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The Year 1898 in the Music of the Caribbean: Cuba and Puerto Rico in the Machinations of the US Music Industry

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The Year 1898 in the Music of the Caribbean: Cuba and Puerto Rico in the Machinations of the US Music Industry Centro Journal ISSN: 1538-6279 [email protected] The City University of New York Estados Unidos Acosta, Leonardo The Year 1898 in the Music of the Caribbean: Cuba and Puerto Rico in the Machinations of the U.S. Music Industry Centro Journal, vol. XVI, núm. 1, spring, 2004, pp. 6-13 The City University of New York New York, Estados Unidos Available in: http://www.redalyc.org/articulo.oa?id=37716102 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Acosta(v5b).qxd 6/29/04 3:52 PM Page 6 CENTRO Journal Volume7 xv1 Number 1 spring 2004 The Year 1898 in the Music of the Caribbean: Cuba and Puerto Rico in the Machinations of the U.S. Music Industry LEONARDO ACOSTA ABSTRACT This paper analyses the impact that 1898, with the subsequent occupation and intervention in Cuban affairs and the occupation and treatment of Puerto Rico as a colony by the United States, had on the music of these Caribbean nations. Among the key factors discussed that affected musical production are the commercialization of music by American recording corporations and the massive migration of musicians, especially Puerto Rican musicians, to the United States. New York, like the Caribbean before it, would become the an entrepôt for musicians and musical styles, especially for Puerto Ricans. Out of this fertile mix new musical styles, such as salsa and Latin jazz, would be created. [Key words: 1898, Caribbean migration, Caribbean music, Puerto Rican music, New York, commercialization] [ 7 ] Acosta(v5b).qxd 6/29/04 3:52 PM Page 8 e are accustomed to think of appropriation of all economic sectors of or Colombia. But Cuban music did show our music immediately fell into the hands the year 1898 in somewhat apoca- the Island, beginning with the land itself the ability to expand, a situation which was of U.S. publishers and record companies, W lyptic tones, much as those with and the sugar industry, which had been magnified after 1898. Since the beginning which in fact had been in Havana since the more religious inclinations might view the destroyed by the war and purchased at of the colonial period, with Havana the beginning of the century. As Cristobal year of the millenium, 2000. This vision ridiculously low prices. obligatory meeting point of the Indies Díaz Ayala has pointed out, “The powerful of ‘98 may be in some ways influenced by But what interests us here is what all Fleets, Cuba received and distributed North American recording industry was the Spaniards, who for over a century have of this meant for the music, in the short musical influences from Europe, Africa, able to expand beyond the U.S., first in been crying about ‘98 as though it were a term of course, but especially over the long and throughout the Americas. In the 19th search of raw material, and then by selling national tragedy. Fortunately, the situation term. First off, it is important to consider century, with the independence of the equipment and records to those countries.... in Spain has changed so much that those Cuba’s central role in this U.S.-impelled continental colonies, there were migratory In 1904 Columbia announced the opening brilliant intellectuals who never tired of process, since in my view Cuba was con- movements that still require detailed study, of a recording lab in Mexico. Victor fol- weeping over the fall of the empire are verted into a kind of pilot experiment for most evidently from Mexico, Venezuela, lowed suit in 1905, and as of 1915 had been today viewed with a certain curiosity, U.S. strategy in Latin America. And, indeed, and Colombia into the Spanish-speaking making recordings in Buenos Aires, Santiago since Spaniards today feel that they didn’t Cuba offered the ideal conditions for such Antilles. How many musical exchanges de Chile, Montevideo, Lima and other only lose out at that time, they stood to a role, with music providing one must have resulted from these migrations? cities.” To cite further, Díaz Ayala goes gain as well. For them 1898 is more a of the best examples. And even in Cuba’s wars of independence, on to say that, “For all intents and purposes symbol of a generation of intellectuals, There can be no doubt that Cuba had which saw the participation of thousands it can be said that the main effort of the off the mark on many issues, but nonethe- a huge variety of musical genres and styles, of Latin Americans from different countries, North American recording business was less brilliant. At the same time, the U.S. as well as a potential for astute and how many rhythms and “airs” must have centered in the Caribbean. Its strategy gained in the short run in material terms opportunistic exploitation. This musical been heard in the rebel camps? These included traveling with portable recording what it lost in prestige, so that by now abundance stemmed in large part from the exchanges might help explain why Cubans equipment to record in the countries them- no historian of sound judgment would exceptional development of Cuba’s colonial were composing bambucos and singing selves.... In some countries where they set conceive of the Spanish-American war creole society in the 19th century, along rancheras long before the advent of radio. up recording studies the system was discon- as a glorious page in the history books. with strong European influences. But it The year 1898 constitutes a turning point in tinued before too long; but in others, such Cuba and Puerto Rico, who were the also derived from Cuba’s dubious honor of this process in the sense that, following the as Cuba, it was still alive until well into the ones who lost the most in the short and being the very last Latin American country development of North American musical 1930s.… The other method was to bring local medium terms, could see within a few to put an end to the slave trade and abolish firms, this interchange only accelerated, musical personalities to record in the U.S.” decades those events as not only having slavery, which happened in 1886, an event although only in certain directions. And it nother important point made by fatal consequences (which of course they that served to strengthen the presence of was Cuba that assumed the role of the Díaz Ayala is that the Cuban did), but also as another chapter in the ethnic groups such as the Yoruba, Carabalí, privileged exporter, becoming almost A recording industry didn’t get going history of their entry into modernity. and Arará, whose music had already become colonialist, though the major beneficiaries until 1944 (much later than the music Ye t rather than engaging in a partisan polit- an important (even though semiclandestine) were of course the corporations. industry in Mexico or Colombia and ical interpretation of the matter, let’s focus force by the beginning of the 20th century. The neocolonial situation faced by later, of course, than that in the Southern on the issue at hand: nuestra música. One must also consider the existence of the Puerto Rico and Cuba was decidedly less Cone, which had always been more Indeed, one of the decisive facts for the quite different poles –- almost two separate favorable over the longer term for Puerto closely linked to Europe). Because the subsequent history of Caribbean and Afro- musical countries — within the island: Rico, as is most directly evident in the industry was so dependent on labels like Caribbean music stems from the Spanish- the western part, with its strong Yoruba growing number of musicians who were Decca, Victor, and Columbia, a very large American War, which led to the occupation and Abakuá elements, and the eastern part, forced to migrate to the United States number of recordings of Cuban music of Cuba and Puerto Rico by the U.S. armed Oriente, which exhibited more Bantú and beginning in 1917 and then during the have been forgotten and never reissued. forces in 1898. From a Cuban perspective, Dahomeyan features owing to the Franco- 1920s and ‘30s, in proportions much larger On the other hand, Ruth Glasser has the military intervention between 1898 Haitian immigrations. At the same time than those of their Cuban counterparts. pointed out that in 1925 Victor had only and 1902 was above all the symbol of we find strong lay influences from Europe, (It is interesting to note, and deeply ironic, 25 recordings of Puerto Rican music, national humiliation and frustration, which crystallized in the prolific presence that while in our times “Lamento Borincano” as compared with 355 from Cuba and the though what was most troubling, even more of the operetta, most prominently popular stands as a classic throughout Latin America, Lesser Antilles, of which we can assume than the occupation itself, was the famous in the eastern part of the island. its parallel composition of the same years, that the majority were pressed and/or Platt Amendment, which was inserted into Not to say that Cuba had greater musical Grenet’s “Lamento Cubano,” is virtually registered by New York houses. John Storm the Constitution of 1901 and was not richness than any other country, and in fact forgotten after endless attempts by Roberts tells us that as early as 1850 there abolished until 1934. The other crucial and I myself feel that there was even greater different governments to prohibit it.) was already Cuban music being printed widely known development was the U.S.
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