RSS Entertainment News of BET, E! Online, BuzzFeed, Popsugar, Hollywood Life, Page Six, Vanit Fair, Fox News, and more.

POPSUGAR
Twitter — Facebook — Instagram — YouTube

Faux Locs Have Become the Secret Weapon in My Curly Hair Routine Thu, 10 Jul 2025 10:00:02 -0700

Growing up, my relationship with my hair was anything but simple. I was raised in a Dominican household where curly hair wasn't seen as beautiful; it was seen as something to fix, smooth out, and straighten. As a result, my family ensured that I visited the Dominican salon for regular relaxers and blowouts. It wasn't until 2016 that I truly began to embrace my natural texture. However, one of the biggest misconceptions about going natural is that caring for curly hair becomes easier once you stop straightening or using relaxers. Trust me, it doesn't.

I have 3C-type hair, which means my curls are tightly coiled and can be a little testy at times. There are days when my curls are absolutely perfect, and I feel like the most confident woman in the room. But let me be real, those times don't last very long. On a good week, I get maybe three days where my curls are in their prime. The rest of the time, it's all about moisture, styling, and making sure my hair stays protected. In other words, caring for curls can be a full-time job. It's not something you can do half-heartedly. It's not for the weak, which is why faux locs have become a major game-changer for me.

Faux locs entered my life as a way to save time and protect my natural curls. I needed a break from the constant maintenance of my curls, but I still wanted a look that was stylish and easy to manage. Faux locs gave me that. I can choose the length, style, and color to fit my vibe for the day. Plus, they're a lot easier to maintain than chemically straightened hair. I don't have to worry about humidity or rainy days interfering with my hair. I can wake up and know that my hair will stay intact for at least three weeks. I can say goodbye to frizz and embrace worry-free styling every day.

And as someone with a busy schedule, faux locs have become a lifesaver for me. Whether I'm heading to an audition, a comedy show, or a big event, I can rely on my locs to look great, no matter what. They give me confidence in a way that my curls sometimes don't, simply because I know they'll stay on point. Plus, faux locs are super versatile. I can try different looks without committing to something permanent.

Now, the cost of faux locs can be a little steep - I'm not going to lie. In California, they can run you around $600, while in New York, you might get a good set for around $300. But here's the thing: I've learned how to do them myself, which saves me a ton of money. It takes me about six hours to do them properly - four hours if I'm feeling lazy and don't care about how the back looks. But when I'm done, I feel like I've accomplished something major. It's one less thing I have to worry about for a few weeks.

Sometimes, I think about making faux locs a permanent part of my style. They're just so easy and low-maintenance. But then I think about my curls, and I can't imagine giving them up. I've spent so many years trying to embrace them, and now I'm finally at a place where I love them. I've come to realize that my curls are actually an integral part of my identity, and they are not something I need to change. So, for now, I enjoy the best of both worlds: curly hair for those days I want to feel unstoppable, and faux locs when I need a break.

Ultimately, what I've learned is that hair is an expression of who you are. Whether curly, straight, loc'ed, or anything in between, it's a choice, and for me, that choice is about feeling empowered and confident in whatever style I choose. And let's be real, as a Dominican woman in the entertainment industry, having the freedom to express myself through my hair is a power I'll never take for granted.

Sasha Merci is a first-generation Dominican American actor, comedian, and viral digital creator. She showcases over a decade of diverse experience in entertainment with roles in films like "Righteous Thieves" and "De Lo Mio," along with collaborations with renowned brands such as Target and Bumble. She shares her Bronx roots and passion for Latine culture by being vocal about mental health and navigating comedy.
Shakira's New Curly-Hair Line Is Redefining What It Means to Have "Pelo Bueno" Sun, 06 Jul 2025 06:00:02 -0700

Show me a curly-haired girl, and I know immediately: that's someone who's had a complicated relationship with her hair. Curly hair is never just hair - it's a history of unlearning and relearning. Behind every curl is a memory, a myth, a story, and the journey of growing to love what once needed to be tamed.

Even Shakira - whose goddess-like curls are as iconic as her voice - has been there. After years of experimenting with treatments, products, and even collaborating with a pharmacist to develop her own customized formulas, the Colombian singer dreamed of a line that could serve other curly-haired girls - especially Latinas - who've long struggled to find products that truly meet their needs. Enter Isima, a new line of science-backed, innovative products made for curls, available only at Ulta.

Unlike most curly-haired Latinas - especially those from her generation - Shakira's struggles with her hair didn't stem from the cultural pressure to style it straight. While she occasionally wore a sleek style or fresh blowout, she mostly embraced her natural texture, especially when she began performing live.

"I guess I didn't have a choice, because when I'm on stage, I need to feel empowered - I need to feel true to myself," she tells PS. "I'm free. I cannot wear super high heels. I cannot wear a wig."

Shakira's complicated hair journey was brought on by the damage that came with coloring, heat styling, and treatments like Brazilian keratin.

She shares that her healthiest hair days were before she started coloring it - when she still wore her natural color.

"It used to be, believe it or not, really dark - almost black," she says. "[It was] very shiny and wavy. I had soft waves. I guess with years and hormonal changes, the texture changed quite a lot. It has become a little more curly, I would say, and even frizzier."

True Shakira fans who have been following her career and listening to her music since the "Pies Descalzos" and "Dónde Están Los Ladrones" days remember her long dark hair as much as we remember her red hair phase.

"I had decided to bleach it and make it bright red [and] obviously, to go from almost black hair to red - I had to really bleach it. So, my hair suffered a lot, and that was kind of the beginning of the end," she says with a laugh. "But it was still a very important part of my identity. That was around the time I did MTV Unplugged, and I did it with a kind of punkish, reddish hair that sort of represented an era and a period in life. The way I wear my hair has a lot to do with the way I feel. It has always been a huge part of my identity."

While many curly-haired women - including Latinas and Black women - proudly embrace the phrase "I am not my hair" (a nod to India Arie's iconic 2006 single), plenty of us also recognize the deep connection between our hair, our identity, and how we show up in the world. Shakira herself has admitted in interviews that cutting her hair into a short lob was one of her biggest regrets - she just didn't feel like herself. As a curly-haired girl with even tighter curls than Shakira's, I relate. Every time I've chopped my long curls into a lob, it's felt like I'm losing a superpower. It's women like us - Latinas like us - who inspired Shakira to dream up a line that truly understands and serves our hair's unique needs.

"Women like us are underserved, in a way," she tells me after complimenting my waist-long curls - a mix of 3B and 3C spirals.

I didn't always hear compliments on my hair; in fact, I grew up hearing I had "pelo malo." For those unfamiliar, pelo bueno ("good hair") and pelo malo ("bad hair") are terms rooted in colonial Latin America, dating back to the Casta system - a racial hierarchy imposed by the Spanish that favored proximity to whiteness. Coily and curly textures were often associated with the hair of enslaved Black people and deemed undesirable, a harmful legacy that has continued to shape Latin American beauty standards. But in the past decade, younger Latinas have begun to reclaim and redefine those terms, including Shakira, who believes good hair simply means healthy hair, period.

"Pelo bueno is hair that's bouncy - [it's hair] that is natural. [Hair] that makes you feel confident and that is healthy," she says. "So, it doesn't matter what texture your hair is. It just needs to feel like you give it some love."

"Pelo bueno is hair that's bouncy - [it's hair] that is natural. [Hair] that makes you feel confident and that is healthy."

With curly hair being especially vulnerable to dryness and breakage, Isima is focused specifically on deep hydration and repair.

"This is inspired by Latina women because in my community, there's so much diversity. In Latin America, you find all kinds of textures," she says. One of Shakira's favorite products in the line is the Súperbomba Triple Repair Peptide Mask ($38), a rich, deep-conditioning treatment that checks all the boxes. Formulated with patented nonapeptides, hydrolyzed soy and rice proteins, and a unique glyconabond complex, this product is designed to nourish the scalp, repair hair bonds, and deliver intense hydration after every wash. Shakira uses it once a week, leaving it on for five to 10 minutes, depending on her schedule.

And while countless celebrities have launched beauty brands, few deliver the way Isima does. Shakira truly thought through every step of wash day - a ritual she calls sacred.

"The day I wash my hair, I know I'll get at least five minutes of peace where my kids won't interrupt my shower," she says. "My assistant isn't allowed in. So, I need those minutes to really count."

From start to finish, she considered it all. Instead of offering just one shampoo, Isima includes two. There's Reset ($32), a clarifying shampoo that deeply cleanses the scalp without stripping the hair. Then there's Riquísima ($32), a hydrating shampoo infused with Mexican aloe extract that gently cleanses while replenishing moisture - ideal for following Reset.

Shakira is also the first curly-hair brand founder to launch a blue shampoo specifically for color-treated curls - a game changer, considering how harsh most blue and purple shampoos can be on textured hair.

There's also Suavísima ($32), a rinse-out conditioner so hydrating that I've been able to skip the hair masks on busy wash days and still have silky, soft curls.

For styling, Shakira likes to apply Curls Don't Lie ($32) - an appropriately named curl cream - on soaking wet hair, scrunching it in before sealing everything with Delicia Reparative Hair Oil ($36) for an extra boost of hydration.

"I know for some people it feels heavy but no, I need that," she says. "I think women like us need more. It's like the phrase - less is more. But it doesn't apply to hair like ours. We need more. We need more hydration, more moisture, more performance, more strength - all of it. "

The line also includes All In ($32), a restorative leave-in conditioner that can be used in place of the curl cream or layered with it for extra hydration. It's lightweight enough for looser waves but rich enough to deliver serious moisture. Then there's Iconic ($42), a scalp serum designed to hydrate, soothe, and balance the scalp while promoting stronger, healthier, and thicker strands.

As for the name Isima, let's just say it wasn't chosen at random. In Spanish, "ísima" is a superlative suffix that inspired the names of her shampoos and conditioners - as in riquísima (very rich) or suavísima (very smooth). Shakira brought that same level of thoughtfulness to the packaging: the shampoos and conditioners come with both pump dispensers and fully removable caps, allowing you to get every last drop.

As someone who grew up in Dominican hair salons, where I would get my curls blown out straight every weekend to hide any trace of texture, I rarely saw celebrities openly inspire others to embrace their natural hair. There was a specific way I dreamed of wearing my curls - long, flowy, and full of definition. But very few celebs at the time reflected that vision. The only ones who came close were Keri Russell in "Felicity," Jennifer Freeman, and, of course, Shakira.

So the fact that one of my actual hair icons not only launched a curly-hair line designed specifically for women like me but also sat with me and personally walked me through what products would work best for my spirals felt surreal. It was an honor.

"I have 30 years of a career making music, and I feel like I have a certain credibility. I want to make sure that these products deliver what they promise," she says. And honestly, the quality speaks for itself - it's clear she's been preparing her whole hair life for this moment.

Johanna Ferreira is the content director for PS Juntos. With more than 10 years of experience, Johanna focuses on how intersectional identities are a central part of Latine culture. Previously, she spent close to three years as the deputy editor at HipLatina, and she has freelanced for numerous outlets including Refinery29, Oprah magazine, Allure, InStyle, and Well+Good. She has also moderated and spoken on numerous panels on Latine identity.
A Bruja's Guide to Making the Most of Eclipse Season Thu, 27 Feb 2025 11:00:02 -0800

Eclipse season is a time of year when major shifts take place internally and externally. Indigenous peoples from the Americas, the Caribbean, and Latin America paid respect to the land, the sun, and the moon during this rebirth and transformation. Traditions practiced for thousands of years are honored, creating a powerful connection between the physical and spiritual world.

The interconnectedness of all things is a strong belief within many Indigenous groups as a way of life. Eclipse season is a time when that connection can be strengthened and confirmed to Spirit. The energy is powerful whether it's a solar or lunar eclipse, partial or full. Modern times have disconnected many of us from the interconnectedness of all things that are foundational beliefs of Indigenous peoples. We can regain it by honoring the spiritual traditions passed down through generations by our ancestors.

A total lunar eclipse on March 14 will follow the Full Moon in Virgo's peak and will be visible throughout the United States and South America, as well as parts of Europe and Africa. On March 29, we welcome a partial solar eclipse, which coincides with the New Moon in Aries. This creates an excellent time for manifesting and gathering in community with others to raise the vibration here on Earth.

What is a Lunar Eclipse?

A lunar eclipse is a dance between the sun, moon, and Earth. The Earth takes the lead, moving between the sun and the moon and casting a shadow on the moon. Lunar eclipses, whether partial or full, only occur during a full moon, which creates heightened energy on its own. Spiritually, lunar eclipses are respected as a transformative time. It brings the shadowy sides of ourselves to the surface to be healed.

What is a Solar Eclipse?

A solar eclipse is another kind of astrological dance when the moon leads, passing between the sun and Earth. Partial solar eclipses happen when the moon blocks only a portion of the sun. Whether the moon is blocking the sun fully or partially, it casts a shadow on parts of the Earth. The energy can be felt across our planet. Like a lunar eclipse, solar eclipses hold spiritual significance as powerfully transformative times. As the moon momentarily blocks the sun, we can honor the shadow work that is so essential to spiritual growth and healing.

What Indigenous Spiritual Rituals Are Done During a Lunar Eclipse?

Indigenous people often practiced deep introspection during lunar eclipses. Many traditions include fasting, abstaining from sexual activity, staying indoors, prayer, and meditation. Their stillness was a way to show respect to Mother Earth and the Great Spirit for the significant cosmic changes and renewals taking place during the lunar eclipse.

Palo Santo and Copal are great during this time. You can even mop your floors with a mixture of warm water, Florida Water, and Rue Water. Rue, or ruda, has been used for centuries to remove evil energy from spaces and people. It cannot be consumed but is quite powerful as a cleanser or in spiritual baños or limpias.

After your space has been cleansed of negativity, stagnant energy, and blockages to joy and inner peace, it's time to fill your home with gratitude and love. Consider gathering everyone who lives in the home together to meditate and pray. Hold hands in a circle and tune into the energy that is created. Deep breathing together and even long embraces can improve the flow of energy in your home, community, and the world at large. It begins within us and will naturally flow outward.

What Indigenous Spiritual Rituals Are Done During a Solar Eclipse?

Solar eclipses are honored and respected in similar ways to lunar eclipses. Some Indigenous groups believe staying indoors shows respect for the sun's symbolic death and rebirth during the eclipse. Other traditions include being outdoors during the eclipse and dancing under the sun in celebration of its life-giving energy or partaking in naming ceremonies to honor new life. When the moon casts its shadow over the light, engulfing the planet in momentary darkness, silence, prayer, and meditation occur until the sun's rays return.

In Western civilization, we often wear protective glasses to marvel at solar eclipses. But Indigenous traditions believe the opposite. As a sign of respect for this display of life's cycles between the light and the dark, Indigenous groups did not look up at it but instead turned inward to connect with it on a spiritual level and allow the energy of the eclipse to flow through them.

The upcoming March 29 partial solar eclipse would be a great time to celebrate as the sun shines and then revert into stillness as the moon casts its shadow. Think of yourself as a plant that has survived winter. You may have to prune the parts of yourself that have died or are dying. This could be old ways of thinking, patterns, or even people and places you may have outgrown. Dig deep to find the parts of you that are no longer needed and remove them so the other parts can grow strong and healthy. You could write a list celebrating your journey, who you are becoming, and what you need to let go of or remove to fully be reborn during the solar eclipse, which follows the March 20 spring equinox.

Herbs to Work with During Eclipse Season

Herbs act as allies during eclipse season. Whether you're using them as an ingredient in a spiritual baño or limpia, or sipping it in a tea, plants are intelligent beings. They can maximize the robust energy exchange that occurs between us and astrological transits. Here are some herbs to consider incorporating in your spiritual rituals:

Mugwort: to deepen meditation and enhance dreams.

Ginkgo Biloba: to strengthen spiritual communication with the divine.

Skullcap: to ease a running mind and deepen meditation.

Chamomile: to calm the nervous system and heal mother wounds.

Sage: for cleansing your space and yourself from blockages, stagnant, and negative energy.

Crystals to Work With During Eclipse Season

Solar eclipses are a great time to charge your crystals. After praying and setting intentions for your crystals, you can place them on a window sill or someplace outside. Holding them in your hands during eclipse meditations and prayers is also super powerful. Here are some go-to's for the eclipse season:

Black Tourmaline: for protection and to shield negativity within or from another.

Flower Agate: for a deeper connection to Spirit and to embrace new beginnings.

Sunstone: to amplify the sun's energy within your soul and build confidence.

Red Jasper: to ground and connect deeply with Mother Earth.

Selenite: for protection, clarity, and honoring your higher self.

Essential Oils For Eclipse Season

Our sense of smell can deepen meditation and assist in soul-journeying through aroma therapy. You can amplify your eclipse ritual by rubbing a little oil on your wrists, behind your ears, third eye, or heart chakra. You can also use incense or a diffuser if you prefer not to have it on your physical body. Here are five essential oils that act as a powerful support for eclipse season spiritual rituals:

Frankincense: to deepen spiritual connection and support along your life's journey.

Vetiver: for grounding and connecting to Mother Earth.

Peppermint: to calm the nervous system.

Patchouli: to enhance psychic abilities and honor your intuition.

Ylang Ylang: to combat anxiety, stress, and sadness and enhance feelings of joy.

Tarot Cards to Work With During Eclipse Season

If you are into tarot cards, you can display a card that coincides nicely with the energy of eclipse season. The card you choose to display acts as a symbol of your intentions for your eclipse spiritual ritual. Here are some examples:

The Hermit: to symbolize the need for an intentional pause and go deeply inward for spiritual guidance.

Death card: a representation of a symbolic death taking place within yourself, giving way to a new way of being and living.

The Moon: to reveal hidden emotions and illusions and dive deep into the subconscious mind.

The Hanged Man: to truly let go and surrender.

Prayer For Eclipse Season

Great Spirit, I pray for profound transformation and clarity during this eclipse season. I honor Mother Earth by quieting my mind and tuning into her frequency as the moon and sun dance in the sky. I am aware of the significance of this season and honor ancestral medicine as a way to find balance in my life and continue the traditions passed down through my lineage. I am one with the Earth, the sun, the moon, and the stars. By honoring the elements, I honor myself, you, Great One, and the constant shifts and changes that this life brings. As above, so below. Thank you, thank you, thank you. So, be it.

Zayda Rivera is a PS contributor. She has been a professional writer for more than 20 years. Z is a certified Reiki Master-Teacher, yoga and Zumba instructor, mindfulness and meditation guide, tarot reader, and spiritual mentor.
With Beyoncé's Grammy Wins, Black Women in Country Are Finally Getting Their Due Mon, 03 Feb 2025 10:00:02 -0800

Tanner Adell fell in love with country music young.

She grew up splitting her time between Los Angeles and Star Valley, WY, which created a stark contrast - but it was the country lifestyle, and specifically the music, that held her heart. Adell remembers falling in love with Keith Urban when he released "Somebody Like You." And every summer, when she and her mom would set out to drive back to LA from Star Valley, she'd sit in the back of the car and "just silently cry my eyes out as we'd start on this road trip back to California," she remembers.

These days, Adell is a rising country music star. And at the Grammys on Feb. 2, she was part of a watershed moment for Black women in the genre - Beyoncé made history as the first Black woman to win album of the year for her country album "Act II: Cowboy Carter," which Adell was featured on in the superstar's reprise of "Blackbiird."

Indeed, Adell's career has been taking off alongside other Black women in country since the March 2024 release of "Cowboy Carter," which also won for best country album of the year. But a year ago, Beyoncé's entry into country was a bit contentious. After an Oklahoma radio station refused to play Beyoncé because it "is a country music station," an online uproar convinced the station to reverse its decision - and ignited a larger conversation around inclusion within the genre.

Back on March 19, 2024, when Beyoncé announced "Act II: Cowboy Carter" would be released later that month, she opened up about what it means to be a Black woman in country in an Instagram post. "This album has been over five years in the making. It was born out of an experience that I had years ago where I did not feel welcomed…and it was very clear that I wasn't. But, because of that experience, I did a deeper dive into the history of Country music and studied our rich musical archive. It feels good to see how music can unite so many people around the world, while also amplifying the voices of some of the people who have dedicated so much of their lives educating on our musical history," she wrote. "The criticisms I faced when I first entered this genre forced me to propel past the limitations that were put on me. act ii is a result of challenging myself, and taking my time to bend and blend genres together to create this body of work."

"Country music is how you feel, it's your story, it's part of you."

For other Black women artists like Adell, pursuing country music often transcends the difficulty that might come with navigating their identity in a genre dominated by white men. As she puts it, "Country music is how you feel, it's your story, it's part of you."

The same was true for Tiera Kennedy - who is also featured on "Blackbiird" - when she started writing songs in high school. She was a big fan of Taylor Swift at the time, and she just fell into expressing herself through the genre. "I always say I don't feel like I found country music, I feel like country music found me," she tells PS. "When I started making music, it just came out that way. I was writing what I was going through at the time, which was boy drama. And I fell in love with all things country music and just dove into it."

Related:

The Complicated Reality of Being a Black Taylor Swift Fan

Moving to Nashville seven years ago was "a big deal" for Kennedy in terms of building up her career: "Everyone told me that if you want to be in country music, you have to be in Nashville." When she got there, she was surprised she was so welcomed by others in the industry, which doesn't necessarily happen for everyone, given how tight-knit the city can be. "I was super thankful and blessed to have met so many people early on who have opened doors for me without asking for anything in return," Kennedy says.

For Adell, too, moving to the "capital of country music" three years ago was huge in pushing her career forward. And an essential part of that has been finding a community of other Black women artists. "Oh, we have a group chat," she quips. "We're extremely supportive, and I think sometimes people are trying to pin us against each other or even pin us against Beyoncé, but you're not going to get that beef or that drama."

"Country is just as much a part of the fabric of Black culture as hip-hop is."

But while these artists have been able to foster a strong community within Nashville, it's no secret that country music has been facing a reckoning when it comes to racism and sexism. Chart-topping artists like Jason Aldean and Morgan Wallen last year weaponized racism as a marketing tool, per NPR. In 2023, Maren Morris said she was distancing herself from the genre for some of these reasons. "After the Trump years, people's biases were on full display," she told the Los Angeles Times. "It just revealed who people really were and that they were proud to be misogynistic and racist and homophobic and transphobic."

But the reality is that Black artists have always been part of the foundation of country. As Prana Supreme Diggs - who performs with her mom, Tekitha, as O.N.E the Duo - says, "Black Americans, so much of our history is rooted in the South. Country is just as much a part of the fabric of Black culture as hip-hop is."

Diggs grew up in California watching her mother, a vocalist for Wu-Tang Clan, host jam sessions at her house. She's been wanting to perform professionally with her mom since she was a teenager, but it wasn't until the beginning of the pandemic that they really committed to their joint country project.

For Diggs, there's been nothing but excitement since Beyoncé first announced "Cowboy Carter" in a Super Bowl ad last year. Diggs immediately ran to her computer to listen to the songs. "And the second the instrumental came on for 'Texas Hold 'Em' came on, I was like, oh my god, it's happening," she says. "We are finally here."

Tekitha felt the same way. "In the Black and country community, we've really been needing a champion," she says. "We've been needing someone who can kind of blow the door open and to recognize our voice is important in this genre."

And with Beyoncé's Grammy wins, it's clear that Black women's time has come to be fully recognized for their contributions to the genre. "I'm super thankful that Beyoncé is entering into this genre and bringing this whole audience with her," Kennedy says. "And hopefully that'll bring up some of the artists that have been in town a long time and grinding at it. I don't think there's anybody better than Beyoncé to do it."

Lena Felton (she/her) is a senior content director at PS, where she oversees feature stories, special projects, and identity content. Previously, she was an editor at The Washington Post, where she led a team covering issues of gender and identity. She has been working in journalism since 2017, during which time her focus has been feature writing and editing and elevating historically underrepresented voices. Lena has worked for The Atlantic, InStyle, So It Goes, and more.
Bad Bunny's "Debí Tirar Más Fotos" Tells Puerto Rico's History Wed, 08 Jan 2025 11:41:40 -0800

The opening track of Bad Bunny's sixth studio album, "Debí Tirar Más Fotos," which was released on Jan. 5, doesn't begin in the way many of us have come to expect typical reggaetón songs to start. There are no heavy synths underlining the intro, no plucky "wite" melody (how Puerto Ricans refer to the iconic melody sampled from Jamaica's "Bam Bam" riddim), and no pounding dembow bassline. Instead, "Nuevayol" opens with a sample from the salsa classic "Un Verano En Nueva York" by El Gran Combo, the first sign we are in for something different. And by the time the album's 17 tracks are through, we've been taken on a tour through Puerto Rico's rich musical history. This is Bad Bunny's most Puerto Rican and emotionally vulnerable album yet, where he uses the island's musical soundscape as a canvas to comment on its many sociopolitical issues while cultivating the musical terroir of Puerto Rico's future.

"Debí Tirar Más Fotos," which translates to "I should've taken more photos," comes at a crucial time for Puerto Ricans, both on the island and throughout the diaspora. With the same administration that has helped lead the island into corruption and decay about to take office yet again, there is no guarantee that our traditions or way of life won't be directly impacted. Such is the march of time, and the impact of over 500 years of colonization cannot be understated.

Bad Bunny, born Benito Antonio Martínez, seems to understand this better than most. The album is framed loosely by the idea of the singer entering the new year alone, reflecting on a lost love, which can easily correlate to the loss of agency, sleep, and a promising future many Puerto Ricans are grappling with. Our beaches are slowly being poisoned. Our lands are being sold to crypto billionaires. And our lights still won't stay the fuck on.

Given these circumstances, it's not hard to see how the nostalgia of the past can serve as an escape. But Martínez, while his character might be drinking pitorro and reminiscing about an ex, isn't getting lost in nostalgia. He's using it to bridge the gap between the island's past and its future. While the opening track starts with a salsa sample, which shouts out Puerto Rican legends like salsero Willie Colón and the owner of the last standing Puerto Rican social club in NYC, Maria Antonia Cay (known as Toñita), the second song on the album, "Baile Inolvidable," sees Martínez harmonizing in his typical urbano cadence over the horns, keys, and typical salsa orchestration provided by Libre de Musica San Juan. This is followed by tracks borrowed from less commercial genres, such as bomba y plena, música jíbara, and bachata. However, while the sonic landscape of "DTMF" owes much to the island's past, the voices it features are primed to shape the island's musical tradition for years to come.

Puerto Rico's next big thing, RaiNao, is featured on the track "Perfumito Nuevo," a sexy, upbeat reggaetón number with pulsing, alternating dembow rhythms that are perfect for a day-trip across Puerto Rico's sunbaked carreteras. The very next track, "Weltito," calls in assistance from up-and-coming Latin jazz, tropical fusion quartet Chuwi.

Martínez might be a once-in-a-generation superstar, but he's always understood that he is part of a bigger musical tradition, one that includes greats like Hector Lavoe, Andres Jimenez, Olga Tanon, Big Pun, Tego Calderon, and many more. And with that comes a certain responsibility. Martínez knows that any artist he features will be springboarded into the spotlight, and he uses his platform accordingly to ensure that the tradition continues long after he's gone.

There's been a "recent back to the roots" movement sweeping across the underground scene in PR, with new artists experimenting with more traditional sounds, which the artists featured on the album, including Chuwi, Rainao, Omar Courtz, and Dei V are all a part of. Even Rauw Alejandro stepped up to embrace a more classic style and pay homage to the diaspora on his last album with a cover of 'Tú Con El" by Frankie Ruiz. So it's no surprise that after "nadie sabe lo que vas a pasar mañana," the trap masterclass that was his last album, Martínez's latest project would have him going in a more eclectic direction and using his platform to help push the island's sound in that direction.

But in many ways, Bad Bunny is also kind of an anti-superstar. Whereas being a pop star often means trading in a more cultivated sound for something that appeals to the masses, Martínez has done the opposite. The more his fame has grown, the more his musical trajectory has diverged from typical pop stardom, leading him down the path of auteur and activist similar to hip hop artist and rapper Kendrick Lamar. Similarly, as his fame has grown, his albums have become less accessible and more insular. "DTMF" is not an album that caters to outside audiences. It's not meant to appeal to tourists, something the artist touches on in the track "Turista," a cautionary tale about falling in love with the superficial but being unwilling to accept or live with a person's or, in this case, a place's imperfections.

But maybe the most impactful track on the disc is "Lo Que Le Paso a Hawaii." On it, Bad Bunny examines the similarities between Hawaii and Puerto Rico, how both were made U.S. territories in 1898 and how the transition from colony to statehood has served the American interests while raising the cost of living and marginalizing native Hawaiians. It is an eerily similar parallel to what Martínez sees occurring today in Puerto Rico: the influx of American ex-pats, the gentrification of cultural centers, and the government's push for statehood. It's no wonder the artist was brought to tears on a recent visit to San Juan. The album is filled with bittersweet sentiments like these.

If "Un Verano Sin Ti" was a love letter to Caribbean culture (Spanish and non-Spanish speaking alike), and "nadie sabe lo que va a pasar mañana" was an homage to the street life of Puerto Rico, then "DTMF" is a celebration of who we are as people, a testament to our grit, and our contribution to music as whole. Sure, the traditional genres are well represented here, but there are also touches of house and spoken word, which remind us of the roles we've played in elevating those arts.

Martínez is wielding nostalgia as a weapon here, taking aim at those who would see us pushed off our lands and erased from history, and he's doing it in the most Puerto Rican of ways: by making noise. And in the process, he's fully come into his own as an artist and visionary. And that vision puts his island and his people front and center in everything he does. As he says on one of my favorite tracks from the album "EoO": "You're listening to Puerto Rican music. We grew up listening to and singing this. In the projects, in the hoods. Since the 90s, the 2000s until forever."

Miguel Machado is a journalist with expertise in the intersection of Latine identity and culture. He does everything from exclusive interviews with Latin music artists to opinion pieces on issues that are relevant to the community, personal essays tied to his Latinidad, and thought pieces and features relating to Puerto Rico and Puerto Rican culture.
How Indigenous Artist Sophie Castillo's Ancestors Inspire Her Music Mon, 02 Dec 2024 13:55:47 -0800

There's a reason Sophie Castillo's discography doesn't focus on one genre, one language, or any one rhythm. The London-born Colombian-Cuban is a multifaceted artist whose music is a testament to the cross-cultural environment she grew up in. You might recognize Castillo from TikTok, where her song "Call Me By Your Name" became one of her most listened-to tracks. Her ability to seamlessly blend Spanish and English over a bachata beat has undoubtedly earned the admiration of listeners.

Castillo began singing at the age of 3. While she was growing up, her Colombian mother and Cuban father, who were the first people in their respective families to immigrate to the UK, played only Latin music - specifically salsa. "My family was always playing a lot of salsa, so Grupo Niche, Fruko y Sus Tesos, Joe Arroyo, Celia Cruz," Castillo says. And her love of and talent for musical theater was recognized early. When Castillo was around 5, she performed in a school show and left an adult audience teary-eyed. This resulted in her mom and uncles placing her in an after-school drama program that allowed her to practice music and pursue acting, singing, and dancing. "This has been a lifelong dream of mine," the now 26-year-old says.

When she reflects on her childhood, the importance of Castillo's representation of the Latine community in UK media becomes clear. "I definitely had my issues as a kid growing up with not feeling represented," she says. As a result, she idealized Eurocentric features in Barbie dolls, films, and toys. Castillo says she didn't see herself in any of these areas growing up. "I never saw any type of Indigenous representation of Latina women," she notes.

"When I was a kid and didn't have the language to have those conversations, I had insecurities, but then as soon as I could express my feelings about that, I had a lot of support, and it really changed the way that I viewed myself," she continues. Castillo's advice for women who, like her, don't feel represented in the media is to "remember you have the features of your ancestors." She reflects on a beautiful sentiment she came across online: "You look the way you do because two of your ancestors loved those features in each other so much that they decided to come together and create a child. That child passed those features on, and eventually, they became yours."

Honoring the legacy of those who came before her has been crucial in Castillo's journey to self-love. When insecurities arise, she says she reminds herself, "Hold on a minute - I might have this nose or these eyes because one of my ancestors gave them to me."

Castillo has also learned to look inward when it comes to prioritizing her mental health and self-image. "What I've learned over time is actually just how much power we have within our own lives," she says. "I'm in control of my thoughts, my feelings, my mind. I can always change something to make myself feel better. I can always cheer myself up."

Pride in her heritage serves Castillo's confidence not only physically but also spiritually as she navigates her way through the music industry. "Being Latin American, our continent has gone through so much trauma as a land and our ancestors went through so much trauma, we need to honor them for what they gave us and how much they fought to survive in the midst of everything that they had to face," she says.

The influence of Castillo's Latin American heritage inspires the sound of her music - but most importantly, the influence of her ancestors serves as an inspiration for perseverance as she rises to stardom. She also credits growing up with Latine parents for several of her most important values. "There are many, but one of them is having that inner strength and general positive outlook on life - being able to pick yourself back up when you're down, dust off your knees, and continue," she says. This mindset is something "everyone in our family, and in a lot of Latine and immigrant families, have had to do."

These days, by weaving the language and sounds of her childhood into her storytelling, Castillo is able to honor these sacrifices and alchemize them. She weaves components of music that originated in Latin America with other inspirations to develop a unique sound and deeply personal voice. The result preserves cultural genres and introduces them to new audiences.

Through social media, Castillo has not only been building a platform for her music but also working to provide the representation she yearned for growing up. As she shares on her TikTok, she's patiently waiting to become a mainstream representation for "brown skin/Indigenous features women."

As she puts it, "A lot of girls message me or comment that they love that I look like them and their primas, and how they love seeing me with my features representing us in the music industry. They're rooting for me." And so are we.

Ashley Garcia Lezcano is an audience strategist, writer, and producer with a passion for highlighting Latine culture and stories. In addition to PS, her work has appeared in People en Español and Teen Vogue. As a first-generation Colombian American, Ashley is committed to authentically amplifying Latin voices and narratives.
Embracing My Inner Egoísta Fueled My Dreams in Comedy and Acting Tue, 26 Nov 2024 06:00:03 -0800

Sasha Merci as Josefina in "La Egoísta" by Erlina Ortiz at Philadelphia Theatre Company. (Image Source: Mark Garvin)

Soy Demasiado, a special issue for Juntos, celebrates Latinas who are reclaiming what it means to be "too much." Read the stories here.

In a Dominican family, women are often raised to be the glue that holds everyone together. From a young age, we're taught to be reliable, dependable, and emotionally steadfast. Our role is clear: support the family, sometimes at the expense of our own dreams. In a culture that places so much emphasis on familismo - the idea that family comes first, always - I was raised to believe that my worth lay in how well I could build and maintain a nest for others to rest on. Following dreams that didn't fit into this vision for our family wasn't just discouraged; it was almost unimaginable.

For me, the journey of embracing my own dreams meant challenging the very foundation of those values. Choosing to leave New York and move to Los Angeles in 2018 to chase a career in acting and comedy felt like an act of rebellion. It was the most selfish thing I could have done - or at least that's how my family made me feel about it. They would ask why I'd choose this uncertain path, and whenever I missed family gatherings or drama erupted back home, I'd get calls suggesting that things would've been different if I had been there.

The decision to move and the aftermath were agonizing, loaded with guilt and self-doubt. Each missed holiday or family celebration was a reminder of the expectations I was defying. As the person in the family who would set boundaries, I became "the difficult one," the selfish one. At times I questioned my choice, but I believed that putting my dreams first would allow me to break a cycle and live a life that set a new standard for what a Dominican woman could achieve.

Because deep down, I knew that if I had stayed, the generational issues would've persisted. My absence didn't cause them; it allowed me to see them more clearly and validated my choice to carve a new path.

Of course, creating a new path for oneself isn't easy. Self-doubt creeps in, and generational trauma can convince you to believe the very ideas you're trying to break free from. But I realized that being perceived as an "egoísta" by people you love often isn't about malice; it's rooted in the fear of what failure might do to you. Parents, especially, want to keep us safe, and they were taught to survive rather than thrive. Life was meant to be taken seriously, with roles assigned to keep the family's ecosystem stable. But times are changing, and Latinas can be whatever they choose to be.

In my role as Josefina in a play I recently starred in called "La Egoísta," I found a striking reflection of my own life. "La Egoísta" was written by Erlina Ortiz, produced by the Tony Award-winning production company Edgewood Entertainment, and directed by Tatyana-Marie Carlo. I shared the stage with Maria Gabriela González, who played my sister, as well as puppeteer Marisol Rosea Shapiro. I am deeply grateful to have shared the stage with such talented people. This project taught me the importance of putting art first; it inspired, moved, and encouraged audiences to look within themselves to see what they might lack or need to become. Through Josefina, I came to understand the importance of embracing the "egoísta" within.

Josefina, like me, is caught in the tug-of-war between individual dreams and family loyalty. Familismo is a beautiful value rooted in love and support, but it can also be a burden, especially for women. For Latinas, these expectations often translate into an unspoken rule that our dreams come second. Men are encouraged to be go-getters, while women are expected to be nesters, always sacrificing for the family. I realized that while familismo is nurturing, it can unintentionally limit women from reaching our full potential.

As my career in comedy and acting took off, I had to make sacrifices that many wouldn't understand. I missed weddings, birthdays, and other family gatherings. Over time, I came to understand that my boundaries were necessary - not an act of abandonment, but an assertion of self-respect.

It took years, but I've learned to say no, protect my time, and prioritize my well-being and mental health over guilt. I came to realize that by sacrificing myself, I wasn't helping anyone in the long run. To be my best self and a successful comedian and actress, I had to give myself permission to pursue what felt right, even if it went against everything I'd been taught.

While some relatives have come to understand, others still don't. When I say no to big family events, their disappointment is palpable. I've been called "too much" for prioritizing my career, but I'm grounded by the knowledge that by being true to myself, I'm honoring my family in my own way. I want to show that a Latina can chase her dreams, create success, and still love her family deeply.

Playing Josefina taught me so much about the power of choice. "La Egoísta" gave me a chance to express the conflict many Latinas face: wanting to stay close to our roots while also branching out to pursue our dreams. Familismo is beautiful, but for it to truly serve us, it must evolve to support every family member's dreams. Women deserve the freedom to dream big, to move away if they choose, and to redefine what family means to them.

To other career-driven Latinas, I say this: don't be afraid to embrace your inner egoísta. Protecting your dreams and setting boundaries for your well-being isn't selfish. Your ambitions are valid, and your goals are worth pursuing. When we make space for our growth, we're not abandoning our families; we're creating a legacy that shows future generations that they, too, can follow their passions unapologetically. I'm proud to be a Dominican woman carving a new path, and I hope that by embracing my dreams, I'm helping others to do the same.

Sasha Merci is a first-generation Dominican American actor, comedian, and viral digital creator. She showcases over a decade of diverse experience in entertainment with roles in films like "Righteous Thieves" and "De Lo Mio," along with collaborations with renowned brands such as Target and Bumble. She shares her Bronx roots and passion for Latine culture by being vocal about mental health and navigating comedy.
How the 2024 Presidential Election Could Shape Puerto Rico's Future Tue, 29 Oct 2024 09:03:52 -0700

With both the 2024 Presidential election and the Puerto Rican Gubernatorial election rapidly approaching, citizens of the Caribbean island once again found themselves in a delicate position and in the headlines. Donald Trump's latest rally was filled with the kind of hate we've come to expect. However, Latinos and Puerto Rico were specifically singled out this time, with comedian Tony Hinchcliffe comparing the island to a "floating pile of trash" after commenting that Latines "don't pull out." Not only did these comments alienate Puerto Ricans, but they also seem to have bolstered support for Vice President Kamala Harris among the community, as only hours later, she received late-game endorsements from Ricky Martin, Jennifer Lopez, and current global phenomenon Benito Antonio Martínez Ocasio - AKA Bad Bunny. And while the self-proclaimed "biggest star in the world" is no stranger to political action, prior to his endorsement, his efforts had been more focused on the heated race for the governor's seat on the island.

At the beginning of the month in Puerto Rico, drivers passing over the freeways of San Juan were greeted by a surprising political message that pulled no punches: "Quien vota PNP, no ama a Puerto Rico," which in English translates to, "Anyone who votes for the PNP doesn't love Puerto Rico." The billboard was accompanied by two others around the municipality with equally condemnatory messages for the PNP, the conservative Puerto Rican political party up for reelection for the governorship this November.

At first, the messages seemed like just another round of political gamesmanship by underdog challengers looking to turn the tide of the election against the incumbent. It was later revealed that the ads were Bad Bunny's handiwork. Fresh off the release of his politically charged single "Una Velita," the Puerto Rican reggaetonero was setting his sights on Puerto Rico's ruling party. And now, he's entered into American politics hoping to sway the other half of the equation that determines Puerto Rico's future.

But to understand what's at stake and why Bad Bunny's attack on the PNP and endorsement of Harris are so important, you have to understand what has been going on in Puerto Rico over the past seven years. In 2017, the island was decimated by Hurricane Maria. Almost 3,000 Puerto Ricans lost their lives, 97 percent of the island's power grid was destroyed, and the inept response by both the local and US governments saw emergency relief funds misallocated or outright blocked by the Trump administration.

Frustration from these events led to the ousting of disgraced governor and PNP poster child Ricardo Roselló in 2019. But the victory for his opponents was short-lived. Somehow, the majority of Puerto Ricans weren't tired enough of getting screwed over by their own government and elected Pedro Pierluisi, also of the PNP, as governor in 2020. All the while, the island's electrical grid has continued to falter. Blackouts continue to be the norm, sometimes leaving hundreds of thousands without power for days, and islanders have seen their energy costs soar. If you've been on TikTok lately, you've seen that island schools are in disrepair.

So, going into the 2024 elections, there is an undercurrent of frustration that has been boiling over for seven long years. And Bad Bunny is far from the only artist on the island using his platform to call for change. Artists like Residente and Rauw Alejandro have also been vocal about wanting to see the end of a two-party dichotomy of the PNP and PPD. Both artists support the newly formed party La Alianza, a leftist alliance between the two anti-colonial parties, the PIP and MVC. Others, like future superstar RaiNao, have taken to social media to animate the youth and give messages of hope while also shedding light on the fear-mongering and dirty politicking going on.

But even as they do, a greater question looms on the horizon because no matter who wins this election, Puerto Rico's future as a state, a colony, or an independent nation hinges on the island's relationship with the United States and whoever leads it. And that is an election that Puerto Ricans on the island can only watch and wait for the outcome. This is why Anuel and Nicky Jam coming out in support of Donald Trump - even going as far as to show up at his rallies - has been such a big deal.

Puerto Ricans on the island can't vote. But the diaspora on the mainland can. The policies that the president of the United States sets can have more of an impact on the quality of life on the island than the ones set by the local government. For example, in 2023, when a group of Puerto Rican journalists demanded that the Financial Oversight and Management Board - a US entity that oversees and approves matters related to the colony's budget - make information relating to financial reports, communications, and other important economic data available to the people, the US Supreme Court ruled that the board could have "sovereign immunity." It, therefore, did not have to comply with the request. While the board has reduced the overall debt by a large amount, it has done so at a high cost to the people, with austerity measures that have impacted public services, as well as federally funded healthcare programs across the island.

So yes, no matter what happens during the island's elections, nothing will change overnight. The US still holds a lot of the cards. But the PNP and PDP's grip on power has done nothing but dig the island deeper into debt, deeper into disrepair, and deeper into the pockets of foreigners who come giving nothing and taking everything. It has not provided any opportunity for a clean political slate. And if we can clean house, remove corrupt politicians, and put the country on a path forward, then we'll be able to negotiate our ultimate political fate from a position of power.

Puerto Rico is the oldest colony in the world. Since 1493, we have been passed from one colonial overlord to another, our resources are taken to enrich everyone but our own citizens, watching as our sister colonies all achieved the reality of independence that has forever eluded us. These latest elections won't change the course of Puerto Rico's fate overnight, But in the long run, they will decide whether things get better or worse. With a Harris presidency, we get a Democratic President who is more likely to listen to a Puerto Rican base that largely tracks Democrats. A Trump Presidency almost ensures that the way Puerto Rico has been treated by its colonizer continues. Meanwhile, on the island, a PNP win basically ensures that Puerto Rican life continues on the downward spiral it has for decades. But should La Alianza win, it might not solve all of our problems. It might resolve the issue of our status. But it gives us a chance for progress, the chance to walk into a future written by Puerto Rican hands.

Miguel Machado is a journalist with expertise in the intersection of Latine identity and culture. He does everything from exclusive interviews with Latin music artists to opinion pieces on issues that are relevant to the community, personal essays tied to his Latinidad, and thought pieces and features relating to Puerto Rico and Puerto Rican culture.
24 Paranormal Romance Books That Are Spookily Sexy Thu, 19 Sep 2024 16:20:02 -0700
When you start looking for the best paranormal romance books, you'll find countless sexy, swoony, and even funny love stories, featuring all manner of magical beings. We've got the classics, like witches, vampires, and werewolves, plus plenty of others, like merfolk, fae, ghosts, zombies, necromancers, and so much more. These supernatural romance books bring a touch of magic to the romance world, and they're just a little bit different from a few similar genres.

The closest comparison would probably be fantasy romance, or "romantasy," which usually brings in elements of the fantasy genre (epic scale, significant world-building, a complex system of magic) and layers those with a significant romance plot thread. For many readers, the line between these books and paranormal romance books for adults is somewhat blurry, but in most cases, the "paranormal" label indicates that you'll get a heavier focus on the supernatural beings - the vampires, the shifters, and so on - and on the romance, rather than the full-fledged fantasy world-building.

No matter your tastes, there's definitely a good paranormal romance book out there for you! Some authors prefer to put a rom-com twist on the genre, like Lana Harper or April Asher. Others, like Nalini Singh or Kresley Cole, are mainstays of the genre for their sprawling, long-running series filled with all sorts of sexy supernaturals. Whether you take your paranormal romance with a side of chills or a side of laughs, check out these books to add some magic to your reading.

Related:

A Bone-Chilling List of the 19 Best Horror Books
How I'm Navigating White Hollywood and the Pressure to Conform Mon, 16 Sep 2024 06:00:04 -0700

I make a living acting in the machine known as Hollywood - an industry that commodifies me but isn't for me. An industry where if I am using my hands too much on camera, the director shouts in all seriousness, "Not so much of the ethnic hands!" "White hands, Chris, white hands," I whisper to myself while smiling.

By the way - that is a true story.

The essence of what I do is put myself in spaces where I must be chosen, where I must be selected as worthy enough to portray this thing. Beyond the ability to act, a large portion has to do with whether I am physically and aesthetically appealing, and pleasing enough to a certain gaze. When you make a living off your desirability, is the power of your body ever just yours? My body has been turned into an object of desire by whiteness, and as long as the main decision-makers and check signers in Hollywood are white bodies, then I must be desirable to and for them.

This is why I always say that it is nice to receive fat checks (I have rent to pay), but nothing changes until I and people who look like me are signing them. In my opinion, this is the other side of the same coin of being seen as worthless. Because if I am not desirable in some way, then I am worthless. And I fear that if I am too radically different from what they have already deemed acceptable, then I might lose whatever status I have already worked so hard to achieve. I just might not survive.

I made a film about this for The New York Times in 2020. The film was about the paradox of "making it" in Hollywood: to succeed, you need to stand out from the crowd while assimilating to whiteness. You have to strive to be yourself while fitting in. And if you aspire to be like one of those leading men you grew up watching on TV, well, you better look the part. Step one: calm those curls.

This was in 2020 - the whispering of change was all around us. With the George Floyd protests, people seemed to have gotten the message: there's a problem and the old ways are not working. Companies and Hollywood started talking about diversity and hiring DEI professionals, and guess what - it didn't do much of anything.

While there's been a lot of talk, progress has been modest at best. According to a 2020 Pew Research report, Latines accounted for half the US population growth between 2010 and 2019 and made up 18 percent of the population (this has since increased). When will we get to see our nation's diversity reflected on our screens?

I guess until that happens we are forced to fit their model. I'd love to tell you I am 100 percent past caring what they think, but that itch of wondering if I am physically code-switching enough is always in me. I have been a series regular on a network television show. This is a difficult feat for a Dominican, Colombian Brown boy from Queens, and still, in the moments when I am not actively working, I question my own body before the system. I wonder whether I should take all those drug dealer, criminal, day player roles that are still so prominent on our screens.

We live in a world where bodies of culture are constantly asked to give up parts of ourselves in order to move forward. This isn't new information but it's worth reiterating. Black and Latine actors are constantly forced to change themselves.

This is our fight - the fight of loving and being ourselves.

This is our fight - the fight of loving and being ourselves. We fight to love and embrace our curls, our skin tones, and our ethnic features in a world that sells us the idea that simply being ourselves is not good enough. It's a world that sells us the NoseSecret tool, often advertised as "plastic surgery without the surgery." It is a plastic tubing that you manually insert and force into your nose to create a narrower, thinner, and more pointed shape. At only $25, it's a steal!

We consider those who commit self-harm a danger to themselves and to society. We criminalize that act. But what about self-hate? Who is there to protect us from all the pretending we do for someone else's gaze?

When I told my pops I wanted to play pretend for a living, that I wanted to be an actor, that I wanted to go to Hollywood, he said, "It's gonna be tough, but look the part. Pretend. Fake it till you make it."

I have pretended. But at what cost? I kept my hair short and I got the nose job my first manager told me to get. And it worked. I worked a lot more. That's the sad part about all of this. What gets me is when I still hear white actors saying things like, "You're so lucky. You're Latin, everyone wants you right now. I'm just white. I got nothing." Or the man I bought a piano bench from on Craigslist who said to me, "It's great they're looking for more minorities, but now I can't get a role, you know?"

I took a scriptwriting class, and what I learned is a bit disheartening. The longevity of a show is built on the idea that its characters can never really change. For the most part, lead characters need to remain self-sabotaging and can never truly grow because then the show would change. Execs don't like change. This is what we are shoving into people's brains - that we are meant to be stuck in cycles. That we are meant to be trapped by our delusions, poor habits, old stories, old clichés, old abuses, old dogmas, old oppressions, and that that's OK. But it's not.

We must begin to ask ourselves: What images and stories have been placed deep into our minds around race and humanity, rights and fairness? What narratives have we been fed since the day we were born? For so long, Hollywood has denied people of color any depth, authenticity, and meaning because the only way you make a thousand movies a year is if you have a certain level of automation, and cliché stereotypes are part of that automation. Think about what would happen to the industry if it actually produced films that were nuanced, complex, and honest.

Imagine if every script session started with: "Does this story help bring humanity into that space? Does this story marginalize an already marginalized community? Is this story true? Does this person have to be white? Does this story represent society and race and class in an honest way? Does this story help us see and imagine a new, more cooperative and loving world?"

This reimagining must begin behind the camera first because we can't be authentic in our storytelling if we're not being honest about who is telling these stories. Casting up front will not change who is signing the checks.

I need Hollywood to make it commonplace and ordinary, not extraordinary. I'd like to see a Brown "When Harry Met Sally," or an Afro-Dominican futurist fantasy with a bachata score, an Indian and Puerto Rican bromance buddy comedy, two second-generation South Asian kids saving the planet, a meet-cute romance drama about two young Cambodian American kids in college, and all where the Brown leads are just hanging out and talking and not making everything about race. Imagine if that was just commonplace, not exceptional, not a big deal, not the reason to make the movie - it just was.

William Blake called imagination the "divine vision." It involves all the senses, it involves everything: the body, the speech, and the mind. I believe in the media's power to start showing me something divinely different, so we can begin to imagine a new future. Television used to be a sign of everything that wanted to erase me, and now I have been a series regular on a Fox sitcom called "Call Me Kat" - curls and all. To be on TV, a medium I watched with so much awe as a child, feels pretty amazing. Though I must continue to ask: Am I just a guest who can be uninvited as quickly as he was brought in? Or am I an equal?

My goal has always been to use Hollywood as a vehicle for getting to a place where I could create the art I wanted to create, say the things I wanted to say, and hopefully help uplift others in telling their stories. It's nice to receive checks, but the real power is in being able to sign those checks, and nothing changes until the people signing checks begin to look a lot different, and a little less like old, straight, white males.

It's not about checking boxes and making sure people of color are cast. It's about honoring the stories that allow these people to be so magnanimous and so worthy of being more than a device for your small-minded white stories.

It's not about checking boxes and making sure people of color are cast. It's about honoring the stories that allow these people to be so magnanimous and so worthy of being more than a device for your small-minded white stories. If we looked beyond checking boxes and actually began telling stories that represent what culture is, we might begin to see that.

Today, my relationship with code-switching has evolved significantly since that 2020 video. I've made a conscious decision to embrace and rock the natural texture of my curls unapologetically. Which is to say I have chosen and keep choosing to be myself. I need reminders of this, but it's my baseline, where I come home to. If I change, it's because a role that is honestly representative of society asks me to - not because some tired plotline needs another reformed gangbanger.

To my fellow Latines and people of color in Hollywood: stay vocal and assertive about boundaries and the representation you wish to see. Create your own art and tell your own stories. Until the lion learns how to write, every story will glorify the hunter. This is why the lion must write.

And try not to just talk about supporting each other and breaking down barriers; actually put your money where your mouth is (you know who you are). Just because there are Brown/Black bodies in the room does not mean we cannot perpetuate harmful systems of power as well, or that we are not capable of exclusion. Are we committed to anti-racist work in all the spaces, no matter how uncomfortable it may make us? By uplifting one another and evolving who signs the checks, we can create a more inclusive and truthful representation of us. We can pave the way for future generations to see themselves on screen without having to compromise who they are. And we all deserve spaces of belonging.

The book of who we are is not a fixed text. It is flowing, it is fluid, it is expansive, we are shaping it, right here, right now.

Christopher Rivas is the author of "Brown Enough," an exploration of what it means to be Brown in a Black/white world. He also hosts two podcasts: "Brown Enough" and "Rubirosa." On screen, Christopher is known for his work on the Fox series "Call Me Kat," opposite Mayim Bialik. His latest book, "You're a Good Swimmer," is about the enchanting journey of conception without gendered terms and inclusive of all family dynamics.
Latine Celebs Are Flipping the Script on Code-Switching, and We're All Following Suit Mon, 16 Sep 2024 06:00:04 -0700

I had just sent a voice note to my friend when a curious feeling came over me. "Let me listen back to it," I thought to myself. As I did, an even stranger feeling came over me, a lack of recognition of my own voice. You see, I've been code-switching so long that sometimes I'm unsure where the real me begins. Obviously, this was my friend, so I was being genuine in my language. However, as someone who has been a professional for many years, as well as an academic, the voice that I heard on playback was just one of many. And for a lot of modern-day Latines, this is another aspect of the identity politics we have to reconcile with. That's why it's refreshing to see that recently many Latine celebs have been more candid about the pressure they've felt to code-switch or "talk white" and are openly rejecting the practice to embrace their authentic selves.

This is no doubt due to the current selling power Latines are enjoying on a global level. Buoyed by the popularity of reggaetón and Latin trap, Latin music as a whole is outpacing other markets, with artists like Bad Bunny becoming global stars despite refusing to do music in English. For the past couple of years streaming services like Netflix have been investing heavily in dramas like "Casa de Papel," "Narcos," and, most recently, "Griselda," starring Colombian actress Sofía Vergara. But you don't have to go back too far to track down a time when this wasn't the case.

In the early 2000s, the idea that music sung predominantly in Spanish could be successful in the English-speaking market seemed absurd. During that time, you'd also have been hard-pressed to find shows featuring Latine leads or focused on issues in and around our communities. This meant that to have a shot at success, many up-and-coming stars had to approximate whiteness.

Marc Anthony, Ricky Martin, and Thalia all released English-language crossover albums, catering to the US pop market. Puerto Rican actor Freddie Prinze Jr. has spoken about how rare leading roles written exclusively for Latines were at the time. Now, given the current acceptance of Latinidad, he's more open than ever about how proud he is of his heritage. And to hear him talk today is to hear a more authentic person stripped down, complete with all the twangs and inflections code-switching so often tries to cover up. You can hear it in this interview he gave to "The Talk" while on a press tour.

But it's not just Prinze. Recently, a video of Mario Lopez eating some food with a friend went viral for the candid nature of his speech. When I was younger, my parents and I would watch the actor on "Access Hollywood," and the way he talked always felt performative to me. Seeing this side of Lopez in this footage, however, was refreshing. It's nice to know that deep down, at his most relaxed, he's just another homie. Now, that's not to say that code-switching is always performative. Personally, I've always thought of being able to code-switch as a resource, one that allows me not to blend in but to be understood by people who normally wouldn't understand me.

Over the years, I've developed a plurality of accents. I've got my Nuyorican accent that comes out when I'm around my family and cousins. Then there's my Puerto Rican accent that comes out when I'm on the island, stretching the syllables of English-language words so that they fit into Spanish. And then there's my academic side that comes to the table prepared with his $20 words. Years ago, I used to think that having these sides to me made me fake and that I wasn't really Latine or Caribbean enough. But now I'm realizing that everyone's authenticity is different and being Latine doesn't mean being one thing. I'm reminded of the great Desi Arnaz, who never downplayed his heavy Cuban accent. For Arnaz, authenticity became an asset, and it's no wonder that he was the first Latine to cohost an English-language television show in the US. I see parallels to him in Salma Hayek and Vergara, two amazing actors in their own rights who have always embraced their accents and whose stocks have risen because of it.

On the opposite end of the spectrum you have Latines like John Leguizamo, whose heavy New York City accent made it easy for casting agents to offer him stereotypical roles like junkies and criminals. But rather than taking on those roles or code-switching, he simply owned it and carved his own path through Hollywood, even getting the chance to deliver Shakespearean prose in his trademark accent as Tybalt in Baz Luhrmann's "Romeo + Juliet."

Today the groundwork that these Latine icons have laid has set the tone for many of us to reclaim our authenticity and do away with code-switching. Sometimes that looks like speaking with our true accents or using the vocabulary that comes most naturally to us. But we also see it in the way many of us have stopped anglicizing our names or are more willing to express ourselves in Spanish or Spanglish. For example, I love the way Alexandria Ocasio-Cortez pronounces her name every time she introduces herself, even though Spanish isn't her first language. I love the way Oscar Isaac and Pedro Pascal break down their full names in this interview with Wired because it shows that our Latinidad is something we always carry with us.

At the end of the day, being Latine means being part of a group for which no one size fits all. And I'm glad to see that we're no longer feeling as much pressure to squeeze ourselves inside boxes that strip us of our sazón, whatever flavor that may be.

Miguel Machado is a journalist with expertise in the intersection of Latine identity and culture. He does everything from exclusive interviews with Latin music artists to opinion pieces on issues that are relevant to the community, personal essays tied to his Latinidad, and thought pieces and features relating to Puerto Rico and Puerto Rican culture.
40 Sexy Horror Movies to Spice Up Your Scary Movie Nights Wed, 04 Sep 2024 13:15:02 -0700
You may find eroticism and horror movies strange bedfellows, but you shouldn't - sexy horror films are absolutely a thing, and with so many good ones to choose from, they probably deserve their own genre. We've picked the sexiest horror movies out there, featuring everything from blood-sucking vampires and carnal werewolves to unhinged serial killers - with a whole lot of sex thrown in.

Ahead, you'll find sexy horror movies by the likes of Gary Oldman, Winona Ryder, and Keanu Reeves's erotic dreamscape of an interpretation of the story of Count Dracula in "Bram Stoker's Dracula." And then, of course, there's Megan Fox and Amanda Seyfried's iconic riff on demonic possession in "Jennifer's Body" shows that any type of monster can make a good subject for a sexy horror film. But perhaps the scariest movies on this list are the realistic ones.

If you have a strong stomach (believe us, some of these movies make the surgeries on "Grey's Anatomy" look like a game of Operation), you just might have some steamy, erotic thrillers to pick from on your next date night. Read ahead for some of the sexiest horror movies of all time, perfect for Halloween viewing and beyond - and available to stream on Amazon Prime Video, Peacock, and more.

- Additional reporting by Lauren Harano and Kalyn Womack
Tell Me Más: Elsa y Elmar Gets Candid About Mental Health and How It Impacted Her Album "Palacio" Tue, 27 Aug 2024 07:00:01 -0700

In our Q&A /feature series Tell Me Más, we ask some of our favorite Latine celebs to share some inside info about their lives and some of the ways they are prioritizing their mental health. This month, we spoke with Colombian rising star Elsa y Elmar about dealing with burnout, safeguarding her mental health, and how all this impacted the process of creating her latest album, "PALACIO."

Elsa Margarita Carvajal is no stranger to success. Better known by her stage name, Elsa y Elmar, the Latin Grammy-nominated singer has been making waves in the music scene for more than a decade. But with her latest album "PALACIO" releasing on August 30th, and on the brink of hitting the road for her biggest tour yet, Carvajal is poised to reach a whole new level. To reach that level once meant putting in many years on the indie circuit and playing solo in bars trying to connect to people who had never heard of her. And even though her unknown indie artist days are behind her, the singer admits that the pressure remains. Carvajal says that pressure can be both good and bad. On the one hand it can push artists to achieve bigger and better things, reaching the levels previously reached by their idols.

But on the other hand, the constant pressure to push for more and compare oneself to their peers or those who came before can be detrimental from a mental health perspective. The songstress says that she sometimes found herself in a constant state of work, thinking about what more she can do. This led her to take a much needed break to recharge after her last album "Ya No Somos Los Mismos." However, in the intervening two years, the singer-songwriter has learned valuable lessons about self-care, understanding when she needs to be "on" and when she needs to take time for herself. From this mentality and two years of no labels and A&Rs asking her for new music or what she was going to do next, Carvajal was able to bounce back from her bout of burnout with her new disc "PALACIO." The album is the first to be released on her new label, Elmar Presenta, and tackles various challenges many of us deal with on a daily basis. In a recent interview, she sat down with PS to talk about mental health and creative pressures and dive into some of the sentiments behind the project.

PS: You're about to perform in your biggest venue ever. How does it feel getting to this point in your career?

Elsa y Elmar: You know, it's really interesting because all the odds were against me. I'm not from that generation of women in pop like Belenova, Julieta Venegas, and Natalia Lafourcade. And I'm also not an urbano artist. I'm an artist that, since day one, the people I'd work with would say, "I don't know where you fit in. I don't know how to explain [your sound], whether you're indie or alternative."

PS: What are some things that might surprise people about the reality of being a professional musician?

Elsa y Elmar: It's physically and mentally taxing and requires a lot of patience . . . I feel like I'm always on.

PS: How have you learned to balance the pressure to be creative with the need to turn off and indulge in self-care?

Elsa y Elmar: I try to take maximum advantage of the periods when I'm feeling most creative and make as many ideas, songs, and videos as I can because I know at any given moment, there's going to be a dry spell. But I also try to take advantage of that time when I'm not feeling as creative, and not stress, trusting that the creativity will return.

PS: What were some of the factors that led to your two-year hiatus?

Elsa y Elmar: I was tired of the bureaucracy, of the expectations, of working with the big labels, of just chasing the carrot. I decided that if I was going to chase any carrot, it was going to be my carrot.

PS: The album is filled with songs that tackle real-life issues. But maybe the song that has attracted the most attention so far is "Entre Las Piernas," a song celebrating menstruation. What inspired you to tackle a topic that, to some, is still considered taboo?

Elsa y Elmar: Being honest, the subject hadn't really crossed my mind as song-worthy, until one day it just hit me that half of the population of the planet bleeds once a month. And even today in 2024 it's a subject that's still taboo, that still grosses people out, and we're not supposed to talk about…and I just thought "thousands of love songs have been written and no one's written about this topic that's so common?"

PS: On another standout on the album, you apply incredible sensitivity to the "mini heartbreak" of being left on read with the song "Visto" - a uniquely digital problem that the singer manages to make feel timeless. Why did you think something as simple as being ignored via text can be so painful?

Elsa y Elmar: I mean, obviously there are legitimate reasons that people get left on read . . . but what I'm talking about in the song is when you're being vulnerable with someone and they leave you on read, and that feels horrible, to not understand why the other side of the conversation rather than communicate what they feel, eliminates the possibility of communication and leaves you with a mountain of questions and self-doubt.

PS: Lastly, for those who might be going through what you've passed through in the last two years - heartbreak, pressure to create, being left on read - can you give them any advice on how you kept yourself centered?

Elsa y Elmar: The other day I was listening to a little chat and [heard something] that struck me as very beautiful. If a problem has a solution, it's no problem. And if it doesn't have a solution, it's no problem.

Whether it's her interviews or her work, Carvajal's vulnerability comes across effortlessly. And yet, she also understands that for many of us, vulnerability is a challenge in these modern times. But if she's learned anything over the past two years, it's that in order to make space for love, work, or anything else, we first have to make space for ourselves, make space for ourselves in our "PALACIO."

"PALACIO" drops on August 30th.

Miguel Machado is a journalist with expertise in the intersection of Latine identity and culture. He does everything from exclusive interviews with Latin music artists to opinion pieces on issues that are relevant to the community, personal essays tied to his Latinidad, and thought pieces and features relating to Puerto Rico and Puerto Rican culture.
J Balvin Needed Time to Rest and Reinvent Himself - Then Came "Rayo" Mon, 26 Aug 2024 13:34:23 -0700

About a year ago, J Balvin, whose full name is José Álvaro Osorio Balvín, told PS why he took a year to prioritize his wellness and focus on his family. The Colombian reggaetónero - who has become one of the biggest stars in musica urbano and the second most streamed Latin artist on Spotify - needed some time to recharge after the release of his 2021 album "JOSE." And it looks like taking time to slow down and be present with his partner of six years, model Valentina Ferrer, and their 3-year-old son, Río, has paid off. His latest album, "Rayo," reveals a newly energized Balvin. In this album, we see Balvin fall back in love with reggaetón, and reconnect with his younger self - the boy from Medellín who spearheaded the urbano sound in Colombia.

In terms of taking time to shift gears, Balvin says, "I definitely think I needed it." The artist has always been open about prioritizing his wellness and mental health and believes it's exactly what he needed to feel ready to get back in the studio. "I needed to rest and focus on my family and my son," he says. While Balvin might have paused in terms of working on a new album, he never stopped working altogether. "I was touring and doing festivals around the world. Not my own tour but I was touring in festivals, and it was great. It was beautiful," he adds. "But now that we are officially back with an album, it's a totally different vibe because I did this album without any pressure. I just went to the studio and had fun."

"I needed to rest and focus on my family and my son."

Balvin says that spending time with his family and just living life without the pressure of recording an album gave him a major creative boost. In just four months after returning to the studio, he recorded dozens of songs. "I was just going into the studio to do music. One day we were like, 'Oh, we got like 40 songs - we might have an album,'" he says. "That was the beautiful thing about this album. I didn't plan to make an album."

And it's true, "Rayo" is a reflection of how far Balvin has come. The word rayo translates to lightning, the name of his first car back when he lived in his hometown of Medellín as an emerging artist. Much like its title, the album is very much about Balvin returning to his essence. The artist says he went into it less concerned about streams and how it would perform and more dedicated to having fun in the studio, making music that excited him like in the early days of his career.

As he explains it, the album's name "reminds me of when I had my first car that my dad gave me with so much love and a lot of effort because we were going through a bad economic situation. But that car paved the way for me. We both paved the way in Colombia opening a new market of reggaetón. I used to sell my CDs in the truck and in the clubs and different concerts."

The album consists of songs like "Lobo" with Zion, which radiates 2010s reggaetón vibes. Tracks like "Swat, "Gangster, "Gaga" featuring Saiko, "Origami" with Ryan Castro and Blessd, and the hit single "Polvo de tu Vida" with Puerto Rican reggaetónero OG Chencho Corleone are sure to become club bangers this season. Balvin also included a few of his signature melodic tracks where he shows off his vocal skills, like "Cosa de Locos" and "3 Noches."

"It's modern, but I didn't lose my DNA," Balvin says.

One thing that's also been a throughline of Balvin's life is spearheading community initiatives. In 2022, he was honored at the United Nations Latino Impact Summit for his commitment to helping break the stigma around mental health issues that exists in the Latine community. He has also continued to dedicate himself to his Vibra en Alta foundation, which provides education and support for the Colombian youth. So it only makes sense that he recently partnered with Cheetos as their newest ambassador for their ongoing "Deja tu Huella" campaign, which supports young Latines in pursuing their career dreams.

"We want to help the new generations to be better and guide them the right way, because there's a lot of wasted talent that they just don't know where to go," he says. "And we'd like to super-serve them and tell them we're going to help you with your dream, and that's what we're here for."

This October, Balvin will headline Billboard's Latin Music Week while also introducing Cheetos's latest Deja tu Huella ambassador. The ambassador will have the opportunity to hit the road on a three-stop community college tour and be provided with resources to support them throughout their studies and career.

While Balvin might be returning to his own roots with this new album, empowering younger artists is always a key goal. "I'm happy to be there and share my point of view of music right now and what I think might be the future sound and, of course, keep introducing the new generation in music," he says. "It's been part of my DNA to work with new talent and if I can help them to have more exposure. I just do it with love and not thinking about someone [having] to give me back."

Related:

It's Time to Address the Dehumanization of Jennifer Lopez

Balvin has clearly poured into himself, his family, and his community - an act that has revitalized him. Now, with his latest album, Balvin seems more alive and ready to reinvent himself than ever before. As one of the pioneers who paved the way for the reggaetón wave in Colombia, he has not only cemented his own legacy as a leyenda within the genre but also made room for the next generation.

"I feel, of course, more mature and more connected with myself and really embracing and grateful for what we've done for the culture," he says. "I know that I don't have to prove myself anymore. It's more about having fun."

Johanna Ferreira is the content director for PS Juntos. With more than 10 years of experience, Johanna focuses on how intersectional identities are a central part of Latine culture. Previously, she spent close to three years as the deputy editor at HipLatina, and she has freelanced for numerous outlets including Refinery29, Oprah magazine, Allure, InStyle, and Well+Good. She has also moderated and spoken on numerous panels on Latine identity.
El Teteo Is Creating Unity Amongst Latines While Celebrating Our Culture Fri, 02 Aug 2024 09:00:03 -0700

I have a deep yearning for uniting people. I believe that one of my purposes in this life is to bring people together in a way that transcends status, class, and occupation, creating a space where everyone feels truly united and understood. That's why in 2022, I decided to launch my first El Teteo party in Los Angeles, driven by a longing for something that reminded me of my home in NYC.

I was feeling homesick and needed to feel connected to my roots and my community. El Teteo serves as an extension of what I was taught: to find moments of joy through pain, troubles, and hard work. For me, community is about gathering with the people you love and care for, no matter where you are - whether that's getting together with beach chairs in front of a building or plastic chairs at a park under a bridge. Teteo, which is a Dominican slang word for partying and gathering anywhere, suggests that when it comes to community, all you need is good music, good company, and some beers - and, in some cases, food. It's all about sharing moments that aren't guaranteed tomorrow, and it's something that's very much embedded in Latine culture.

As a New Yorker, I found myself missing my city and its vibrant club scenes and dance parties. At almost every party and club I'd been to in Los Angeles, people stood around with a drink in hand instead of getting on the dance floor. Through El Teteo, I wanted to bring the East Coast vibe to the West Coast, raise awareness about Latine Caribbean culture, and foster community. As New Yorkers, we experience different cultures like a melting pot. Not only do I get to share other people's cultures, but I also introduce others to mine.

As an unapologetically proud Dominican American, I yearned for our presence to be felt here in Los Angeles, where it felt like there weren't many of us. Moving to LA made me acutely aware of the lack of representation of Dominicans and Caribbean Latines. It was a culture shock. People were often shocked when I spoke in Spanish. Not many folks in Los Angeles were familiar with the Dominican community or Dominican culture overall.

So I kicked off my first El Teteo party on February 26, 2022, to celebrate Dominican Independence Day in Los Angeles. I partnered with Angela Carrasco, a Dominican American realtor in Los Angeles, and Dominican American actress and host Katherine Castro, who both had ties to a venue. Our event reached new heights of success as 600 people gathered to participate. People even traveled from New York to be part of the unforgettable experience.

These parties have been more than just a big fun event; they've become a place for Latine creatives, particularly those in media and entertainment, to network and build community. The success of the parties is measured by the joy and connection they bring. It's a space where Latindad looks different from what the West Coast is used to.

As a Dominican American, I've faced challenges in auditions because Hollywood often expects Latinas to be light-skinned mestizas with straight dark hair, overlooking the diversity within our community. Afro-Latina Caribbeans are still considered "other" or "not Latina enough" in Hollywood. But these events feature Dominican music, artists, and cultural elements like hookah, creating a cultural hub in LA that showcases our rich heritage and fosters representation in a city that often overlooks us.

At the first Teteo, we had Latines in entertainment from TV shows like "Insecure," "On My Block," "Gentefied," "Station 19 "and "How I Met Your Father" attend. It was a dream come true because people who look like us don't move to Hollywood often, and for Latines, being engaged in community plays a big part when it comes to our mental health. I often hear stories of Caribbean actors, directors, producers, and screenwriters who leave Los Angeles because they can't find community. I wanted to bridge that gap within the Latine diaspora, from Mexicans to Dominicans. My goal was to foster the representation lacking in Hollywood, making our voices heard in the actual city of Hollywood.

The pain of Hollywood has been constantly trying to fit into a mold that asks you to erase parts of yourself, only to be rejected. Despite this pain and uncertainty, one thing they can't take away from me is joy. That's why Teteo was born, out of a desire to challenge the narrative that we don't exist and to celebrate every facet of who we are, including our humanity and the gift of life. Dominican culture is often celebrated without proper recognition, from viral dembow songs to James Bond being inspired by Porfirio Rubirosa, to bachata being sung in different languages across the globe. Yet, despite these cultural contributions, we are often overlooked in the larger Latine conversation. Executives often don't invest in us because they don't believe we exist. However, seeing diverse crowds at Juan Luis Guerra and Romeo Santos concerts made me question why we aren't part of the broader conversation.

I see El Teteo as a moment and a movement that has inspired a new Caribbean ecosystem in LA. It puts Caribbean and Afro-Latino culture at the forefront without relying on executives and investors who aren't interested in us. I wanted to create a space where our presence and culture is acknowledged and celebrated. El Teteo has carved its path by spreading joy and awareness of our vibrant culture, created by us for all to enjoy.

This summer, I'm inspired to bring El Teteo to NYC and make it a global event in an effort to elevate Latine culture and put Dominicans on the map worldwide. I also wanted to use El Teteo as an opportunity to give back to the Dominican community. We are partnering with the Dream Project to support educational opportunities for Dominican youth. It was important for us to create something that not only brings joy but also gives back to people in need.

The Dominican spirit is more than just NYC and my island. It's a way of life and a subculture celebrated by many. It's about taking the positive parts of my culture and sharing them with the world. Like my father says, you never know when God will call you, so enjoy the life you have today. My hope is to bring this joy worldwide through my culture, to elevate and celebrate the community, and to create the representation we're not seeing - all through community gatherings.

Sasha Merci is a first-generation Dominican American actor, comedian, and viral digital creator. She showcases over a decade of diverse experience in entertainment with roles in films like "Righteous Thieves" and "De Lo Mio," along with collaborations with renowned brands such as Target and Bumble. She shares her Bronx roots and passion for Latine culture by being vocal about mental health and navigating comedy.
10 Black Authors Share Their Favorite Books by Fellow Black Writers Thu, 01 Aug 2024 06:00:05 -0700
There's no time like back-to-school season to give your book stack the refresh it needs. But if you're anything like me, your "want to read" shelf continues to grow with beach reads, sexy romance novels, and much-anticipated releases. To help us decide what to read next, we tapped the experts: folks who read and write for a living.

Ahead of the new school year, we asked some of our favorite Black authors to share their must-reads by fellow Black writers. We asked bestselling authors like Nicola Yoon, Tia Williams, Mateo Askaripour, and more for their suggestions. Whether it's a book they've been inspired by, one they recommend to everyone around them, or one that's stuck with them for years, these books have made an impact on these authors in some way or another. As book bans continue to surge across the country - and with so many of these titles featuring Black characters or being written by Black authors - it's more important than ever to diversify your bookshelves. From juicy young adult novels to moving memoirs, here are 10 Black authors' picks.

Related:

Why Are Black Students Still Being Punished For Their Hair Choices?
Tell Me Más: Moffa Shares How Being Adopted Has Influenced His Identity and His Music Tue, 30 Jul 2024 09:00:03 -0700

In our Q&A /feature series Tell Me Más, we ask some of our favorite Latine celebs to share some inside info about their lives and some of the ways they are prioritizing their mental health. This month, we spoke with reggaetón artist Moffa on how being adopted by his Puerto Rican parents impacted his music, identity and the way he navigates the world.

It's impossible to talk about rising acts of reggaetón in 2024 without mentioning Moffa. The 22-year-old Puerto Rican artist has seen his star power grow at lightspeed over the last two years. In 2022, he was one of the lucky three young acts - along with Alejo and Jotaerre - who teamed up with megastar Karol G on the hit song "Un Viaje," where he was personally flown out to Colombia to work on the track. Since then, he's been dropping music nonstop with bangers like "Bentley Remix," "Sussy," "DAMMN," and "0 Millas," all surpassing millions in combined streams. His versatile flow and catchy lyricism have made other artists flock to him as well, from established stars like Manuel Turizo and paopao to O.G.s like Ñengo Flow.

On July 18th, Moffa's debut album finally made its debut. Titled "Playground," the project reflects his unbridled enthusiasm and curiosity. As he puts it: "Even as an adult, I still feel like a child in lots of ways," which in part inspired the LP's name. Not only are the feelings and experiences he explores over its tracks his own personal playground of emotions, but as an artist, so is the variety of sounds he experiments with. The recording studio, and life itself are both his playground.

For a long time, Moffa has been a person who keeps his cards close to his chest, never delving too much into his personal life. While he's hinted in the past at his roots, he's never spoken out about his backstory in great detail.

Though born and raised in Puerto Rico, he is, in fact, adopted. Moffa is the Afro-Latino son of a Brazilian mother and Dominican father. His mother tragically passed away when he was still an infant, and he and his twin sister were taken in by his Puerto Rican godparents, whom he now considers his parents in full.

In an exclusive chat with PS, Moffa talks about what it felt like to learn he was adopted, the struggle to reconcile with family members from his biological parent's side, if he's ever questioned his identity, how he taps into his roots, and more.

The following quotes have been translated, edited, and condensed for clarity.

PS: Where were you born and raised?

Moffa: I was born in Puerto Rico, in Bayamón. I was raised in the metro area, but I traveled a lot to Isabela and Aguada because my family was from there, from the west side [of the island.] We'd go every weekend or every other weekend, so that's why I feel I was raised on both sides.

PS: When did you find out you and your sister were adopted?

Moffa: I've known since I was little. My biological mother passed away when I was nine months old, from cancer, and I never met my biological father. And so, once she passed, [my godparents] adopted us and became my parents.They were friends with my mom since they were kids. They were all friends together. It wasn't something that was hidden from us, thank God. They let us know that, yeah, we're adopted. And people would've asked us anyway once they saw my mom and dad because we're not the same color at all [laughs]. It would be very hard to convince anyone they're my biological parents.

PS: You said you became aware you were adopted from an early age. How would you describe the way you and your sister were raised by your parents; did they make sure this knowledge never weighed on you or affected you?

Moffa: I think they were always transparent and never hid anything from us, at all. They were always straightforward about our background and history - our roots. And if we ever wanted to travel to those places and get to know them, they would support us and in fact encourage us to explore all the corners and spaces of our family that we didn't know.

PS: I know children can be cruel; were you ever bullied as a child because you looked different from your parents? How did you manage that, if so?

Moffa: I wasn't bullied, actually. Here in Puerto Rico, I feel like that kind of discrimination exists, but it's not as strong these days. I think we should all be aware we're all the same. I'm not and never will be different just because I'm adopted or have a different family.

PS: Do you know anything about your biological parent's family now? Have you had any contact or interaction with them? If so, how does it make you feel?

Moffa: To this day, my family from Brazil has always kept an eye on me. They write to me over DMs sometimes, but it's hard to communicate because I don't speak [Portuguese,] so I'm using [translator apps] to write them back.

I haven't mentioned this publicly before, but a few days ago, my biological father actually 'liked' one of my social media posts. And it was, like, "Oh shit" because I've never met him. [...] I've heard I might have seven siblings on my father's side. It's a difficult situation. You don't want to look down on that person because you [exist] because of them. But since there's no relationship there - no affection, no love - then you don't know how to react or what to do. [They say] "We're here if you need anything," but the feeling isn't there. It's strange.

PS: Do you have any curiosity about meeting them or any of your extended family members from that side?

Moffa: Ehhh... for me, you're really focused on your own things, y'know? You discover all this stuff, which thankfully was revealed to me when I was much younger. But I haven't had that curiosity because you sort of feel like you're cheating on your present family - people who dedicated their lives to me, who gave me a roof over my head. I don't have a problem meeting [them,] that would be actually cool, but my family also deserves some respect.

PS: When it comes to your identity, what kind of conversations have you had with other people or with yourself, for that matter? Now that you're older, is that something you've grappled with?

Moffa: Unfortunately, I don't know a lot about Brazilian culture. I do know a bit about the history, but I've never visited to get to know the country fully. Neither the Dominican Republic nor Brazil. But to me, I am Puerto Rican, just with Brazilian and Dominican blood. I have a ton of family in Brazil, but I'm clear about my identity.

PS: The last few years have heated up the conversation around cultural appropriation, even amongst Hispanics and Latinos, and whether they can make songs in genres that are historically and culturally associated with specific countries. You're in a unique spot where you kind of have a hall pass for multiple genres. Have you ever considered doing a Brazilian funk or Dominican dembow?

Moffa: Last year, I came out with my first Brazilian funk, produced by Young Martino and Hokage. It's called "TOKO," and I remember thinking exactly that. Like, "Can I really do this? Am I allowed?" I never felt like, "Oh, this is my birthright, and I must do it," y'know? I wanted to experiment with it, and I love that sound. I can't wait to go to one of their carnivals. I think that's one of my biggest goals, to be able to go to a carnival in Brazil. It's not just one of Brazil's most popular events, but it's famous worldwide, too.

PS: Since your parents knew your mother for so long, I'm sure they've talked to you about her. Is there anything about her personality you think you have? Have you thought about how your life might have been different if she'd raised you?

Moffa: From what I've been told, if she were still here, I probably wouldn't [have the success] I have now in music. Both because of resources available [to her,] but also her character. I probably wouldn't be in music. I probably would have been raised to be more studious and work in something more "proper" like a doctor or engineer. I'm sure I could've followed my dreams, but I think it would've been more difficult.
And also, she looked way more like my sister, [laughs]

PS: There still seems to be a stigma or shock when people find out a person is adopted, in part because of this dated societal idea that "ideal" families conceive their children. I don't agree with that; in my own case, my dad wasn't my biological father, but he was my dad all the same. What would you tell people who find out they're adopted - or anyone who, for any reason, feels like an "other" in their group?

Moffa: Don't pity yourself or feel different. You're a normal person just like all the other people who achieved their dreams, and you can do the same thing. Sometimes, these things will come up in life, in your personal life, at work, or in conversation with people close to you, but you just have to engage with it head-on. Don't feel bad about it. Be yourself, follow your dreams, and live your life as it's happening. Don't pretend it's not real, of course, because it's a part of you. But don't hide it. Be proud of it, even. Don't run from it.

I'm happy and proud of where I came from. I don't think being adopted puts me in a fence or anything. I'm a normal person, just like any other guy... I can do anything I want if I put my mind to it.

PS: What have you learned about mental health that you apply today - not necessarily in regards to your identity, but even within your career? How do you manage anxiety and things of that nature? What advice have you received?

Moffa: In this fast-moving industry, you have to stay grounded above all and be aware of your station in life. You [have to] be patient about what's happening around you and not rush yourself. At times, I find myself asking thousands of questions in my head, but then I have to stop and center myself and my thoughts, and ease up. Sometimes, you simply have to shed tears to release all that anger or anxiety that we feel when faced with adversity in this world where there are many ups and downs. It helps to get it all out and not let emotions get the best of you.

Juan J. Arroyo is a Puerto Rican freelance music journalist. Since 2018, he's written for PS, Remezcla, Rolling Stone, and Pitchfork. His focus is on expanding the canvas of Latin stories and making Latin culture - especially Caribbean Latin culture - more visible in the mainstream.
The Inspiration Behind Morir Soñando: The First All-Dominican Comedy Show Tue, 23 Jul 2024 14:00:03 -0700

When fellow emerging comedian Glorelys Mora and I first met in the comedy scene - it was an instant connection. I was in awe of her ability to capture and materialize people's need for expression through comedy. Her determination and contagious, guttural laugh drew me in, and we quickly bonded over our shared experiences and challenges as Dominican comedians. As comics, we spent hours discussing how difficult it was to gain support and recognition in an industry that often overlooks voices like ours. Our conversations sparked a vision: to create a dedicated platform that would elevate Dominican voices in comedy.

When we started Morir Soñando, it was a venture born out of necessity and a deep love for our culture. I'd long felt comedy was missing something crucial - an authentic representation of Dominican voices. While the comedy scene is vibrant and diverse, Dominican comedians often lack a platform that celebrates our unique perspectives and experiences. This gap in representation motivated us to create a space where our stories could be told unapologetically.

I sometimes joke about being emotionally constipated. What I mean by that is I don't know how to cry, but I do know how to make a joke about it. Laughter grounds the moment and transcends people's identity and status. It's the very thing that reminds us we are alive and present. Comedy is like feeding medicine with candy; it brings awareness to difficult topics with levity. And as a result, it often supports us with our mental health and through some of life's most challenging moments, including loss and trauma.

Growing up, I often felt lonely as a kid who struggled with depression, but humor was the one thing that kept me from feeling completely isolated. Humor and laughter bring people together. It doesn't matter what you're going through; laughter acknowledges that you are present in the moment with others, whether you know them or not. Making jokes about being an affair child makes me feel like less of a burden to my family because I get to bring levity to such a serious issue. It also lets people like me know they aren't alone. A laugh can heal someone's pain and suffering.

When it comes to comedy, comedy is such an essential way of communication in my family. That's how we dealt with our trauma. I didn't know I was funny until people told me, and I was able to grow and realize I could make a living off of this. But I also don't see many people like me making strides in this industry. When I first saw Aida Rodriguez on "Last Comic Standing" in 2014, I felt an instant connection because her experiences were so relatable to mine. It wasn't until I became a comedian that I realized how underrepresented we are.

But that also means we constantly face a crossroads in this industry: do we assimilate or pave our own way? In the American market, stand-up comedy is often seen as either Black or white. As an American, I embrace my Blackness, but what about my parents' Dominican identity and my upbringing at home? Should I shut down that part of me to be more palatable for the "mainstream"?

Glorelys and I wanted to create a space for people like us to navigate these questions - similar to what Def Comedy Jam did for the Black American community. I always related more to Black American comics because their comedy was honest and raw, reflecting struggles similar to mine. Still, there was limited space for people who looked like me and also spoke Spanish.

Ultimately, the inspiration for Morir Soñando came from a profound need to see ourselves reflected on stage, not just as a token presence, but as the main event. Over 42 million people in America speak Spanish. It's inevitable for people to be bilingual and speak Spanglish in this country. We wanted to create something that evolves the conversation around Latinidad, showing that it is not a monolith but as diverse as every American in this country. Our comedy shows are not meant to exclude any nationality; quite the opposite. We want to embrace others while creating a place where talent like ours can connect with people who might not have known we exist.

We launched our first show in 2019 to highlight and celebrate Dominican comedians, showcasing our rich cultural heritage and the humor that springs from it. Last year, we made history with a show at the United Palace, an achievement that underscored the importance and impact of our mission. We are returning to United Palace for our next show on July 26 and are thrilled to be moving to the venue's main theater, which seats audiences of up to 3,350, for our November show.

However, producing these events has not been without its challenges. Financially, it has been incredibly demanding. Securing support from the community is crucial to sustain and grow these events. It's notoriously difficult to get Latine events sponsored, so Glorelys and I financed it ourselves, which reflects broader issues of representation and support for minority communities in the arts.

Despite these challenges, we have had significant wins. Our past shows' success and increasing audience support give us hope and motivation. But the road ahead requires a concerted effort from our community. We need to come together to support and uplift each other, recognizing the importance of cultural events like Morir Soñando.

I want to be candid about our frustrations - securing funding, finding the right venues, and battling stereotypes - because these obstacles make our victories sweeter. We are proud of what we have accomplished so far and are excited for the future.

Morir Soñando is not just a comedy show but a celebration of Dominican culture, a platform for underrepresented voices, and a movement towards greater inclusivity in the comedy world. Your support is vital in helping us continue this journey, and we look forward to sharing many more laughs and stories with you.

Sasha Merci is a first-generation Dominican American actor, comedian, and viral digital creator. She showcases over a decade of diverse experience in entertainment with roles in films like "Righteous Thieves" and "De Lo Mio," along with collaborations with renowned brands such as Target and Bumble. She shares her Bronx roots and passion for Latine culture by being vocal about mental health and navigating comedy.
Sofía Vergara Embraced Spanish For "Griselda" - and Now She's Making Emmys History Mon, 22 Jul 2024 14:00:03 -0700

Last week, Sofia Vergara made history at the Emmys as the first Latina to be nominated for best lead actress in a limited series for her role in Netflix's "Griselda." This nomination comes after years of Vergara battling a double-edged sword: her undeniable talent and her Colombian accent, which were both part of the path she'd carved with her iconic portrayal of Gloria Pritchett on "Modern Family." Despite the success that "Modern Family" had - winning 22 Primetime Emmy Awards and garnering 85 nominations since its 2009 debut - Vergara has been vocal about the limitations the industry placed on her because of her accent.

"I'm always looking for characters because there's not much that I can play with this stupid accent," she told the Los Angeles Times earlier this year. "I can't play a scientist or be in 'Schindler's List.' My acting jobs are kind of limited."

With Salma Hayek being a rare exception, Latina actresses with accents often find themselves relegated to stereotypical roles like fiery maids or sassy best friends. Take Rosie Perez, for instance. The Puerto Rican actress known for her roles in Spike Lee's "Do the Right Thing" and "White Men Can't Jump" has spoken out about how her Puerto Rican Brooklyn accent often limited the roles she landed. Her role in "White Men Can't Jump" was originally intended for an Italian or Irish American actress, but she eventually proved she was the perfect fit for the role.

"Yes, my accent was strong. Yes, I was Brooklyn. Yes, I was poor, but did that mean I should be limited to only playing unintelligent, downtrodden, and humiliating stereotypes?" she wrote in her 2014 memoir "Handbook for an Unpredictable Life.

Related:

"Betty La Fea" Is Back. Here’s Why Latines Have Been Awaiting the New Series

Americans' tendency to view accents through a biased lens has always been an uphill battle for Latine actors. Judgment towards people with heavy ethnic accents is a persistent issue and a prejudice that actors with British or Australian accents rarely face. This is a form of discrimination that needs to be dismantled.

While Perez, Hayek, and Vergara are undeniable stars, such has been the case for many Latina actresses with strong accents. The industry has been hesitant to embrace the full spectrum of what Latina actresses can offer, creating a barrier for those who couldn't (or wouldn't) shed their accents.

As Vergara herself has said, it was frustrating to be considered less intelligent simply because her English wasn't flawless. "Do you even know how smart I am in Spanish?" is one of her most quoted lines from "Modern Family," highlighting the unfair assumption that an accent is equated to a lack of fluency or intellect.

Then came "Griselda," a limited series on Netflix in which Vergara embraced her heritage and accent, and spoke primarily Spanish. In this role, she wasn't just allowed - she was encouraged to speak Spanish. It was in this role, portraying the ruthless drug lord Griselda Blanco, that the world finally witnessed the full depth of Sofia's acting talent. While it was unfortunate that a drug-trafficking narrative became the platform, her performance was incredible and showcased her talent beyond comedic roles.

This highlights a crucial point. Latinos are an integral part of American society, and Spanish is a widely spoken language. Diversifying representation goes beyond casting; it's about creating stories where Latine experiences take center stage, even if those stories unfold primarily in Spanish. Latines are not a niche audience; they are the very fabric of America, and Spanish is a primary or secondary language for millions.

Vergara's Emmy nomination wasn't just a personal triumph; it was a beacon for change. Shows like "Narcos," "La Casa de Papel," and films like "Roma" have proven that the audience for projects that prominently feature Spanish dialogue not only exists but can indeed be a potent force. It's time to break the mold and embrace the richness of multilingual storytelling, creating possibilities for more productions featuring talents like Vergara as well as up-and-coming Latine stars.

Vergara's historic nomination is a pivotal moment not just for her, but for countless Latine actors yearning for the chance to showcase their full potential. This wasn't just about an Emmy; it's a call for Hollywood to embrace the richness of Latine stories and recognize that representation goes beyond just faces. It's about shattering barriers and paving the way for a future using the power of language reflected around the vibrant tapestry of our diverse voices.

Kimmy Dole is a contributor for PS Juntos known for her sharp insights and compelling storytelling. An entertainment enthusiast, Kimmy immerses herself in the glitz of the industry, delivering a captivating blend of celebrity interviews, insights from industry experts, and the latest pop culture trends. Her work offers readers a genuine and relatable perspective, especially when exploring the complexities of relationships.
"Betty La Fea" Is Back. Here’s Why Latines Have Been Awaiting the New Series Fri, 19 Jul 2024 12:00:02 -0700

When "Yo Soy Betty, La Fea" aired its first and only season in 1999, no one could have imagined the impact a Colombian telenovela that followed Betty Pinzón, a quirky, corporate Latina protagonist navigating her career and love life, would have on millions of people around the world. The show was televised in 180 countries, dubbed in 15 languages, and remade into 28 international adaptations - with one of the most prominent remakes starring America Ferrera as "Ugly Betty."

In "Betty La Fea" - and every rendition thereafter - Betty's long, frizzy dark hair, oversized glasses, mouth full of braces, and bushy eyebrows elicited unwarranted disgust and ire from most of her coworkers. Her looks were the throughline of every episode, which was fitting, given that the Spanish title translates to "I Am Betty, the Ugly One." But for countless Latines who grew up watching the show, Betty was a beacon of hope for those of us raised in beauty-obsessed Latine cultures.

Betty's perseverance while combating the pressure of society's beauty standards made her one of the most relatable TV characters of our time and certainly played a role in making "Betty La Fea" the most successful telenovela in history. After more than two decades since the original series' release, Betty returns to the small screen in the new Prime Video series "Betty La Fea, The Story Continues." It will stream on July 19 with the original cast, including Ana María Orozco as the titular star. She's now in her 40s, looks elegant, and is considered a successful woman, mother, and wife. But with her return, Betty is back to remind us and those around her that her success was never solely contingent on her appearance. In fact, that's the first lesson Betty teaches us at the beginning of the 1999 "Betty La Fea" series.

Ahead of the new release, it's important to relive the original. In the very first episode of the telenovela, two jobseekers are interviewed for the same assistant role at the fashion company Ecomoda. While the hiring managers ogle the blonde-haired, blue-eyed applicant, Patricia, they gawk and grimace at Betty. Based on their reaction, Betty knows that she made the right decision not attaching her headshot to her resume or that she most likely wouldn't have made it this far in the hiring process. Even after seeing her, Ecomoda president Armando realizes Betty has the necessary expertise and competence to advance the company's needs and he hires them both - much to the hiring managers' chagrin.

In the 2006 U.S. adaptation "Ugly Betty," Betty Suarez dizzyingly traversed between the 2000s American culture's obsession with thinness and Latine culture's obsession with curviness. Her coworkers blatantly shamed her for her body, often going as far as insinuating that Betty didn't deserve designer clothes or the opportunities she worked for because they thought she was unattractive. Meanwhile, in Colombia, where plastic and cosmetic surgery were popular and gaining traction throughout the rest of Latin America, Betty Pinzón faced an endless amount of comments about how not even plastic surgery could make her beautiful. Instead of getting worn down by their commentary, Betty processed her emotions and confidently carried on to chase and achieve her dreams.

While we now live in a post-Girlboss world where female empowerment is prevalent in TV shows and movies like 2023's "Barbie," "Betty La Fea'' challenged the definition of beauty around the world, especially in Latine communities at the turn of the 21st century. For many Latinas who grew up watching "Betty La Fea" and "Ugly Betty," it was about more than just seeing our cultural struggles with impossible beauty standards reflected on a screen. We now had our own Latina heroine who challenged beauty norms and succeeded despite the misogyny she faced at every turn.

In 2024, Betty continues to model the power of self-assuredness in the face of adversity and the modern-day problems that come with being an ambitious career woman, mother, and partner. She works on breaking generational trauma by repairing her relationship with her teen daughter Mila and encourages her to chase after her ambitions in fashion. Finally, as Betty returns to Ecomoda, where her story began, we get to see her confront Armando, Marcela and the other characters who relentlessly undermined and underestimated her.

While Betty is now conventionally beautiful in "Betty La Fea, The Story Continues," life isn't necessarily easier because of it. In fact, when Betty faces tough decisions that will change the trajectory of her family's success and her romantic relationships, she trades in her fancy clothes and sleek hair for her old secretary-themed wardrobe and reverts to her old curly hairstyle, complete with bangs that she cut herself. As Betty makes space to learn new lessons in these new parts of her career, parenthood and love life, she's bracing herself to share the most real, vulnerable and empowered version of herself we've ever seen.

Zameena Mejia is a Dominican American freelance writer born and raised in New York City. She is passionate about storytelling and uplifting diverse voices in beauty, wellness, and Latinx lifestyle. Zameena holds a BA in journalism and Latin American studies from the State University of New York at New Paltz and an MA in business reporting from the Craig Newmark Graduate School of Journalism.
Latin Dance Nights Are Helping Me Reconnect to a Time-Honored Tradition Thu, 11 Jul 2024 13:15:02 -0700

Ask anybody from New York, and they'll tell you that summers in the city are special. They are so special that they've been immortalized in great works of literature, cinema, and songs for decades now. Perhaps most famously on the Latine side of things, El Gran Combo's "Un Verano En Nueva York" stands as an ode to New York City summer and everything it brings with it: street festivals, block parties, boat tours, beach days. And for many Latines in the city, summertime marks the return of a time-honored tradition: Latin dance nights.

As a kid, my father had my sister and me on the weekends, and he would take us down to South Street Seaport for salsa night. This was before the recent renovation, back when the Fulton Fish Market still operated out of downtown and would fill the air with the strong scent of tilapia, salmon, and sea bass. But as you got closer to the water, the scent dissipated, and the rhythm of the clave got stronger. You'd pass Pizzeria Uno and the now-defunct bar Sequoia, turn a corner, and boom, a dance floor full of NYC's best steppers, the bass thick enough to swim through.

These parties are an important part of maintaining the culture, language, and political power we've seen dwindle as rents have soared.

Those Latin dance nights were a formative part of my childhood. Not because I learned how to dance there (I still haven't fully), but because of the experience of the community they provided, the enclave of Latinidad that enveloped you when you walked in. It was like a big family, where faces you hadn't seen in years would bob up and out of the crowd. I still have good relationships with all my dad's friends (who are now in their 60s) because of those Latin dance nights. I still remember the many times my parents - separated for years at that point - would bump into each other by chance at an event or party, and the more difficult aspects of their relationship would be forgotten as they spun their way through a song or two.

But this summer, rather than reliving those fond memories, I plan to make my own and go to as many Latin dance nights as possible. Toñitas 50th Anniversary Block Party in June was a sight to behold. Amid the clash of boutique restaurants and three-story brick buildings in South Williamsburg, Grand Street was packed with gyrating bodies swaying to the rhythms of salsa and reggaeton. Vendors from all over the city, such as La Fonda, served up Puerto Rican staples, while others provided classic Caribbean refreshments such as coco frio; DJs and live bands played in the background. It was a day that felt like you were in old New York City.

Related:

The Toñitas 50th Anniversary Summer Block Party Is a Form of Resistance

But while Toñitas was a legitimate throwback, two other organizations, Perreo 2 the People and La 704, have been hard at work trying to bring the future sounds of Puerto Rico to the Big Apple. Two times in as many months, the collectives have hosted perreo parties at Starr Bar in Bushwick, showcasing the next generation of island talent. More than being a platform for up-and-coming artists like Bendi La Bendición, Taiana, Keysokeys, and Enyel C, the parties also serve as a bridge between diaspora and the motherland. At a time when Puerto Ricans are vanishing from the city we helped build, these parties are an important part of maintaining the culture, language, and political power we've seen dwindle as rents have soared. And for me, they represent a kind of homecoming.

I've been a professional of color for many years now, navigating the ups and downs of the corporate world. As I have, I've found that new environments and opportunities opened up to me, taking me far away from my concrete beginnings. Working in tech meant nights filled with craft beer, ping pong, and karaoke. Advertising led me to the snowy-covered streets of Buffalo, where decades-old pubs and ritzy fine dining mingle on Main Street. However, the more ingrained I became in corporate culture and the more I looked for out-of-the-box experiences, the further away I drifted from the humble Latino parties that sustained me in my younger years. We didn't need a lot to have fun, no top shelf liquor or fancy appetizers. We just needed a beat and a dance floor.

Now that I'm older and wiser, I'm looking forward to getting back to my roots, to getting back and giving back to my community, and getting back a piece of myself I had long ago put away. And maybe I'll finally become the salsa dancer I always wanted to be.

Miguel Machado is a journalist with expertise in the intersection of Latine identity and culture. He does everything from exclusive interviews with Latin music artists to opinion pieces on issues that are relevant to the community, personal essays tied to his Latinidad, and thought pieces and features relating to Puerto Rico and Puerto Rican culture.
Jessica Alba Brought Her Mexican Heritage Into All Aspects of "Trigger Warning" Tue, 25 Jun 2024 12:00:02 -0700

It's been a while since we've seen Jessica Alba leading a film - in 2018, she pivoted to focus on her billion-dollar sustainable brand The Honest Company, which she stepped down from as chief creative officer in April. But in her latest movie, "Trigger Warning," Alba not only returns to the screen; she also makes a rare appearance as a Latina lead of an action flick.

In the movie, which was released on Netflix on June 21, Alba plays Parker, a US special forces commando stationed overseas who takes a trip back to her hometown after learning her father has died (which she later discovers was caused by a murder). The "Dark Angel" and "Sin City" actress, who also worked as the film's executive producer, says she made sure every detail behind her Mexican-American character was as authentic as possible.

It's no secret that Latines are major moviegoers and yet remain underrepresented on-screen. According to UCLA's 2021 Hollywood Diversity Report, Latines accounted for only 5.4 percent of movie leads and 5.7 percent of actors in any onscreen role that year. When we dive into specific genres that many Latines enjoy - like horror, rom-coms, and action films - the representation is even lower. But Alba's return proves how much we need to see more of this.

"I feel a lot of the times when you see women in this genre; we're either the damsel in distress or we're the male version of a badass woman - pretty emotionless [with] pretty stoic one-liners, wearing completely impractical clothes in action," Alba says. "And I just feel like it was so nice to play someone with wild hair who wears vintage [clothes] and cowboy boots, and it just felt very feminine and very human. Like someone who can be your neighbor and your friend."

The actress, who is half Mexican, says she took from her own experiences to bring all those layers and cultural nuances to Parker's character. Viewers can see it reflected in everything from the music-like the classic folk song "La Llorana" featured in the film-to the clothing choices.

"There are certain movies where I feel like our culture is represented, and many where it's not done right."

"When we were talking about it, I was really like, the music just has to be right. There are certain movies where I feel like our culture is represented, and many where it's not done right. I was like, I just want this to feel and just have that little bit of flavor so that it feels really right with what's going on right now," Alba says. She adds that she made a Pinterest board of the vibe she was going for with Parker's clothes, and the costume designer, Samantha Hawkins, and the director, Molly Surya, helped bring the whole vision to life. "Between the three of us, we really got to shape her and give it that nice kind of grittiness and realness."

But there was perhaps a deeper reason Alba's performance feels so convincing. The movie centers on loss, and if Parker's grief and devastation seem real, that's because Alba herself was grieving the loss of one of her own relatives when she was shooting the film.

Related:

Jay Wheeler's Abuela Helped Make Him One of Reggaetón's Most Romantic Voices

"Weirdly, my grandfather passed away around the time that I was shooting the movie, so I was genuinely grieving him, and it was a very cathartic experience to be able to do a lot of that reflecting and grieving alongside Parker," she says. "A lot of my family photos are actually in the movie, so I really did get to infuse a bit of my family in the movie."

You can especially see Alba's touch as executive producer in one scene where Parker finds herself navigating an uncomfortable conversation with an ultra-conservative and racist senator played by Anthony Michael Hall. He mocks the term Latinx while giving Parker a pass for being a likable Mexican among many in the town.

"I don't know how that scene came to life exactly, but I loved it, and it took on a life of its own with Anthony Michael Hall, and I was sitting in that seat … in like all of Parker's ancestors' earrings and clothing because it's all vintage and lived in," she says. "And for this ding dong to sit there and try to reduce us and kind of be so disrespectful in an offhand way, it all landed. This thing kind of all clicked with that scene. It was like this is a flavor I had never seen in a movie."

The film, which has been positioned as a franchise starter, made Netflix's No. 1 spot over the weekend - proving that authentic storytelling is resonating with audiences. And while Alba is no stranger to action films and doing her stunts, "Trigger Warning" truly aligns with her longtime dream of becoming a Latina action hero.

Johanna Ferreira is the content director for PS Juntos. With more than 10 years of experience, Johanna focuses on how intersectional identities are a central part of Latine culture. Previously, she spent close to three years as the deputy editor at HipLatina, and she has freelanced for numerous outlets including Refinery29, Oprah magazine, Allure, InStyle, and Well+Good. She has also moderated and spoken on numerous panels on Latine identity.
Mau y Ricky Are Continuing Their Father Ricardo Montaner's Legacy Tue, 18 Jun 2024 09:00:00 -0700

Although some celebrities shy away from the topic of their famous parents, that's never been the case for Mau y Ricky. The Venezuelan singer-songwriters are the sons of Latine pop icon Ricardo Montaner. However, the talent in the Montaner family doesn't end with Mau, Ricky, and Ricardo. Mau and Ricky's sister, Evaluna Montaner, and their brother-in-law, Camilo, are also impacting the industry. If you listen closely, the elder Evaluna and Camilo's voices can be heard on Mau y Ricky's new album "Hotel Caracas," which also marked the brothers' return to Venezuela for the first time in over a decade. Family and community are core tenets for the duo.

"There's no hiding the obvious," Ricky Montaner says of his famous family. "I'm proud as a family that we've been able to lift each other up, inspire each other, and connect with people in this way. It's beautiful and special."

Growing up in Caracas, Mau and Ricky saw their father perform big-time hits like "Tan Enamorados" and "Bésame" to sold-out crowds. He would even bring them on stage to sing with him occasionally. Ricardo also once had a record label with Venezuelan brothers Servando & Florentino. They often rehearsed at home and showed the younger Montaner brothers that a sibling duo in Latin music was possible. Now, the sons are inviting their dad to sing their songs. In a hidden feature on the song "Muriendo de Miedo," Ricardo's voice beautifully harmonizes with his sons'.

"It's full circle," Mau Montaner says. "I feel like he had to be in it. We're so grateful for what he has meant to us as a father, obviously as support in the early years and as an influence. It's like paying homage to him and musically thanking him for everything he has meant for us and honoring what he's done."

Despite having the Montaner connection, Mau y Ricky still had to work hard on their own to gain respect within the industry. While developing their musical act, they also formed a songwriting collective that included longtime collaborator JonTheProducer and their future brother-in-law, Camilo. They helped pen hits like Becky G and Natti Natasha's "Sin Pijama," Karol G's "Pineapple," Ricky Martin's "Vente Pa' Ca" with Maluma, and their own breakthrough hit "Desconocidos," which served as a launching pad for Camilo's pop career. Mau y Ricky cowrote a song on Camilo's recent album "Cuatro," and their brother-in-law is also featured on their song "Karma."

"It's pretty crazy and wild to think back on what we were able to accomplish that started from being these fucking four hopeful kids that had big dreams to one day make it in music," Ricky recalls, referring to himself, Mau, Camilo, and JonTheProducer.

"We did it our way, and it was in a collective with people we love," Mau says. "Being able to get together and have these little moments of creative bonding is beautiful. We created some of my favorite music alongside Cami."

"Hotel Caracas" signals a new era in Mau y Ricky's music. It marks the first album release on their own label, Why Club Records, in partnership with Warner Music Latina. The LP also comes on the heels of Mau y Ricky expanding their own families. In 2022, Mau and his wife Sara Escobar welcomed their first child, Apollo, and Ricky later married Argentine model Stefi Roitman. It's their most personal and daring album, with songs about romance, heartbreak, and sex.

"Being married and starting our own families has given us a sense of security," Ricky says. "At this point, my wife knows me exactly as I am, and I can tell the stories I'm telling, and many of them speak of my past or Mau's past. Before, we might have been like, 'You're not going to say that.' With that sense of security, I'm like, 'I've been through all this, and I got to say it because I know that it can help somebody.'"

To promote the "Hotel Caracas" album, Mau y Ricky are putting on intimate Lobby Bar concerts around the US and Latin America. The brothers also plan to hit the road with a tour at the end of the year. Mau admits that he is adjusting to juggling being a father to Apollo and living out his dreams as a pop star with his brother.

"To be honest, it's hard, but it's also super fun," he says. "Let's say 60 years from now, I love knowing that those songs [on 'Hotel Caracas'] are a part of his childhood. I love the idea that he learned to say certain words and that he learned to play pretend drums or pretend trumpets because he heard these songs. They're a part of his development, and music has more of a development in kids' brains than we even realize."

"Hotel Caracas" also marks Mau y Ricky's return to their home country of Venezuela. The songs drip with Venezuelan swagger and use local slang. All 15 music videos for the album were shot in cities around Venezuela, with an upcoming documentary that captured their experience. Mau y Ricky worked with over 200 crew members based in Venezuela for the project.

"We needed to reconnect," Mau says. "We felt like we were going through this identity crisis or lack of feeling a part of somewhere. For the longest time, we felt that, and as you mature, you start noticing those little wounds that you have to heal. That was one of them. It was beautiful when we got to heal that [wound] when we went back to our country. It was three months of getting to know our country in the best way possible, plus filming the videos to represent the beauty of Venezuela."

Lucas Villa is a Mexican American music journalist who covers pop and Latin music. Over 11 years, he has interviewed pop queens and Latin music superstars for places like PS, Allure, Elle, Rolling Stone, Billboard, MTV News, Paper, W Magazine, Vibe, and LGBTQ Nation.
Jay Wheeler's Abuela Helped Make Him One of Reggaetón's Most Romantic Voices Fri, 14 Jun 2024 09:00:03 -0700

For many of us, our relationship with our grandparents can serve as a bridge to the past, often linking our crucial developmental years with the wisdom and customs of the generations that came before us. For Jay Wheeler, the connection he shares with his grandmother, Clara Luz, is something he cherishes. It has helped mold him into the man and artist he is today.

"One of the most beautiful treasures I have in my life is my abuela," Wheeler says. "She's a person that loves to go out, who loves to party, and I'm lucky to still have her with me and have her healthy."

But along with being the life of the party, his grandmother has helped instill many of the values that guide the singer - who's been hard at work ushering in a new brand of romantiqueo with his albums "Emociones" and "Emociones 1.5."

"She taught me to be respectful, to always be empathetic to people, and to have a healthy fear of God. I'm a person who believes very strongly in God, thanks to her," the singer says, adding that she also taught him to "just be loving with the world."

That caring disposition is something that comes across in his music and his interactions with fans and the media. Wheeler once mentioned that he tries not to wear sunglasses because he wants his fans to be able to see his eyes. On the musical front, DJ Nelson's protege is in high demand to bring old-school crooner vibes to the new wave of trap and reggaetón. His latest offering, "Musica Bueno Para Días Malos," is a futuristic ride through the ups and downs of love. However, the singer recently found the opportunity to tackle a different genre when he released a cover of the classic song "Piel Canela."

"I was actually really nervous because I know it's a classic, that it's something that you don't want to mess up," he says. "So, my intention was never to make a better version or anything like that. My intention was just to make my version of a classic song - one that reminds me of my grandmother. "

The opportunity to cover the song came about as part of a collaboration with McDonald's. The fast food giant is hard at work promoting their new "Grandma McFlurry" and offering fans a chance to meet the reggaetonero to sweeten an already sweet deal. For Wheeler, however, not only does he get to cover a timeless classic, but he also gets to honor his abuelita, who he also credits with helping cultivate his love for music through her own passion for song and dance.

"My grandmother always wanted to be a singer . . . and that inspired me. From a very young age, she instilled [that desire] in me. And she always wanted to be famous," Wheeler laughs. "[To this day,] if you give her a stage and microphone, she'll dance and sing."

The singer recalls a childhood video of him and his abuela singing and dancing like two superstars. Fast-forward to today, and Wheeler is on track to be just that - the McDonald's campaign a testament to his rising star and marketability. As part of the marketing campaign for the Grandma McFlurry, Wheeler and his grandmother got the chance to film a commercial together, advertising the new snack and the TikTok competition that goes along with it. So his abuelita is finally getting her time in the limelight.

So, what's next for Wheeler and Grandma Clara Luz? Wheeler is currently on tour, and his next stop is a concert performance at The Theatre at Madison Square Garden, where he'll cycle through his repertoire of reggaetón hits and trap bangers the week after Puerto Rican Weekend. But while cantando urbano is his bread and butter, the singer hasn't ruled out further experimentation with classic genres.

"I'm open to doing anything when it comes to music. There's no limit. I'm always going to challenge myself to do everything," Wheeler says.

"Obviously, not everything is going to suit me, but I'll always try," he adds. "I'm very open to everything, to doing rock music, classic music, whatever. I'm always going to try and give it my touch - my best shot."

Along with switching up genres every now and again, the singer has also been known to collaborate with his wife and fellow singer, Zhamira Zambrano. So, maybe a duet with his abuelita will also be in the cards sometime in the future. Whatever he chooses to tackle next, his grandmother will be there, looking on with pride, knowing that her passion was the push toward the bright future Wheeler is currently living.

Miguel Machado is a journalist with expertise in the intersection of Latine identity and culture. He does everything from exclusive interviews with Latin music artists to opinion pieces on issues that are relevant to the community, personal essays tied to his Latinidad, and thought pieces and features relating to Puerto Rico and Puerto Rican culture.
Rauw Alejandro and Peso Pluma Are Taking the Stage at Gov Ball - and It's About Time Fri, 07 Jun 2024 14:05:41 -0700

This story is part of Como Celebramos, in which we're sharing how we're honoring our favorite summertime Sunday rituals.

Rauw Alejandro and Peso Pluma are set to take the stage at the 2024 Governor's Ball in NYC between June 7 and 9. While Becky G and J Balvin performed at the music festival in 2022 and 2021, respectively, this year marks the first time that two Latin music acts are headlining on separate days. And it's about time.

Since the 1940s and '50s, when cha cha and mambo took the US by storm, the mass appeal of Latin music has been undeniable. With its mix of West African and Spanish rhythms, the music is inherently danceable, which no doubt has helped genres like salsa and reggaetón break down the language barrier. You don't need to know what Bad Bunny's saying to be able to move to the beat. And yet, for a long time, Latin and African artists could only be found at music festivals that catered to those demographics specifically. This is no longer the case, as major music festivals have recently started including more Latin acts in their lineups.

In 2023, Bad Bunny became the first Spanish-language artist to headline Coachella, where Eladio Carrión and Anuel AA also appeared. That same year, iLe, PJ Sin Suela, and Los Rivera Destino performed at the SXSW Music Festival. In 2024, Coachella doubled down on the Latin acts, inviting both Peso Pluma and J. Balvin. And the trend doesn't seem to be stopping.

But why has it taken so long for major festivals to get the message that our music is so fire? Back in the 1970s, the Fania All-Stars proved that music sung entirely in Spanish can have global appeal. The reggaetón boom of the early 2000s became a cultural phenomenon that saw the genre play on both English and Spanish-language radio. So what gives? Well, I have a simple hypothesis: money.

It's no secret that Latin music has grown exponentially over the past decade, outpacing the overall growth of the music industry by a wide margin. While made for our communities, our music is no longer limited to them. I remember when I was a kid, watching all the new reggaetón videos would drop on mun2. Now, I go on YouTube, and all the latest music videos have English subtitles. It goes to show how far we've come when it comes to making commercially viable music. But more than that, having Latin and African headliners at major festivals taps into the power of the communities behind them, introducing some much-needed sazón. Not only does it bring in a more diverse audience to the festival scene, but given the current state of live music, it also grows these artists' audiences while pumping up lagging ticket sales.

Both Jennifer Lopez and Bad Bunny were trending recently due to lower-than-expected ticket sales. So, no, Latin artists aren't immune to overall industry trends. Back in April, Coachella also made headlines for decreasing ticket sales. But I wonder if bringing Latin artists to music festivals might just solve the issue.

Touring is inherently expensive. For successful artists to tour, they must invest a lot of money in visual effects, travel logistics, crew, and more. It's part of the reason bigger artists are limited to perform at arenas and stadiums that pack 30,000-plus fans and charge exorbitant prices for tickets. The way festivals are set up, however, while the initial ticket prices might be higher, music lovers get multiple nights and experience multiple acts for the cost. This immediately expands the target audience and offsets the cost of the show. Latin and African artists get to perform in front of a mixed crowd of both die-hard fans and newcomers who are more open than ever to receiving their music, increasing the value of their brand without having to incur all the costs of putting on the show themselves. It's a win-win for everybody.

Related:

Why the Puerto Rican Day Parade Matters This Summer More Than Ever

But apart from the monetary incentives, what Latin and African artists really bring to music festivals is unrivaled energy. Our cultures are predicated on all-night parties and dancing. Look at what Bad Bunny and Burna Boy did in their respective Grammy performances. Combining traditional cultural elements and instrumentation, catchy lyrics and melodies is a winning formula that our musical genres have perfected over decades. The result? A sound guaranteed to turn even the stuffiest festival atmosphere into a full-on vibe. I can only hope that the inclusion of these artists isn't solely a fad, but a sign of greater diversity to come.

Miguel Machado is a journalist with expertise in the intersection of Latine identity and culture. He does everything from exclusive interviews with Latin music artists to opinion pieces on issues that are relevant to the community, personal essays tied to his Latinidad, and thought pieces and features relating to Puerto Rico and Puerto Rican culture.

Oh, Cardi B is taking it! 🏆🏆🏆

"My mom is such a control freak."

“A lot of people don’t know how to act when a woman is breastfeeding anywhere in their vicinity.”

“That’s a confident partner right there!”

One change in Joel’s costume design from “The Last of Us” Season 1 to Season 2 is that he tucks his shirts in now “like a dad would.”

"As soon as we put Lovie and Michael in the scene together, it was magic!"

"So, any place where you can inspire a little bit of hope and change is monumental."

"If you you love this show, maybe you shouldn't vote for a party that is trying to demean and destroy those people's lives."

"They said, 'We just want one change; we want Alex to be a white guy.'"

“I have had to go through a lot of my struggles as a human, as all of us do, really publicly…”

47-year-old Tom and 53-year-old Sofía recently sparked romance rumors after being photographed together on Ritz-Carlton’s megayacht off the coast of Europe.

“All of the messages I was receiving at that time was that having kids is life’s highest purpose.”

"The movie and TV industry is a dark place,” Ariel, who was just 11 when she was cast in “Modern Family,” said in a new interview.

Ryan Gosling's nonstop giggling will instantly put me in a better mood.

"I stopped shaving when I was pregnant with our first child."

One X user wrote, "she's so tone deaf lmfao I'm crying."

School's out, summer movie marathon on.

"Looking like they just escaped a boyband bootcamp and got styled by a hyper-caffeinated fashion intern — serving abs, attitude, and accidental icons."

Milo Manheim and Meg Donnelly making each other laugh so hard they cry is the best.

Marlon Brando made his directorial debut in 1961 with One-Eyed Jacks, but never returned to the directing chair.

The pair finalized their divorce last year, but their legal battle is far from over.

Last year, reports named then-22-year-old Olivia Ponton as the “employee” who reported the burglary at Joe’s Ohio home while he was away for a football game.

Several people dragged JoJo’s “raspy” vocals and “trad wife” appearance in the viral video.

“It’s like: ‘How dare you find humor in these things — you’re meant to be ashamed and scared, and if you don’t feel ashamed and scared we’re going to do everything that we can to push you back there.’”

Julie recently admitted that she felt Adam Sandler’s character needed a “younger” love interest in the upcoming sequel — and that she was “hurt” by the rumor that Sydney would be replacing her.

It’s the long-awaited sequel to “I don’t know her.”

“his ability to be not interested in anything is just hilarious.”

The least secret lives in the history of living!

“There’s no need to fight hate with hate,” Cierra, who is of Puerto Rican and Mexican descent, said in a lengthy apology video after she was removed from the villa.

What is a Lunar Eclipse?

What is a Solar Eclipse?

What Indigenous Spiritual Rituals Are Done During a Lunar Eclipse?

What Indigenous Spiritual Rituals Are Done During a Solar Eclipse?

Herbs to Work with During Eclipse Season

Crystals to Work With During Eclipse Season

Essential Oils For Eclipse Season

Tarot Cards to Work With During Eclipse Season

Prayer For Eclipse Season