The Rock & Roll Corridor of Fame is breaking new floor with this 12 months’s nominees for induction — and the señoras and rockeros amongst us couldn’t be extra excited.
Yesterday, the Rock Corridor introduced 14 artists nominated for the 2025 class, together with Oasis, Phish, Mariah Carey, Outkast, Cyndi Lauper and Pleasure Division/New Order. It’s been a very long time coming for these nominees, however one nomination particularly stands out in significance: the monumental rock en español band Maná, which might be the primary primarily Spanish-language act inducted.
This alone makes Maná’s nomination essential in an more and more world society. However when contemplating the Mexican band’s affect on Latin music, in addition to the Trump administration’s growing crackdowns on immigrants in the USA, their inclusion is crucial.
Maná — comprised of Fher Olvera, Alex González, Sergio Vallín and Juan Celleros — shaped in 1981 in Guadalajara, Jalisco. The group turned one of the vital ubiquitous music teams in Latin America following the large success of 1992’s 12-times platinum sophomore album, “¿Dónde Jugarán Los Niños?” which featured the timeless rocker foo kickback traditional, “Oye Mi Amor.”
Since then, Maná has garnered 4 Grammys and eight Latin Grammys off a wave of smash releases, together with 1997’s licensed diamond album “Sueños Líquidos,” which spawned a number of the band’s greatest anthems, together with “Hechicera,” “Clavado en un Bar” and “En el Muelle de San Blas.”
There’s no query that Maná is deserving of this honor. And but there’ll inevitably be naysayers of the MAGA-ian kind who might decry the band’s inclusion as a vestige of the range, fairness and inclusion initiatives they wish to suppress. The Rock Corridor and its voting physique can not let these folks win, particularly as one of many few areas during which Black, Latino and different marginalized artists have obtained the institutional acknowledgment they deserve — artists like Chuck Berry, James Brown and Fat Domino, who essentially formed what we now know as rock ‘n’ roll.
The Rock Corridor has labored to counter lots of the wrongs inflicted upon the marginalized artists who left an indelible mark on music, however have been failed by a racist, exploitative trade, whereas their white counterparts reaped a lot of the monetary advantages and accolades. Persevering with in that custom can be significant in a time when DEI initiatives that have been created to handle social inequities are being stripped on the federal degree.
If inducted, Maná would be a part of a small group of Latino artists inducted into the Rock Corridor, which incorporates Ritchie Valens, Linda Ronstadt, Santana, Joan Baez, and Zack de la Rocha of Rage In opposition to the Machine. Nonetheless, they’d be the primary inductees who carry out primarily in Spanish. That’s of particular be aware in a time when the language is being vilified and used to focus on Latinos for deportation.
As a band, Maná have held true to the spirit of rock and roll as a artistic expression of protest and resistance within the face of social injustice. Who can overlook the mighty assertion they made on the 2015 Latin Grammys, once they carried out “Somos Más Americanos” with Los Tigres Del Norte — and lambasted President Trump’s xenophobia with an indication that learn “Latinos unidos no voten por los racistas,” or “Latinos united, don’t vote for racists”?
In 2019, frontman Olvera advised Rolling Stone, “I see [our music] as a means to protest, to spread ideas and share them. As a Latin group, Maná carries that [activist] ethos and that way of thinking.”Final 12 months, the band notably pulled a collaboration with Nicky Jam from streaming companies after the reggaetonero voiced assist of Trump, saying in a press release, “Maná doesn’t work with racists.” They’ve additionally established the Selva Negra Basis, a nonprofit group devoted to environmental conservation, launched a scholarship program for Latinx college students, and been staunch supporters of immigrant rights.
Because the Trump administration continues its assault on immigrant rights and security, inducting Maná would ship a loud message to nativists that the Rock Corridor refuses to play into fearmongering and hate — and can proceed to be an area the place Latinos and different marginalized artists will not be solely welcome, however honored for his or her contributions.