Kategoria BISAC: Music >> Genres & Styles - Latin

Boggs presents a readable, even exciting, history of Salsa, showing how Afro-Cuban music was embraced in New York City, how it has undergone cycles of popularity, and how it has been replicated abroad. Extensively illustrated with photographs of the bands and clubs as well as the key leaders and promoters, a night at the Palladium, the Cheetah, or the Park Palace comes alive. In addition, Boggs provides interviews with such key figures as Palladium Mambero Ernie Ensley and Izzy 'Mr. Salsa' Sanabria.

From its roots in Cuba through present-day Salsa clubs, Boggs provides a tour of a...

Salsa is a popular dance music developed by Puerto Ricans in New York City during the 1960s and 70s, based on Afro-Cuban forms. By the 1980s, the Colombian metropolis of Cali emerged on the global stage as an important center for salsa consumption and performance. Despite their geographic distance from the Caribbean and from Hispanic Caribbean migrants in New York City, Calenos (people from Cali) claim unity with Cubans,...

Listen Up When the New York-born Tito Puente composed "Oye Como Va " in the 1960s, his popular song was called Latin even though it was a fusion of Afro-Cuban and New York Latino musical influences. A decade later, Carlos Santana, a Mexican immigrant, blended PuenteOCOs tune with rock and roll, which brought it to the attention of national audiences. Like Puente and Santana, Latino/a musicians have always blended musics from their homelands with other sounds in our multicultural society, challenging ideas of what Latin music is or ought to be. Waves of immigrants further complicate the...

Long associated with the pejorative cliches of the drug-trafficking trade and political violence, contemporary Colombia has been unfairly stigmatized. In this pioneering study of the Miami music industry and Miami's growing Colombian community, Maria Elena Cepeda boldly asserts that popular music provides an alternative common space for imagining and enacting Colombian identity. Using an interdisciplinary analysis of popular media, music, and music video, Cepeda teases out issues of gender, sexuality, race, ethnicity, and transnational identity in the Latino/a music industry and among its...

Long associated with the pejorative cliches of the drug-trafficking trade and political violence, contemporary Colombia has been unfairly stigmatized. In this pioneering study of the Miami music industry and Miami's growing Colombian community, Maria Elena Cepeda boldly asserts that popular music provides an alternative common space for imagining and enacting Colombian identity. Using an interdisciplinary analysis of popular media, music, and music video, Cepeda teases out issues of gender, sexuality, race, ethnicity, and transnational identity in the Latino/a music industry and among its...

The Strachwitz Frontera Collection is the largest repository of commercially produced Mexican and Mexican American vernacular recordings in existence. More than 40,000 recordings, all produced during the first half of the 20th century, have been digitized and are available to researchers and the general public online. Although border music is the focus of the collection, it also includes notable recordings of other Latin forms, including salsa, mambo, sones, and rancheras.

Agustin Gurza explores the Frontera Collection, discussing genre, themes, and some of the thousands of...