Arsenio Rodríguez and the Transnational Flows of Latin Popular Music

Temple University Press, 23 juin 2006 - 210 pages
Arsenio Rodríguez was one of the most important Cuban musicians of the twentieth century. In this first scholarly study, ethnomusicologist David F. García examines Rodríguez's life, including the conjunto musical combo he led and the highly influential son montuno style of music he created in the 1940s. García recounts Rodríguez's battle for recognition at the height of "mambo mania" in New York City and the significance of his music in the development of salsa. With firsthand accounts from relatives and fellow musicians, Arsenio Rodríguez and the Transnational Flows of Latin Popular Music follows Rodríguez's fortunes on several continents, speculating on why he never enjoyed wide commercial success despite the importance of his music. García focuses on the roles that race, identity, and politics played in shaping Rodríguez's music and the trajectory of his musical career. His transnational perspective has important implications for Latin American and popular music studies.

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Table des matières

I Was Born of Africa Black Consciousness and Cubanidad
Negro y Macho Arsenio Rodriguezs Conjunto and Son Montuno Style
Whos Who in Mambo?
Remembering the Past with El Ciego Maravilloso
Salsa and Arsenio Rodriguezs Legacy
Remembering Arsenio Rodriguez Remembering Son Montuno
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Page 2 - ... intervening historical change has brought alterations in their everyday social practices and beliefs. In both cases, though, their concreteness and specificity are maintained, and imaginative memory allows for the study of popular culture in time. 3 More than merely emphasis, the effect of the doubling in the term "pueblo pueblo" is to provide a necessary marker of specification or qualification. It is a sign of internal difference and contradiction, and of the abiding need to address the questions,...
Page 8 - Our choices became clear: to swim in black American society or drown in the Latin ghettoes of New York City, never to be an integral part of American life. This is why the experience of black Cubans who joined with black Americans is so different from that of black Cubans who remained loosely tethered to the white Cuban society. Integration presented us with simple options: join the black American society, with its rich roots deep in this country, or have no American roots at all.
Page ix - Robert F. Wagner Labor Archives of the Tamiment Institute Library, New York University Co-sponsored by the New York City Central Labor Council, AFL-CIO, and the Tamiment Institute The Robert F.
Page 5 - traditional" as distinguished from "modern" popular culture explicitly projects the community-based, expressive variant into a past tense, and cedes to the mass-mediated experience the crucial space of contemporaneity. Is there any life left in "the people" as a social concept after the deadening impact of industrial mediation and ideological manipulation?
Page 209 - Apfelstadt is Assistant Professor of Music at the University of North Carolina at Greensboro.
Page 6 - a hierarchy that is not as clearly defined as the US racial hierarchy remains to stratify people in Latin America according to the desirability of their racial phenotypes
Page 7 - intimate account of his costly but effective triumph over racial and ethnic ambiguity and disempowerment—a journey from Afro-Cubanness to African-Americanness

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À propos de l'auteur (2006)

David F. García is Assistant Professor of Music at the University of North Carolina at Chapel Hill.

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