Jennifer Lopez has done it again: she eclipsed every other star on the red carpet of the Latin Billboards, dazzling everyone with a phenomenal costume by the Welsh designer Julian Mac Donald, which made the fable of the naked emperor.
She was dressed but in reality she was naked, strategic cuts and necklines in the most prominent curves of her anatomy, taught, exhibited as if, with permission of Ava Gardner, the most beautiful animal in the world. Surrounded by people, center of all eyes, never before has a naked person had more security, autonomy and steady pace than JLO in recent Billboards.
I think it’s great that the actress and singer not only showcased her portentous Latin genes, minutes before singing the first single from her new album entirely in Spanish and produced by her ex-husband, Marc Anthony (present in the awards but several separation chairs away from his almost naked ex-wife), but also continued giving support to the femininity exhibiting a strong, muscled body, full of security and beauty at 47 years.
In a society where machismo makes women invisible at that age, JLO plays with flesh, cloth and nakedness to show that the key to happiness is to be good with oneself.
JLO is “the most”, as it was once described by another figure in Latin music, Paulina Rubio. Yes it is. It unfolds, mobilizes, empathizes, acts, dances and leads.
There is no one like her and it will take a long time to reinvent her. But the dressed nudity of the Billboard made me think also of that nudist protestant who marched a few weeks ago in Caracas against the repressive tanks of the regime of Nicholas Maduro. In that case, the nudity was real, only a very rucksack covered the hungry individual.
The image circled the world because of its unusual, painful, humiliating and humiliated load, the reflection of a deteriorated, sunken country, forced to undress so that the rest of the world could look at what is happening.
The two “nudes” do not look alike, one celebrates life and success, the other talks about conflict and pain, but in both cases a secret formula coexists: drawing attention is the beginning of almost all great changes.
April was the month of demonstrations in Venezuela.
It is my country but also the political and financial disaster that I fled 25 years ago for, fed up with seeing it ruled by false emperors , self promoted they were. They were Carlos Andrés Pérez, Jaime Lusinchi, Rafael Caldera and Hugo Chavez. All were accomplices in getting rich and undress and rape the country leaving almost nothing. Almost, they failed to eradicate from their citizens the courage these people demonstrate every day, stripping the all-powerful regime and the Bolivian revolution.
The Latin Billboard Awards are one of the highlights of the Telemundo chain. And every year they improve in content, dynamics and organization.
This year the red carpet was a magnificent party, elegant, fluid, fun and very well attended by personalities like Jorge Bernal, Rashel Diaz and Quique Usales, dressed in a retro tuxedo that reminded me of one I also dressed at Miami Fashion Week. These details are discussed and celebrated in extraordinary and unforgettable parties such as the red carpet.
Apart from JLO, other figures managed to be present, sharing their talent, like the very successful Luis Fonsi with his “Despacito” that managed, as expected, to get up to dance and follow the song and its demonic chorus almost as if we were in automation.
Perhaps that is the metaphor of this 2017: the year that we all became naked kings, advancing slowly but headed towards a new era.
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