The Feminine Musique: “Maria Maria” and “Wild Thoughts”
A Grammy-winning song released at the turn of the 20th century and reimagined nearly two decades later, Santana’s “Maria Maria” infuses elements of social class into the time-old story of a man yearning for a woman.
The Feminine Musique is a series where writers analyze portrayals of women in music.
Written by Andrew Zhang
Image courtesy of Sony Music Entertainment
On the shelves of legendary Latin rock band Santana’s discography, “Maria Maria” is a standout for its earned accolades, endearing beat, and message about the ineffable beauty of loving a woman. Produced by Wyclef Jean and Jerry Duplessis, the song from 1999 features vocals from The Product G&B, an R&B duo composed of David McRae and Marvin Moore-Hough, in a R&B and Latin influenced sound. Although the song’s older release puts it just out of reach of Zoomers and younger audiences, the song’s resurgence on a recent pop hit demonstrates the lasting beauty of both the song and its message.
Ho Maria Maria
She reminds me of a “West Side Story”
Growing up in Spanish Harlem
She’s living the life just like a movie star
Framed from the male perspective, “Maria Maria” follows a man’s pursuit of a woman named Maria, whose roots lay in the culturally vibrant Spanish Harlem in New York City. The narrator calls upon the tale of “West Side Story,” suggesting a forbidden love between him and Maria further strained by social class. However, he still idealizes her beauty and believes that Maria’s life is like one of “a movie star.”
Stop the looting, stop the shooting
Pick pocking on the corner
See as the rich is getting richer
The poor is getting poorerIn my mailbox there’s an eviction letter
Signed by the judge said see you later
The looting and shooting illustrate the lower-class environment that he and his lover live in and also emphasizes the clandestine nature of their love. With the repeated naming of “West Side Story” in the song’s chorus, the narrator gives a nod towards the legendary musical’s story of finding love amidst battling gangs. But “West Side Story” calls upon another tale — “Romeo and Juliet,” the old story of two opposing families preventing teenagers from pursuing an open love. “Maria Maria” transcends this conflict into modern times, with the warring streets acting as the barrier forbidding the love between Maria and the narrator. Thus, their relationship has to be pursued against this backdrop of unrest that threatens their happiness.
I said a la favella los colores [I said in the shanty neighborhood]
The streets are getting hotter
There is no water to put out the fire
Ni gota de esperanza [Not even a drop of hope]
Se mira Maria on the corner [You see Maria on the corner]
Thinking of ways to make it better
Then I looked up in the sky
Hoping of days of paradise
While dealing with troubles in the neighborhood, the narrator sees Maria and instantly feels his burdens melting away. The mention of a favela also reflects a common theme of America, seen as a glorified place of fortune and opportunity from the outside, presents difficult challenges to its new immigrants. These contrasting conceptions of America form a central part of the “West Side Story” which “Maria Maria” calls upon, adding another piece to the love’s complicated social background.
In these lines, he reminds the audience that Maria, past her captivating beauty and presence to the singer, is just a normal person he sees on the streets. This distinction is notable in the song’s music video: Maria easily fits in with the camaraderie of the energetic crowd dancing in the video, but still turns the eye of many watchful men with her radiant beauty.
Younger listeners may recognize the beat and instrumentals of “Maria Maria,” which were heavily sampled for the 2017 song “Wild Thoughts” by DJ Khaled, Rihanna, and Bryson Tiller. While “Wild Thoughts” also talks about the relationship between a man and woman, the newer song omits any discussion about social class. In “Wild Thoughts,” Rihanna brings new dimensions to the voice of Maria, superseding the male point of view that made her a passive character. From this female perspective, “Wild Thoughts” highlights a woman’s own understanding of her sexuality.
I don't know if you could take it
Know you wanna see me nakey, nakey, naked
I wanna be your baby, baby, baby
From the beginning of the song, Rihanna sings about her sex appeal, teasing an onlooking man that he has to want her. Her appeal is still on full display, as the narrator in “Maria Maria” sings, but the woman recognizes this allure and flaunts it, taking control.
White girl wasted on that brown liquor
When I get like this, I can't be around you
...
Diamonds ain't nothing when I'm rockin' with ya
Diamonds ain't nothing when I'm shinin' with ya
...
When I'm with you, all I get is wild thoughts
Wild, wild, wild
Wild, wild, wild thoughts
In these lines, Rihanna continues to counter the passive voice of Maria. She references the notion in “Maria Maria” that the passion between her and her lover rises above distractions — except this distraction isn’t their environment, but material wealth like diamonds. When they make love, she can’t think of anything else. Attributing her thoughts as ‘wild’ also perpetuates the notion of impermissible love found in “Maria Maria.” However, this forbiddenness comes not from social unrest, but Rihanna’s unquenchable lust.
Although “Wild Thoughts” takes on a more mature, intimate perspective of the themes in “Maria Maria,” the song still honors “Maria Maria’s” spirit of celebrating women. "DJ Khaled, Rihanna, and Bryson felt the intense intentionality of 'Maria Maria,’” Carlos Santana said to Billboard when asked about “Wild Thoughts’” fresh take on his song. While “Maria Maria” tells a classic tale of a man in love with a woman, the modern iteration of the song, “Wild Thoughts,” reimagines female desirability through the centering of a woman’s perspective.