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J Balvin, the Colombian reggaeton star, was named for a larger number of honors than some other craftsman at the Latin Grammys on Thursday. In two separate classes, Record of the Year and Best Urban Song, he was even assigned on different occasions. He merits the consideration: Behind Ozuna, he's the second most-watched vocalist on earth (because of his stunningly substantial gathering of people on YouTube), with a natural handle of tune and an officially not insignificant rundown of prominently hummable snares; his Vibras collection was nice looking and firmly sew, yet additionally sufficient on a melody by-tune premise that it will probably bring forth a few all the more great singles.

What's more, Balvin keeps up an honorable enthusiasm for lifting other Latin melodic styles notwithstanding his own reggaeton. That implies making trap with Chris Jeday or working together with the Mexican artist lyricist Carla Morrison — as he did again at the Latin Grammys the previous evening — and the Spanish Flamenco artist Rosalía.

Be that as it may, Balvin was consistently rejected by the Latin Recording Academy on Thursday night. Collection of the Year went to the veteran Mexican pop vocalist Luis Miguel, who was not by any means present to gather his honor. Record of the Year went to another veteran, the Uruguayan vocalist musician Jorge Drexler, who has officially won once and been selected two different occasions. Balvin's "Mi Gente" was irresistible to the point that Beyonce added a section to a remix, in Spanish no less, however the Latin Recording Academy picked Rosalía as the victor in the Best Urban Fusion/Performance classification. Furthermore, even in the Best Urban Song class, where Balvin truly had a 60% possibility of winning — three out of the five selections were his — the Recording Academy picked Daddy Yankee's "Dura."

It isn't so much that Drexler and Rosalía were dishonorable of their honors. ("Dura," however, was ostensibly the most exhausting single named in the Best Urban Song classification.) And Miguel's success was at last in character for the Latin Recording Academy. This association prefers its maturing stars, normally men, working in conventional structures — past Album of the Year champs incorporate Rubén Blades, Juan Gabriel, Juan Luis Guerra, Paco de Lucía and Draco Rosa, every one of whom began their account vocations before the fall of the Berlin Wall.

In any case, taken against the scenery of reggaeton's wild emission of prominence, which has brought Latin music to remarkable dimensions of worldwide perceivability over the most recent three years, and the way that Balvin was the main craftsman from the "urban" sort assigned in the general classes, it's hard not to see his sweeping dismissal as a pointed proclamation from the Latin Recording Academy. (A delegate for Balvin did not react to demands for input.) It's likewise simple for English-talking watchers to attract associations with the American Grammys, which have appeared comparative disappointing propensity to consign stars like Beyonce and Kendrick Lamar to the Urban segment and fend off them from winning general honors.

Talking a month ago, Tomas Cookman, leader of the Latin non mainstream mark Nacional Records, forewarned against looking at the American and Latin Grammy services. "The Latin Grammys have the preferred standpoint, or maybe the inconvenience, of covering loads of various markets and bunches of various stories," he clarified. "The Grammys are fundamentally centered around what's going on here in the U.S. [instead of the whole Spanish-talking diaspora, which traverses mainlands and hemispheres]. The Latin Grammys have candidates that perhaps you haven't known about, yet some place in the Latin market they're large as fuck and everyone's known about them. So I give the Latin Grammys somewhat more elbowroom. Also, if there's even a craftsman that I've never known about, that implies I have something to learn."

"All things considered, what the Latin Grammys show is about toward the day's end is getting their evaluations," Cookman proceeded. "They need Carlos Vives to sing with Bad Bunny to hit the dance floor with Jennifer Lopez. They're after eyeballs and they don't make any second thoughts about that."

It's that stripped aspiration for as expansive a crowd of people as conceivable that made the Latin Recording Academy's deception extremely clear on Thursday night. They depended to a great extent on reggaeton and trap stars to acquire said eyeballs: J Balvin, Ozuna and Nicky Jam each performed two tunes (Balvin re-joined Jam for a third) and Bad Bunny performed four tracks, notwithstanding opening the show with Marc Anthony and Will Smith. These are the craftsmen with the universal hits, a significant number of them, so their overwhelming nearness in front of an audience bodes well.

In any case, remorselessly, they were scarcely selected for honors, and when they were, they didn't win. Ozuna, the most-saw vocalist on earth, had only one chance to take a home a trophy, and he lost Best Urban collection to Balvin. (The Latin Recording Academy most likely misunderstood that, as well: Ozuna's collection is flooding with hits, yet they needed to give Balvin somewhere around one honor.) Bad Bunny, a once-in-an age star, was just designated as a highlighted visitor on Balvin's earworm "Sensualidad," which tumbled to "Dura." Jam's destiny was likewise attached to Balvin's — see the radiant "X" — so he returned home flat broke also. (A delegate for Jam did not react to demands for input.)

When Bad Bunny made that big appearance late at night to play four tunes, more than some other entertainer throughout the night, this cacophony was overpowering. "Urban" music was being treated as window-dressing — used to acquire watchers, particularly youngsters, and afterward summarily expelled when it came to passing out real equipment.

The last honor of the night was for Record of the Year. Balvin was named twice, for "Mi Gente" and "X," which are both the kind of flawless, knee-clasping hits you petition God for each morning when you wake up. The vocalist lost to Drexler, who had a pretty section from the Seventies George Harrison school, "Telefonía."

Strangely, however surprisingly, it was Drexler, talking in the media room after the honors service, who offered the night's kindest words for reggaeton and urban music. "Reggaeton isn't a malevolent beat; it's an African cadence," he told correspondents. "This entire world is sufficiently isolated. How about we [welcome it] with great enthusiasm!"

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%Sing% Grammy Awards 2019 Live Stream Online Free Full Show
%Sing% Grammy Awards 2019 Live Stream Online Free Full
%Sing% Grammy Awards 2019 Live Stream Online Free
%Sing% Grammy Awards 2019 Live Stream Online
%Sing% Grammy Awards 2019 Live Stream
%Sing% Grammy Awards 2019 Live
%Sing% Grammy Awards 2019