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Chocolate SurrealismMusic, Movement, Memory, and History in the Circum-Caribbean$
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Njoroge Njoroge

Print publication date: 2016

Print ISBN-13: 9781496806895

Published to University Press of Mississippi: September 2017

DOI: 10.14325/mississippi/9781496806895.001.0001

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“Cosa Nuestra”

“Cosa Nuestra”

Salsa “Folklórico y Experimental” 1965–19751

Chapter:
(p.107) 4. “Cosa Nuestra”
Source:
Chocolate Surrealism
Author(s):

Njoroge Njoroge

Publisher:
University Press of Mississippi
DOI:10.14325/mississippi/9781496806895.003.0005

This chapter explores the history of Salsa in New York City. In the late 1960’s Salsa became the vehicle for the cultural expressions of community, aesthetics, and identity for the Puerto Ricans, Nuyoricans, and other Latinos. Salsa was a musical celebration and valorization of Nuyorican identity and became the voice of the alienated and disenfranchised barrio youth in New York City and beyond. Though in the main, its practitioners heralded from the Puerto Rican diaspora: from its very inception “salsa” has been a pan-Caribbean creation. With the Cuban Revolution, the subsequent recording ban of 1961 and the embargo of 1962, New York City displaced Havana as the center of Latin music. After the brief but rich Boogaloo explosion of the mid-Sixties, salsa took over the airwaves and dance-floors. If Boogaloo can be seen as an anticipation of and response to the Civil Rights movement, salsa was “Black Power.”

Keywords:   Salsa, Black Power, Tipico, Fania, Nuyorican

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