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This volume is a history of salsa, showing how Afro-Cuban music was embraced in New York City and how it has undergone cycles of popularity and been replicated abroad. From its roots in Cuba through present-day Salsa clubs, the author provides a tour of a popular music form that has had a significant impact on the Latin community as well as contemporary musicians and composers. Extensively illustrated with photographs of the bands and clubs as well as the key leaders and promoters, the book also contains interviews with top performers and others instrumental in making salsa what it is today.
Among the nearly 90,000 Cubans who settled in New York City and Miami in the 1940s and 1950s were numerous musicians and entertainers, black and white, who did more than fill dance halls with the rhythms of the rumba, mambo, and cha cha cha. In her history of music and race in midcentury America, Christina D. Abreu argues that these musicians, through their work in music festivals, nightclubs, social clubs, and television and film productions, played central roles in the development of Cuban, Afro-Cuban, Latino, and Afro-Latino identities and communities. Abreu draws from previously untapped oral histories, cultural materials, and Spanish-language media to uncover the lives and broader social and cultural significance of these vibrant performers. Keeping in view the wider context of the domestic and international entertainment industries, Abreu underscores how the racially diverse musicians in her study were also migrants and laborers. Her focus on the Cuban presence in New York City and Miami before the Cuban Revolution of 1959 offers a much needed critique of the post-1959 bias in Cuban American studies as well as insights into important connections between Cuban migration and other twentieth-century Latino migrations.
In the 1920s and 30s, musicians from Latin America and the Caribbean were flocking to New York, lured by the burgeoning recording studios and lucrative entertainment venues. In the late 1940s and 50s, the big-band mambo dance scene at the famed Palladium Ballroom was the stuff of legend, while modern-day music history was being made as the masters of Afro-Cuban and jazz idiom conspired to create Cubop, the first incarnation of Latin jazz. Then, in the 1960s, as the Latino population came to exceed a million strong, a new generation of New York Latinos, mostly Puerto Ricans born and raised in the city, went on to create the music that came to be called salsa, which continues to enjoy avid popularity around the world. And now, the children of the mambo and salsa generation are contributing to the making of hip hop and reviving ancestral Afro-Caribbean forms like Cuban rumba, Puerto Rican bomba, and Dominican palo. Salsa Rising provides the first full-length historical account of Latin Music in this city guided by close critical attention to issues of tradition and experimentation, authenticity and dilution, and the often clashing roles of cultural communities and the commercial recording industry in the shaping of musical practices and tastes. It is a history not only of the music, the changing styles and practices, the innovators, venues and songs, but also of the music as part of the larger social history, ranging from immigration and urban history, to the formation of communities, to issues of colonialism, race and class as they bear on and are revealed by the trajectory of the music. Author Juan Flores brings a wide range of people in the New York Latin music field into his work, including musicians, producers, arrangers, collectors, journalists, and lay and academic scholars, enriching Salsa Rising with a unique level of engagement with and interest in Latin American communities and musicians themselves.
The Garland Handbook of Latin American Music by Dale Olsen,Daniel Sheehy Pdf
The Garland Handbook of Latin American Music is comprised of essays from The Garland Encyclopedia of World Music: Volume 2, South America, Mexico, Central America, and the Carribean, (1998). Revised and updated, the essays offer detailed, regional studies of the different musical cultures of Latin America and examine the ways in which music helps to define the identity of this particular area. Part One provides an in-depth introduction to the area of Latin America and describes the history, geography, demography, and cultural settings of the regions that comprise Latin America. It also explores the many ways to research Latin American music, including archaeology, iconography, mythology, history, ethnography, and practice. Part Two focuses on issues and processes, such as history, politics, geography, and immigration, which are responsible for the similarities and the differences of each region’s uniqueness and individuality. Part Three focuses on the different regions, countries, and cultures of Caribbean Latin America, Middle Latin America, and South America with selected regional case studies. The second edition has been expanded to cover Haiti, Panama, several more Amerindian musical cultures, and Afro-Peru. Questions for Critical Thinking at the end of each major section guide focus attention on what musical and cultural issues arise when one studies the music of Latin America -- issues that might not occur in the study of other musics of the world. Two audio compact discs offer musical examples of some of the music of Latin America.
Salsa and Its Transnational Moves by Sheenagh Pietrobruno Pdf
Salsa and Its Transnational Moves presents a brilliant critical analysis of salsa dancing in a major North American city. Drawing from a vast number of disciplines, author Sheenagh Pietrobruno focuses on the tension between the status of dance as a bodily expression of identity and its function as a cultural commodity within the economic life of modern day cities. This engaging work investigates the transnational movements of salsa by exploring the circulation of salsa within the Montreal dance scene, nourished by the continuous flow of a people, and examining the commodification of the Latino culture. Pietrobruno's analysis is singular in highlighting how the migration of a people and a dance represent displacements that are not always homologous. At the core of this work, Pietrobruno offers an extensive and intricate ethnography of the institutions and individuals involved in shaping the Montreal salsa scene that will appeal to academics and general audiences alike, who are interested in the study of anthropology, popular music, dance, gender, ethnicity, and culture.
The Garland Handbook of Latin American Music by Dale A Olsen,Daniel A Sheehy Pdf
First Published in 2000. The Garland Handbook of Latin American Music is comprised of essays from The Garland Encyclopedia of World Music: Volume 2, South America, Mexico, Central America, and the Carribean, (1998). Revised and updated, the essays offer detailed, regional studies of the different musical cultures of Latin America and examine the ways in which music helps to define the identity of this particular area. Part One provides an in-depth introduction to the area of Latin America and describes the history, geography, demography, and cultural settings of the regions that comprise Latin America. It also explores the many ways to research Latin American music, including archaeology, iconography, mythology, history, ethnography, and practice. Part Two focuses on issues and processes, such as history, politics, geography, and immigration, which are responsible for the similarities and the differences of each region's uniqueness and individuality. Part Three focuses on the different regions, countries, and cultures of Caribbean Latin America, Middle Latin America, and South America with selected regional case studies. The second edition has been expanded to cover Haiti, Panama, several more Amerindian musical cultures, and Afro-Peru. Questions for Critical Thinking at the end of each major section guide focus attention on what musical and cultural issues arise when one studies the music of Latin America -- issues that might not occur in the study of other musics of the world. Two audio compact discs offer musical examples of some of the music of Latin America.
Boggs presents a readable, exciting history of Salsa, showing how Afro-Cuban music was embraced in New York City and how it has undergone cycles of popularity and been replicated abroad. From its roots in Cuba through present-day Salsa clubs, Boggs provides a tour of a popular music form that has had a significant impact on the Latin community as well as contemporary musicians and composers. Extensively illustrated with photographs of the bands and clubs as well as the key leaders and promoters, the book also contains interviews with top performers and others instrumental in making salsa what it is today.
Popular music in the Americas, from jazz, Cuban and Latin salsa to disco and rap, is overwhelmingly neo-African. Created in the midst of war and military invasion, and filtered through a Western worldview, these musical forms are completely modern in their sensibilities: they are in fact the very sound of modern life. But the African religious philosophy at their core involved a longing for earlier eras-ones that pre-dated the technological discipline of labor forced on captive populations by the European occupiers. In this groundbreaking new book, Timothy Brennan shows how the popular music of the Americas-the music of entertainment, nightlife, and leisure-is involved in a devotion to an African religious worldview that survived the ravages of slavery and found its way into the rituals of everyday listening. In doing so he explores the challenge posed by Afro-Latin music to a world music system dominated by a few wealthy countries and the processes by which Afro-Latin music has been absorbed into the imperial imagination.
Music Genres and Corporate Cultures by Keith Negus Pdf
Music Genres and Corporate Cultures explores the seemingly haphazard workings of the music industry, tracing the uneasy relationship between economics and culture; `entertainment corporations' and the artists they sign. Keith Negus examines the contrasting strategies of major labels like Sony and Polygram in managing different genres, artists and staff. How do takeovers affect the treatment of artists? Why has Polygram been perceived as too European to attract US artists? And how did Warner's wooden floors help them sign Green Day? Through in-depth case studies of three major genres; rap, country, and salsa, Negus explores the way in which the music industry recognises and rewards certain sounds, and how this influences both the creativity of musicians, and their audiences. He examines the tension between raps public image as the spontaneous `music of the streets' and the practicalities of the market, and asks why country labels and radio stations promote top-selling acts like Garth Brooks over hard-to-classify artists like Mary Chapin-Carpenter, and how the lack of soundscan systems in Puerto Rican record shops affects salsa music's position on the US Billboard chart. Drawing on over seventy interviews with music industry personnel in Britain and the United States, Music Genres and Corporate Cultures shows how the creation, circulation and consumption of popular music is shaped by record companies and corporate business styles while stressing that music production takes within a broader culture, not totally within the control of large corporations.
Based on unprecedented research in Cuba, the direct testimony of scores of Cuban musicians, and the author's unique experience as a prominent jazz musician, Cubano Be, Cubano Bop is destined to take its place among the classics of jazz history. The work pays tribute not only to a distinguished lineage of Cuban jazz musicians and composers, but also to the rich musical exchanges between Cuban and American jazz throughout the twentieth century. The work begins with the first encounters between Cuban music and jazz around the turn of the last century. Acosta writes about the presence of Cuban musicians in New Orleans and the “Spanish tinge” in early jazz from the city, the formation and spread of the first jazz ensembles in Cuba, the big bands of the thirties, and the inception of “Latin jazz.” He explores the evolution of Bebop, Feeling, and Mambo in the forties, leading to the explosion of Cubop or Afro-Cuban jazz and the innovations of the legendary musicians and composers Machito, Mario Bauzá, Dizzy Gillespie, and Chano Pozo. The work concludes with a new generation of Cuban jazz artists, including the Grammy award-winning musicians and composers Chucho Valdés and Paquito D’Rivera.
Multicultural Perspectives in Music Education by William M. Anderson,Patricia Shehan Campbell Pdf
With Multicultural Perspectives in Music Education, you can explore musics from around the world with your students in a meaningful way. Broadly based and practically oriented, the book will help you develop curriculum for an increasingly multicultural society. Ready-to-use lesson plans make it easy to bring many different but equally logical musical systems into your classroom. The authors_a variety of music educators and ethnomusicologists_provide plans and resources to broaden your students' perspectives on music as an important aspect of culture both within the United States and globally.
50 Events That Shaped Latino History [2 volumes] by Lilia Fernández Pdf
Which historical events were key to shaping Latino culture? This book provides coverage of the 50 most pivotal developments over 500 years that have shaped the Latino experience, offering primary sources, biographies of notable figures, and suggested readings for inquiry. Latinos—people of European, Indigenous, and African descent—have had a presence in North America long before the first British settlements arrived to the Eastern seaboard. The encounters between Spanish colonizers and the native peoples of the Americas initiated 500 years of a rich and vibrant history—an intermingled, cultural evolution that continues today in the 21st century. 50 Events that Shaped Latino History: An Encyclopedia of the American Mosaic is a valuable reference that provides a chronological overview of Latino/a history beginning with the indigenous populations of the Americas through the present day. It is divided into time period, such as Pre-Colonial Era to Spanish Empire, pre-1521–1810, and covers a variety of themes relevant to the time period, making it easy for the reader find information. The coverage offers readers background on critical events that have shaped Latino/a populations, revealed the conditions and experiences of Latinos, or highlighted their contributions to U.S. society. The text addresses events as varied as the U.S.-Mexican War to the rise of Latin jazz. The entries present a balance of political and cultural events, social developments, legal cases, and broader trends. Each entry has a chronology, a main narrative, biographies of notable figures, and suggested further readings, as well as one or more primary sources that offer additional context or information on the given event. These primary source materials offer readers additional insight via a first-hand account, original voices, or direct evidence on the subject matter.