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Salsa: Latino Diaspora, Music Industry, and Dance Leopoldo Tablante, PhD

Office: BO 306 Office Hours: MWF 3:30 pm - 4:30 pm. (appointments recommended) E-mail: [email protected] Phone: (504) 865-3845

Course Description Salsa: Latino Diaspora, Music Industry, and Dance examines Salsa from an academic standpoint as a musical form and a commercial concept, as well as an urban cultural product that has evolved especially within the Puerto Rican community of New York City. The study of Salsa Music will be useful in explaining the connections between society and culture, enabling students to grasp the logic through which the recording industry interprets collective sensibilities and histories.

Requirements Students are required to attend class not only to listen to the professor lecture, or to the music that will be our subject, but as critical thinkers. In this sense, you are responsible for conducting research in order to make informed opinions about the content and implications of the pieces of music we will be analyzing. In this class, music is the pretext to undertake research involving several disciplines: sociology, anthropology, ethnography, media economics, and cultural studies. The idea is to understand the importance of Latino Caribbean musical sources in the enrichment of American music as a whole and in the development of the show business and recording industry.

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Course Outcomes - To grasp the sensibility corresponding to a relatively large repertoire of Afro-Latino popular music highlighting the historical, social, and cultural processes it implies; - To clarify the functions of one part of the cultural industries, the recording industry, in order to standardize the production, promotion, and distribution of cultural goods; - To understand Salsa’s contents as a representation of a Latino urban lifestyle and of a Latino interpretation of modernity; - To examine the global network of cultural industries through the challenges implied in Salsa conception, production, promotion, and distribution.

Assessment and Grading → Class Attendance and Participation. There will be 42 classes. You may miss four (4) without penalty, but only two (2) before the mid semester. For every absence, you will receive a zero (0) for class participation. Each time you come unprepared, you will receive a zero (0) for class participation. Class participation implies having read the material (please, print them from Blackboard) as well as the exercises, exams, or quizzes presented in class. The professor will often propose a question for you to reflect and write about before beginning a discussion.

Exercises requiring your presence in the classroom will be worth 30% of your final grade.

→ Presentation. Throughout the semester you will do, in groups of three persons, up to three (3) presentations about songs in our repertoire. These songs may be proposed by the professor or by yourselves. You will have to defend your selection relying on some basic information: 1) genre, 2) date of releasing, 3) biography of the recording artist, 4) record label, 5) aesthetic characteristics, 6) symbolic elements both in lyrics and music, 7) main audience, 8) critiques (if available), 9) statistics about its commercial performance (if available), and 10) historical value.

YOUR CHOSEN SONG WILL BE THE STARTING POINT TO DISCUSS THE STATE OF THE SOCIETY RECEIVING IT WHEN IT WAS A FASHIONABLE PRODUCT. You can use any media available to support your statements. The purpose of these presentations is to motivate discussion and exchanges in the classroom.

Presentations will be worth 25% of your final grade.

→ Essay Papers. You will turn in four (4) papers, three partial ones of four (4) pages each and a final one of up to twelve (12) pages. On Monday 01/20, you will have to submit a proposal of the theme you will be working on during the semester. This proposal must be presented formally in a document stating 1) why you are choosing that theme, 2) what specific aspects you want to cover, and 3) what the outcomes of your research will be. 3

Each partial paper must cover one specific aspect of the general topic you will be working on during the semester. If you decide to work on Tito Puente’s big band format during the 1950s and 1960s as a key factor of his commercial success, you are required to develop three different parts. For example: 1) Tito Puente’s biography and cultural identity, 2) Musical influences and familiarity with the American popular music of the swing era, and 3) conception of a commercial hybrid style combining traditional Afro-Cuban rhythms and American ballroom arrangements. Your final project will combine the previous three papers in an organic one including introduction and conclusions. In the introduction you will expose and justify your outline; in the conclusion you will highlight your major findings establishing logical associations between them.

Each partial paper will be worth 10% of your final grade.

The final paper will be worth 15% of your final grade.

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Grading Criteria for Final Papers a. Title (10 1. Excellent to very good: It conveys clearly and succinctly the 10 points) subject of the essay; 2. Good to average: Although it presents the problem the essay 6-9 deals with, it fails to address a specific problem; 3. Fair to poor: The title is too broad. It does not give the reader a 2-5 precise idea of the essay´s argument nor helps to anticipate the intellectual perspective chosen by author. 4. Very Poor: The title is too general or vague. 1 b. 1. Excellent to very good: Presents precisely and succinctly the 20 Introduction problem chosen and explains the topical outline; (20 points) 2. Good to average: Presents the problem chosen by the author but 14-19 it fails to precisely establish the topical outline; 3. Fair to poor: The introduction is merely a section throughout 7-13 which the author refers to her/his theme in general terms; 4. Very Poor: The introduction seems to be merely a formal 1-6 requisite in the document. c. Body of 1. Excellent to very good: The author defines and contextualizes the 37-40 the Essay issue. Ideas are clearly expressed, with pertinent theoretical (40 points) references cited formally (MLA protocol). Logical transitions between the different sections of the essay are utilized; 2. Good to average: The author defines and contextualizes the 25-36 argument but fails in supporting her/his statements with the appropriate documented references or does not cite them properly. Although the ideas are presented clearly enough, the logical transition between the different parts of the essay are not explicit; 3. Fair to poor: The author’s statements are merely impressionistic. 15-24 There are conceptual gaps from one section to another; 4. Very Poor: The essay is a reunion of scattered or isolated 1-14 impressionistic considerations. The lack of logical connection between each part conveys to the reader the idea that the essay does not have a goal. d. 1. Excellent to very good: By means of a brief recapitulation, the 20 Conclusion author explains the implicit logic of the subject, associates it with (20 points) more complex processes, or presents a new research problem; 2. Good to average: The author recapitulates the material without 14-19 establishing further associations; 3. Fair to poor: The author repeats statements coming from the 7-13 body of the essay; 4. Very Poor: The conclusion is just a text written with the goal of 1-6 filling a formality but without any useful function. e. List of 1. Acceptable: The references match those cited throughout the 6-10 References essay and are listed using MLA format; (10 points) 2. Unacceptable: The references do not match those cited 1-5 throughout the essay and do not fit the MLA format. 5

Notice about the Assignments and Readings YOU ARE REQUIRED TO CHECK BLACKBOARD PERIODICALLY AND CONSULT THE ANNOUNCEMENTS. CHANGES MIGHT OCCUR DEPENDING ON CLASS DISCUSSIONS. NEW READINGS, NOT POSTED IN THE PRESENT SYLLABUS, MAY BE ADDED.

Late Work Any assignment that is submitted late will incur a grade reduction for each day it is late. The definition of “late work” is any work that is received after midnight on the date it is due. (For example, if a paper with a grade of a B+ is submitted two days late, then the resulting grade will be a B-).

Final Grade Breakdown 1. Class Attendance and Participation 30% 2. Presentations 25% 3. Three (3) partial papers 30% 4. Final paper 15% Total 100%

Texts All readings will be posted on Blackboard.

Grading Scale 93-100 A 90-92 A- 87-89 B+ 83-86 B 80-82 B- 77-79 C+ 73-76 C 70-72 C- 67-69 D+ 60-66 D 59 or below F

If you do not turn in your work, you will not get an F. You will get a zero (0).

Note on Cheating and Plagiarism Cheating in any form, including plagiarism (the uncited use of direct quotes, paraphrasing, and reworking of an author’s work) is strictly prohibited. Any offense will be reported to the Dean’s office and you will receive a failing grade for the assignment that you cheated on. Parenthetical citations (American Sociological 6

Association format) are the accepted form for citations in this course [for ex.: (Feagin 2001:45)]; see http://www.calstatela.edu/library/bi/rsalina/asa.styleguide.html.

Film Screenings Each film forming part of our selection will be available on Blackboard at least two days before our discussion session. It will be possible to stream them during a whole week. It is your responsibility to watch these films in order to be able to participate in class. Arrangements will be made to schedule screening in projection facilities. In this case, your presence will be counted as part of your final grade.

Need Help With Your Writing? Contact Writing Across the Curriculum (WAC), Bobet Hall, First Floor, room 100, ext. 2297. You can just stop by or make an appointment. http://www.loyno.edu/wac

Notice to Students with Disabilities A student with a disability who qualifies for accommodations should contact Sarah Mead Smith, Director of Disability Services at 865-2990 (Academic Resource Center, Room 405, Monroe Hall). A student wishing to receive test accommodations (e.g., extended test time) MUST provide the instructor with an official Accommodation Form from Disability Services in advance of the scheduled test date.

Emergency Statement . In the event that there is an interruption to our course due to the cancellation of classes by the university as a result of an emergency, we will continue our course on Blackboard within 48 hours after cancellation. . All students are required to sign on to Blackboard and to keep up with course assignments within 48 hours of evacuation and routinely check for announcements and course materials associated with each class. Class handouts will be posted under “course materials”. . Students should be familiar with their responsibilities during emergencies, including pre-evacuation and post-evacuation for hurricanes. This information is available on the Academic Affairs web site: http://academicaffairs.loyno.edu/students-emergency- responsibilities . Additional emergency-planning information is also available - http://academicaffairs.loyno.edu/emergency-planning

Topical Outline Weeks 1-2 Introduction. - The Latin tinge: Early influence of Latino music in Afro American Jazz. Beginnings of a Latino Caribbean world in the United States. Puerto Rican Bomba, Plena, and Danza. - First Puerto Rican professional musicians in New York City: Rafael Hernández and Juan Tizol. 7

- Why Afro-Cuban Music is so important. The classical, African and hybrid legacies.

Week 3 The success of Afro-Cuban folkloric music and imagery in urban New York: Don Azpiazu, Antonio Machín, and “The Peanut Vendor”. The Rhumba era.

Week 4 Latinos in New York: Between exoticism and the search for identity. Desi Arnaz, Xavier Cugat, and Miguelito Valdés.

Week 5 Latino music: between musicians, radio, and publishers. The foundation of BMI and the promotion of “Ethnic” music.

Week 6 Musicians, promoters, and entrepreneurs. Jewish tradition behind the New York Latino scene. Politics, demographics, and sociology of Latin Music. Luis Muñoz Marín, Operation Bootstrap, and the Puerto Rican diaspora to New York City (1947-1952).

Week 8 Mambo times. The Latino trend to conquer white America

Week 9 Recapitulation and preparation of questions for percussionist and lecturer Bobby Sanabria

Week 10 The three biggest mambo orchestras: Machito and His Afrocubans, Tito Puente, and Tito Rodríguez

Week 11 Pachanga and the end of the ballroom era. Latino life and music in the New York barrio during the civil rights struggle. Latin Boogaloo

Week 12 Johnny Pacheco, Jerry Masucci and the foundation of the Fania Group of labels

Week 14 1970s. Salsa against Rock. A Latino Caribbean youth movement and fashion trend within the New York City Barrio. Links with Soul and Disco Music

Week 15 The Barrio, the singer, and his family. Salsa as translocation

Week 16 Everything comes to an end. The nuances of Salsa and its successors: Merengue, Salsa Romántica, Reggaeton

Week Date Activity/Assignment 8

______1 01/09/2012 Introductions. Explanation of the syllabus. Why salsa is an important form of music. Method. Expectations of the professor. ______01/11/2012 The Latin tinge. Early influence of Latino music in Afro American Jazz. Beginnings of a Latino Caribbean world in the United States. Puerto Rican Bomba, Plena, and Danza Readings: Roberts, J.S. (1999). Latin Jazz. The First of the Fussions. 1880s to Today. New York: Schirmer Books, 12-18. Singer, R. and Friedman, R. (1977). Puerto Rican and Cuban Musical Expression in New York. In: López, R. Caliente = Hot. Puerto Rican and Cuban Musical Expression in New York (liner notes), 3-17. Sublette, N. (2004). Cuba and Its Music. From the First Drums to the Mambo. Chicago: Chicago Review Press (an A Capella Book), 329-332. ______01/13/2012 Idem. ______2 01/16/2012 MARTIN LUTHER KING’S BIRTHDAY HOLIDAY ______01/18/2012 First Puerto Rican professional musicians in New York City: Rafael Hernández and Juan Tizol Readings: Collier, J.M. (1987). Duke Ellington. New York: Oxford University Press, 89-91, 163, 185-186, 245, 302, 303. Roberts, J.S. (1999). Latin Jazz. The First of the Fussions. 1880s to Today. New York: Schirmer Books, 35-36. Sublette, N. (2004). Cuba and Its Music. From the First Drums to the Mambo. Chicago: Chicago Review Press (an A Capella Book), 329-332. ______01/20/2012 Why Afro-Cuban Music is so important. The classical, African and hybrid legacies Readings: Sublette, N. (2004). Cuba and Its Music. From the First Drums to the Mambo. Chicago: Chicago Review Press (an A Capella Book), 141-156, 159-174. Final Project Proposal Due ______3 01/23/2012 Presentation The success of Afro-Cuban folkloric music and imagery in urban New 9

York: Don Azpiazu, Antonio Machín, and “The Peanut Vendor”. The Rhumba era Readings: Roberts, J.S. (1999). The Latin Tinge. The Impact of Latin American Music on the United States. New York-Oxford: Oxford University Press, 76-99 “The Peanut Vendor”. Video from Youtube ______01/25/2012 And meanwhile… what was happening in Cuba? Son, danzón, conga, and the very first mambo Quintero Rivera, A. (1998). Salsa, sabor y control. Sociología de la música tropical. México: Siglo XXI, 98. Quintero Rivera, A. (2009). Cuerpo y cultura. Las músicas «mulatas» y la subversión del baile. Madrid: Iberoamericana – Vervuert, 109-110 (see document .pdf attached on Blackboard) Sublette, N. (2004). Cuba and Its Music. From the First Drums to the Mambo. Chicago: Chicago Review Press (an A Capella Book), 333-346. 362-378, 425-427, 442-452. García, D.F. (2006). Arsenio Rodríguez and the Transnational Flows of Latin Popular Music. Philadelphia: Temple University Press, 12-31. ______01/27/2012 Idem. ______4 01/30/2012 Presentation Latinos in New York: Between the show of exoticism and the search of identity. Desi Arnaz, Xavier Cugat, and Miguelito Valdés Salazar, M. (2002). Mambo Kings. Latin Music in New York. New York: Schirmer Trade Books. ______02/01/2011 Jazz and Latino Caribbean sounds. Mario Bauzá, Dizzy Gillespie, Chico O’Farrill, Chano Pozo Aguilar, P.A. and McCabe, D. (writers, producers, and directors)(2009). Latin Music USA [TV documentary]. Arlington: PBS. First Hour. Gillespie, D. and Fraser, A. (1979). To Be or not top Bop. Memoirs. New York: Double Day, 64, 116, 171-172, 317-325, 347-351. ______02/03/2012 Idem. ______5 02/06/2012 Presentation Latino Music. Between musicians, radio, and publishers. The foundation of BMI and the promotion of “ethnic” music 10

Frith, S. (1981). Sound Effects. Youth, Leisure, and the Politics of Rock ‘n’ Roll. New York: Pantheon Books, 93-94. Roberts, J.S. (1999). The Latin Tinge. The Impact of Latin American Music on the United States. New York-Oxford: Oxford University Press, 100-126. ______02/08/2012 Idem. ______02/10/2012 Idem. First paper due ______6 02/13/2012 Presentation Musicians, promoters, and entrepreneurs. Jewish tradition behind the New York Latino scene Boggs, V.W. (1992). Al Santiago: Alegre Superstar. In: Boggs, V.W. Salsiology. Afro-Cuban Music and the Evolution of Salsa in New York City. New York: Greenwood Press, 210. Hijuelos, O. (1989). The Mambo Kings Play Songs of Love. New York: Farrar, Straus, Giroux, 272-276. Lumet, S. (director) (1964). The Pawnbroker [Film]. Santa Monica: Artisan Home Entertainment. Salazar, M. (2002). Mambo Kings. Latin Music in New York. New York: Schirmer Trade Books. ______02/15/2012 Politics, demographics, and sociology of Latin Music. Luis Muñoz Marín, Operation Bootstrap, and the Puerto Rican diaspora to New York City (1947-1952) Acosta-Belén, E. y Santiago, C. (2006). Puerto Ricans in the United States: A Contemporary Portrait. Boulder: Lynne Rienner Publishers, pp. 75-85. Quintero Rivera, A. (1998). Salsa, sabor y control. Sociología de la música popular. México: Siglo Veintiuno Editores, p. 159. Rodríguez Juliá, E. (2004). Cortijo’s Wake. Durham: Duke University Press, pp. 32-33. Wagenheim, K. (1994). The Puerto Ricans: A documentary history. New Jersey: M. Wiener Publishers, 241-245, ; pp. 252-258. ______02/17/2012 Idem. ______7 02/20/2012 02/22/2012 MARDI GRAS HOLIDAYS 02/24/2012 ______11

8 02/27/2012 Presentation Mambo times. The Latino trend to conquer white America Boggs, V. W. (1992). The Palladium Ballroom and Other Venues: Showcases for Latin Music in N.Y.C. New York: Greenwood Press, pp. 127-132. Hijuelos, O. (1989). The Mambo Kings Play Songs of Love. New York: Farrar, Straus, Giroux, 78-85; 154-156. Rondón, C. (2008). The Book of Salsa. A Chronicle of Urban Music from the Caribbean to New York City. The University of North Carolina Press, pp. 1-10. Salazar, M. (2002). Mambo Kings. Latin Music in New York. New York: Schirmer Trade Books. Thomas, P. (1997). Down These Mean Streets. New York: Vintage Books, 116-118. ______02/29/2012 Idem. ______03/02/2012 Idem. ______9 03/05/2012 Presentation Recapitulation and preparation of questions for percussionist and lecturer Bobby Sanabria Morales, E. (2003). The Latin Beat. The Rhythm and Roots of Latin Music form Bossa Nova to Salsa and Beyond. Cambridge, MA: Da Capo Press, 33-54. ______03/07/2012 Idem.

7:00 p.m.: CONCERT-LECTURE OF BOBBY SANABRIA AND CUARTETO ASHÉ. ATTENDANCE MANDATORY ______03/09/2012 Discussion about Bobby Sanabria’s Lecture and Concert ______10 03/12/2012 Presentation The three biggest Mambo orchestras: Machito and His Afrocubans, Tito Puente and Tito Rodríguez Padura Fuentes, L. (2003). Cachao López: My Language is a Double Bass. In Faces of Salsa. A Spoken History of the Music. Washington: Smithsonian Books, 90-102. Roberts, J.S. (1999). The Latin Tinge. The Impact of Latin American Music on the United States. New York-Oxford: Oxford University Press, 127-146. Rondón, C.M. (2008). The Book of Salsa. A Chronicle of Urban Music 12

from the Caribbean to New York City. The University of North Carolina Press, pp. 1-10. Salazar, M. (2002). Mambo Kings. Latin Music in New York. New York: Schirmer Trade Books. Steward, S. (1992). Liner Notes. In The Mambo Kings [Music CD]. London: Charly Records LTD. ______03/14/2012 Idem. Second Paper Due ______03/16/2012 Idem. ______11 03/19/2012 Presentation Pachanga and the end of the ballroom era. Latino life and music in the New York Barrio buring the Civil Rights struggle. Latin Boogaloo Hijuelos, O. (1989) Hijuelos, O. (1989). The Mambo Kings Play Songs of Love. New York: Farrar, Straus, Giroux, 293-296. Rondón, C.M. (2008). The Book of Salsa. A Chronicle of Urban Music from the Caribbean to New York City. The University of North Carolina Press, 11-16. Salazar, M. (1992). Afro-American Latinized Rhythms. In Boggs, V.W. Salsiology. Afro-Cuban Music and the Evolution of Salsa in New York City. New York: Greenwood press, pp. 239-248 Thomas, P. (1997). Down These Mean Streets. New York: Vintage Books, 47-63 ______03/21/2012 Idem. ______03/23/2012 Idem. Third paper due ______12 03/26/2012 Presentation Johnny Pacheco, Jerry Masucci and the foundation of the Fania Group of Labels Aguilar, P.A. and McCabe, D. (writers, producers, and directors)(2009). Latin Music USA[TV documentary]. Arlington: PBS. Second Hour. Boggs, V. (1992c). Al Santiago: Alegre Superstar. En: Salsiology: Afrocuban Music and the Evolution of Salsa Music in New York City. Nueva York: Greenwood Press, 208-212. Padura Fuentes, L. (2003). Johnny Pacheco: From the New Tumbao to the Old Tumbao― The Great Chronicle of Salsa. In: Faces of Salsa. A Spoken of the Music. Washington: Smithsonian 13

Books, 51-61. Rondón, C.M. (2008). The Book of Salsa. A Chronicle of Urban Music from the Caribbean to New York City. The University of North Carolina Press, 28-40 Shapiro, M. (2007). Passion and Pain. The Life of Hector Lavoe. New York: St. Martin’s Griffin, 41-63. ______03/28/2012 Idem. ______03/30/2012 Idem. ______13 04/02/2012 ______04/04/2012 ______EASTER HOLIDAYS 04/06/2012 ______14 04/09/2012 ______04/11/2012 Presentation 1970s. Salsa against Rock. A Latino Caribbean youth movement in the New York City Barrio. Links with Soul and Disco Music De Palma, B. (director) (1993). Carlito’s Way. [movie] Los Angeles: Universal Studios. Gast, L. (director and producer) (2004). Our Latin Thing [Documentary]. Madrid: Vampisoul. Henken, T. (2007). ¿Salsa sin fronteras? The Cultural Transnationalism of Cuban Dance Music in the Journalism of Leonardo Padura Fuentes. In El son y la danza en la identidad del Caribe. Memorias del II Congreso Internacional Música, Identidad y Cultura en el Caribe. Santiago de los Caballeros: Centro León, 145-154. Manuel, P. (1994). Puerto Rican Music and Cultural Identity: Creative Appropriation of Cuban Sources from Danza to Salsa. Ethnomusicology, 38(2), 264-280. Rondón, C.M. (2008). The Book of Salsa. A Chronicle of Urban Music from the Caribbean to New York City. The University of North Carolina Press, 41-61 Tablante, L. (2010). “Salsa Music and Urban Fashion Trends in the 70s”. Births, Stages, Declines, Revivals. 2010 Conference for the International Association for the Study of Popular Music, US Branch. New Orleans. 9 Apr. 2010, 1-28. ______14

04/13/2012 Idem. Third Paper Due ______15 04/16/2012 Idem. ______04/18/2012 Presentation The Barrio, the singer and his family. Salsa as translocation Duany, J. (1992). Popular Music in Puerto Rico: Toward an Anthropology of Salsa. In Boggs, V.W. Salsiology. Afro-cuban Music and the Evolution of Salsa in New York City. New York: Greenwood Press, 71-89. Febres Santos, M. (1997). Salsa as Translocation. In: Fraser Delgado, C. and Muñoz, J.E. Every Night Life. Culture and Dance in Latin/o America. Durham: Duke University Press, 175-188. Ichaso, L. (director) (2008). El cantante [movie]. Los Angeles: New Line Home Video. Morales, E. (2003). The Latin Beat. The Rhythm and Roots of Latin Music form Bossa Nova to Salsa and Beyond. Cambridge, MA: Da Capo Press, 55-93. Quintero Herencia, J.C. (1997). Notes Towards a Reading of Salsa. In: Fraser Delgado C. and Muñoz, J.E. Every Night Life. Culture and Dance in Latin/o America. Durham: Duke University Press, 189-222. ______04/20/2012 Idem. ______16 04/23/2012 Idem. ______04/25/2012 Everything comes to an end. The nuances of salsa and its successors: Merengue, Salsa Romántica, and Reggaetón Morales, E. (2003). The Latin Beat. The Rhythm and Roots of Latin Music form Bossa Nova to Salsa and Beyond. Cambridge, MA: Da Capo Press, 238-252. ______04/27/2012 Idem. 17 ______04/30/2012 Presentation Idem. ______04/02/2012 Last paper due