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3 - Salsa Soundings

Puerto Rico and the Americas

Published online by Cambridge University Press:  17 September 2022

By
Frances Aparicio
Edited by
Nanette de Jong
Nanette de Jong
Affiliation:
University of Newcastle
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Summary

This chapter analyses the heterogeneous, contradictory and shifting social meanings that salsa music has articulated since its inception in the late 1960s. Shifting from the Nuyorican-grounded urban masculinity and anticolonial politics in its early years to the current globalised and neoliberal spaces of dance studios, this chapter explores how the sounds of salsa, as popular music, become sites for power struggles over cultural, racial, ethnic and gender identities.

Keywords

SalsaPuerto RicoNuyoricanGender identitiesEthnic identities
Type
Chapter
Information
The Cambridge Companion to Caribbean Music , pp. 36 - 51
Publisher: Cambridge University Press
Print publication year: 2022

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References

References

Aparicio, Frances R. 2002. ‘La India, La Lupe and Celia: Toward a Feminist Genealogy of Salsa Music: Global Markets and Local Meanings’. In Waxer, Lise, ed., Situating Salsa: Global Markets and Local Meanings. New York: Routledge, 135–60.Google Scholar
Aparicio, Frances R. 1998. Listening to Salsa: Gender, Latin Popular Music and Puerto Rican Cultures. Hanover: Wesleyan University Press.Google Scholar
Berríos-Miranda, Marisol. 2002. ‘Is Salsa a Musical Genre?’ In Waxer, Lise, ed., Situating Salsa: Global Markets and Local Meanings in Latin Popular Music. New York: Routledge, 37–64.Google Scholar
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Further Reading

Aparicio, Frances R. 2018. ‘Sounding the Image and Imaging the Sound: Marc Anthony’s Vivir mi vida and Salsa Romántica’. In Vila, Pablo and Héctor Fernández, L’Hoeste, eds., Sound, Image and National Imaginaries in the Construction of Latin/o American Identities. Lanham, MD: Lexington Books, 207–20.Google Scholar
Colón-Montijo, César, ed. 2015. Cocinando suave: Ensayos de Salsa en Puerto Rico. Caracas, Venezuela: Fundación Editorial El Perro y la Rana.Google Scholar
Washington, Derrick L., ed. 2017. Rhythm and Power: Performing Salsa in Puerto Rican and Latino Communities. New York: Centro Press.Google Scholar
Lapidus, Benjamin. 2021. New York and the International Sound of Latin Music, 1940–1990. Jackson: University Press of Mississippi.Google Scholar
Lipsitz, George. 2007. ‘Salsa: The Hidden History of Colonialism’. Footsteps in the Dark: The Hidden Histories of Popular Music. Minneapolis: University of Minnesota Press. 211–37.Google Scholar
Salazar, Max. 2002. Mambo Kingdom: Latin Music in New York. London: Schirmer Trade Books.Google Scholar
Valentín-Escobar, Wilson. 2001. ‘“Nothing Connects Us All But Imagined Sounds”: Performing Trans-Boricua Memories, Identities, and Nationalisms Through the Death of Héctor Lavoe’. In Agustín, Laó-Montes and Arlene, Dávila, eds., Mambo Montage: The Latinization of New York City. New York: Columbia University Press, 207–34.Google Scholar

Discography

Anthony, Marc. 2013. Marc Anthony 3.0. Sony Music Latin.Google Scholar
Barretto, Ray. 1973. Indestructible. Fania Records.Google Scholar
Blades, Rubén, and Willie, Colón. 1978. Siembra. Fania Records.Google Scholar
Colón, Willie, and Lavoe, Héctor. 1967. El Malo. Fania Records. LP 337.Google Scholar
El Gran Combo de Puerto Rico. 1983. La Universidad de la Salsa. Combo Records.Google Scholar
Fania All Stars. 1971. Live at the Cheetah, vols. 1 and 2. Fania Records.Google Scholar
Pacheco, Johnny, and Cruz, Celia. 1974. Celia and Johnny. Fania Records.Google Scholar
Palmieri, Eddie. 1969. Justicia. Tico Records.Google Scholar

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