose the level of authenticity they had when they
began their careers, and Shakira is a prime example of that. Although
to a certain degree creating music that has the potential to be
commercially successful cannot be regarded as a negative thing,
because essentially commercialism is part of every endeavor that we
undertake. Ultimately, resorting back to a conservative view on music,
one that has a rather anti-developmental outlook can arguably have a

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hindering impact on the evolution of music. In fact this is evident in the
narrative of the jazz historiography, where conservative jazz purists
regarded the popular style of Swing to be a sellout as it didnt entirely
adhere to the New Orleans traditions, or as Neoclassicists such as
Wynton Marsalis reject new developments in jazz such as fusion to be
jazz at all. Thus, we need to be careful when examining the
authenticity of a particular music that has been influenced explicitly by
globalization and hybridization.
Furthermore, this paper will attempt to answer the question of:
How has globalization affected the Latin popular music industry in the
United States, and what are the resulting effects of this on issues
regarding gender/ethnic/radical identity and authenticity? In order to
fully illustrate the intricacies of the aforementioned topic, one of the
biggest Latin popular music sensations Shakira and her musical
influence will serve as the case study. Thus as a result of the late
1990s Latin music boom in the United States, Shakira has become a
transnational citizen and the hybridity aspect of her music which has
had an impact on shaping her gender/ethnic/racial and sexual identity
has ultimately allowed her to crack the U.S. mainstream music
industry.
Throughout its history, America has had a rich musical landscape
with a lot of different musical genres existing, from classical music and
jazz to folk and popular music. Thus it comes as no surprise that Latin
music has had a strong foothold in America for at least a century and a

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half, but more predominantly in the 1980s and especially in the late
1990s. In fact Latin American dance music has strongly affected North
American pop and jazz; and today Latin pop is a category in its own
right a strong one on the Billboard trade magazine popular music
charts. (Ferris, 209) For example to this day, salsa is considered as
one of the popular dance types in North America. It is not surprising
that such Latino/a artists as Ricky Martin and Shakira have had such
great mainstream success in the States, because after all north of the
Mexican border, Latin rock is making an impact reminiscent of the
influence of rock and roll south of the border years ago. (Ferris, 221)
In order to fully grasp the impact that the American mainstream
music industry has had on Latino popular music and vice versa, it is
important to outline a few facts. Firstly, the United States is today the
second-largest consumer market for Latin American music after Brazil.
(Party, 397) This is significant given the geographical relationship
between Latin American countries and America. The economic
opportunities for artists from 3rd world countries in Latin America and
the potential for success in America given its influential music industry
encourages musicians to make the trip north of the border often
permanently. Secondly, not only is the United States an important
consumer of Latin/o American music, but it is also the most prolific
production center for Spanish-language popular music, the vast
majority of which is produced by the four major international recording
labels (Warner, EMI, Song, and Universal). (Party, 397) These

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aforementioned natures of the music industry in North America,
especially in Los Angeles and Miami paved the way for the Latin music
boom of the 1990s.
One of the most significant features of 21st century Latin
American popular music is its hybridity. Even though elements of
hybridity are found in all popular music from around the world, what is
noteworthy about recent Latin/o American popular music is that it
embraces hybridity as an aesthetic. (Party, 398) Shakiras music is a
prime example of this as she uses a mix of musical elements from
various genres such as rock en espaol, folklore, Spanish dance music
and world music (Arabic). The hybrid aesthetic of 21st century Latin
music rejects concepts of singularity regarding racial categorization,
and instead gives Latino people living in America an opportunity to
experience various other cultures reflecting the multiculturalism of
North America. However alongside the benefits of hybridity, we need
to be aware of the fact that it can also contribute to ethnic ambiguity.
More specifically, musicians can eventually be deemed as sell-outs as
they aim to maximize potential consumer audiences thus losing
authenticity. At the end of the day though, given the importance of
commercialism in the music business, from a marketing perspective
the more styles included in an albumthe larger number of
communities that may purchase it. (Party, 399) This is why arguably
Latin popular music has had such a great success in America given the

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large multicultural society in the U.S. and the large population of
Latino(a)s in the southern states.
An overview of the music industry and what marketing and
promotional tools industry experts use will allow us to understand the
Latin music boom and more specifically the success of Shakira. The
current landscape of the music industry is always changing due mainly
to developments in technology. It is important to keep in mind that as
the marketing profession has undergone transformation with the move
from a product orientation to a customer centric orientation, so has
music marketing. (Ogden, 120) This is why both independent artists
and artists signed by a label are being heavily advertised on social
media sites such as Twitter, Facebook, and Soundcloud, because the
customer they are targeting are heavy users of these sites. Due to the
mere 5% success rate of artists signed by record labels, local up-andcoming artists are choosing to remain independent and thus control
their own careers. More than anyone else, these musicians are taking
advantage of the online marketing craze. Some of the ways through
which such artists are benefiting include international distribution via
websites like Myspace, Facebook and YouTube that allow them to gain
popularity for their music and videos, using websites such as Audiolife
that allows them to sell CDs, MP3s and merchandise for up-front costs
thus having no involvement in the production phase, and providing
exclusive downloads often for free or teaser songs for an upcoming
album. Of course those 5% of the artists who are successful after

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signing with a big record label will experience a wider range of
exposure due to the financial capabilities of the record labels. Although
it is important to keep in mind that costs associated with the
packaging and distribution of music is being eliminated (Ogden, 124)
for small independent artists.
In light of the aforementioned overview of the recording music
industry, we can now focus on the social and cultural implications of
the Latin American music industry in the United States in regards to
the notion of identity by examining the transformation of Shakira as a
musician and a transnational citizen. Going back to the notion of
hybridity as discussed in the introduction of this paper, there was an
interesting trend in the music industry following the Latin music
boom. The decision of combining U.S. Latino and Lain American
musics into one category might have made cultural and economic
sense in the context of late 20th century migrations and diasporas,
however this decision had the potential to profoundly impact U.S.
Latino artists whose musical practices and marketing needs were not
identical to those of their Latin American counterparts. (Hernandez,
154) This hybridization of the two music industries controlled by the
majors such as Sony & EMI had significant effects on the distribution of
Latin music in America and thus had an impact on the identities of
those musicians. As outlined by Hernandez in his book Oye Como Va!:
Hybridity and Identity in Latino Popular Music:
the majors assigned the distribution responsibility to the
companies domestic divisions; thus U.S. Latino musical

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productions often ended up in the hands of people with little
knowledge of Latin music, who did not understand the crucial
distinctions between Latin American latinos and U.S. Latinos
and who lacked the cultural competence to effectively
negotiate the complexities of the United States language and
culture-specific media and distributions networks. (Hernandez,
154)
As a result of this hybrid distribution strategy, the music of a lot of
Latin American artists produced in America lost its Latino/a identity, as
it became anglocentric and commercial driven. Shakiras case is an
interesting one to examine because despite undergoing a similar
transformation, her music arguably didnt lose its authenticity since her
music was hybrid to begin with.
The reason for the hybridity of Shakiras music is due to the fact
that she grew up in a cosmopolitan city in Columbia that exposed her
to a wide range of musical styles, with British and U.S. rock at the core.
She is often regarded as a unique example of a global Latin American
who resists easy categorization. She is of Lebanese and Spanish
decent, in fact describes herself as a mix of raw kibbeh and fried
plantain. (Party, 400) When discussing Shakiras musical range and
her influence on the music scene, often critics interpret her hybridity of
non-indigenous genres as a commercial strategy at attracting a
broader range of listeners, however we need to take into consideration
that Barranquilla, the city where she is from has acted as a port for
various musical influences to enter. Among music critics, Shakiras
music is also described as somehow less Latin and more accessible

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to non-Latinos, in a sense reifying the boundaries between Anglo vs.
Latino musical spaces. (Cepeda, 69)
Despite to a certain degree changing her music to attract a
broader range of fans, it is important to note that according to Shakira,
she has stayed true to her roots. Around the time of the release of her
critically acclaimed and somewhat controversial English debut album
Laundry Service, in a 2001 Los Angeles Times interview she stated
that, Im an expert too. I know Shakira better than anybody. I know
what works for Shakira, because Ive already made my mistakes, and I
know what path I should follow and which one I should dont. (Gurza,
Los Angeles Times) This was her response to industry experts who
happened to be male executives trying to force their will on the type of
music she needed to produce. Reflecting on the notion of identity,
arguably popular music has the power to create and shape an identity,
however in the mainstream music industry, the majority of the time
identity is superimposed on an individual by a third party. We
constantly observe this evolution of teen popstars such as Miley Cyrus
and Selena Gomez undergoing an identity change, often sexual. This
evolution is often a direct result of consumer demands in the market,
however the all-important question that needs to be looked at is, who
is ultimately influencing consumer tastes? Is it the music consumers
themselves using their free will to make choices, or is media somehow
controlling them to realize what music is worthwhile listening to?
Arguably the answer is the latter, where record labels that sign artists

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determine what music is deemed good and accordingly superimpose a
suitable image and identity unto their artists.
In Shakiras case, in order to fully understand the creation of her
identity as she becomes a transnational citizen and adopts a U.S.
centric identity, we need to compare and examine two distinct albums:
Dnde estn los ladrones? (Where Are the Thieves?) and Laundry
Service. After releasing Pies Descalzos (Bare feet) which is considered
her international breakthrough album, in 1998 she released what many
critics and fans consider her best album, Dnde estn los ladrones?
(Where Are the Thieves?). This album is perhaps signifies the peak of
her hybridity as it features mariachi trumpets, bolero-style percussion
on the bongos, and the Middle-Eastern oud. (Party, 402) The thematic
choices of this album had sincerity and purpose as the title track
referenced the corruption in her native country of Columbia. She is
seen as a serious musician emphasizing the importance of musical
aesthetics.
Although interested in expanding her popularity to include the
U.S. market, her move to Miami in 1999 and the release of her first
English-language album, Laundry Service, in 2001 sparked a long
conversation regarding authenticity and her identity. The subject
matter of the album and Shakiras change of appearance was at the
heart of the debate. Despite the album topping charts around the
world, many Latin American critics argued that Shakira had sold out
and Americanized her sound through such changes as: focusing

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lyrical themes on the topic of love, changing her image by dying her
signature dark hair blonde, and appearing to be skinnier and wearing
skimpier clothes. These stylistic and visual changes draw striking
resemblances to Britney Spears. Even though to a certain degree
Britney Spears has a more sexualized image than Shakira, many music
critics argue that she hasnt sold out and lost her authenticity because
she has remained true to her redneck roots. While this argument can
be made regarding Britney Spears, we most certainly shouldnt make
comparisons between the two because Shakira is a hybrid, whether in
reality or construction. She has multiple identities as seen through the
various stylistic features in her music, and thus might be concluded
that she has no homeland. In fact in an interview where she was asked
her place of residence, she replied, its kind of scary for me to commit
myself to live in one place. Im a nomad. I have this gypsy soul.
(Iskandar, The Ambassadors Online Magazine) Her constant attempt of
not wanting to be categorized is evident in every remark she has made
regarding her music. Often her rangy and robust mezzo spiked with
yodel-like shadings, suggests a vocal influence of her Arab ancestors,
however she refuses to acknowledge that and insists that its
coincidental. Ultimately though we need to understand that Shakiras
hybrid music is what her recording company hoped will catapult her
into global superstardom, and quite certainly it did.
Shakiras whole essence of hybridity was indeed the key
ingredient for her success in the mainstream, because a political

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economic view of Shakiras marketing campaign sees this
transnationalism of identity as a strategic endeavor motivated by
capital gains for the artist and the recording company. Epic Records
president is quoted saying that Shakira lends to the intrigue and the
exotic nature of the whole [marketing] campaign. (Iskandar, The
Ambassadors Online Magazine) Ultimately this is one of her secret key
ingredients to successfully entering the mainstream industry, because
the market after all demands to experience something new and
innovative rather then a one-trick pony.
As outlined by Maria Elena Cepeda in her book U.S.-Columbian
Identity and the Latin Music Boom:
In recent years industry dictates have rendered it increasingly
difficult for artists to mediate the delicate balance between the
creative processes inherent to musical production on one hand
and the overwhelming pressure to generate a commercially
successful product on the other. (Cepeda, 72)
Given the delicate nature of the music industry and despite
changing her management team for her English-language debut
album Laundry Service (2001), Shakira has made an effort to not
forget her Latin identity but rather use her new U.S. Latino identity
and fuse it with her roots creating a hybrid music. However it can
be argued that the prospect of stardom and financial success
outweighed the importance of her artistic aesthetics as seen in the
transformation of her image. Although even within the Anglo-pop
boundaries, Shakira has found a way to maintain her musical

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authenticity and this is prevalent in such songs as Hips Dont Lie
and Whenever, Wherever.
In conclusion, Shakira has become the idealized
transnational citizen by adapting to her surroundings culturally
and socially speaking and at the same time maintaining her
unique ethnic background. Ultimately for Shakira, a U.S. Latino
identity cannot be conceived of without a Latin American identity,
and vice versa. (Cepeda, 86) It is this hybrid balance that has
allowed Shakira to build a multicultural fan base. This notion of
the work of identity formation necessarily entails a negotiation of
the autobiographical and the biographical (Cepeda, 86) is an
important one to consider when discussing Shakiras musical
trajectory, because after all the formation of identity is influenced
upon where a person is born and where he/she end up living in
their lives. Thus given the immigration concept in North America,
the notion of having one identity is false. We can only have a
dominant overarching identity with various sub-identities.

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Works Cited

Butt, John. "Authenticity." Grove Music Online. Oxford Music Online.

Oxford University Press. Web. 26 Nov. 2014.
<http://www.oxfordmusiconline.com.myaccess.library.utoronto.
ca/subscriber/article/grove/music/46587>.
Cepeda, Mara E. Musical Imagination: U.s.-colombian Identity and the
Latin Music Boom. New York: New York University Press, 2010.
Print.
Ferris, Jean. America's Musical Landscape. Boston: McGraw-Hill Higher
Education, 2010. Print.
Gurza, Agustin. "Cover Story; Across the English Divide; Shakira's Not
Alone in Wanting a U.S. Hit. the Industry's Revived Hopes for
Latin Pop Rest on Her Too." Los Angeles Times: 0. Nov 04 2001.
ProQuest. Web. 28 Nov. 2014 .
Hernandez, D. Pacini Oye Como Va!: Hybridity and Identity in Latino
Popular Music. Philadelphia: Temple University Press, 2010. Print.
Iskandar, Adel. "Whenever, Wherever! The Discourse of Orientalist
Transnationalism in the Construction of Shakira." The
Ambassadors Magazine. N.p., July 2003. Web. 28 Nov. 2014.
<http://ambassadors.net/archives/issue14/selected_studies4.ht
m>.

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Ogden, James R., Denise T. Ogden, and Karl Long. "Music Marketing: A
History and Landscape." Journal of Retailing and Consumer
Services 18.2 (2011): 120-25. Web. 27 Nov. 2014.
Party, Daniel. "Chapter 10/Twenty-First Century Latin American and
Latino Popular Music." Musics of Latin America. Ed. Robin D.
Moore and Walter Aaron. Clark. New York: W. W. Norton, 2012.
397-404. Print.