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

Office: BO 337. Office Hours: MWF 10:00 am - 11:00 am. (appointments recommended); E-mail: [email protected]; Phone: (504) 865-2887

Course Description Salsa music is recognized as a symbol for Latinos in the United States and Hispanics abroad, but it is above all a commercial musical product that evolved throughout the 1970s in the United States thanks to the promotion of independent recording initiatives. This class seeks to go through Latino music evolution in the United States since the turn of the 20th century, its influence in the Caribbean, Latin America, and the world, and the consolidation of the salsa style and subculture in the 1970s Latin New York. It stimulates reflection about the life and experience of Latino-Caribbean minorities in the United States and how Latino-Caribbean social and musical traditions have shaped American and global pop cultures. The class will be relying on music itself in order to examine the history of Latino music, the social changes that this music symbolizes, and the configuration of the American entertainment and media network specialized in Latino styles. It also includes a dancing component whose goal is to familiarize students with one of the most important vehicles of socialization for Latino minorities in the United States and Hispanics abroad. 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 mass media and the recording industry interpret 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 2

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.

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 29 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.

Participation will be worth 25% of your final grade

Exercises requiring your presence in the classroom will be worth 30% of your final grade. → Presentations. Throughout the semester you will do two presentations. The first one will be in groups of three (3) people and the second one individual. The subject of these presentations may be proposed by the professor or by yourselves. You can work on a subject, a musical- historical personality or one or two songs.

If you decide to work on a song, you will have to defend your selection and explain that or those songs’ importance 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 SUBJECT WILL BE THE STARTING POINT FOR THE CLASS TO DISCUSS THE STATE OF THE SOCIETY IN THE TIME PERIOD YOU ARE COVERING. 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 20% of your final grade

→ Quizzes. Throughout the semester we will be dealing with historical events depicting the evolution of the Hispanic Caribbean minorities in the United States during the 20th century, 3

especially in the New York City area. These events can motivate our using of abstract concepts allowing us to understand these events as processes within specific theoretical frameworks (sociology, anthropology, cultural studies, politics, etc.) Quizzes will be given in order to assess the students’ comprehension of these events and processes and as reading assessments.

Quizzes will be worth 10% 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 01/15, 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.

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 individual paper will be worth 10% of your final grade. Al the three (3) = 30%

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

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General Grading Criteria for 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 the 1. Excellent to very good: The author defines and contextualizes the 37-40 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. Conclusion 1. Excellent to very good: By means of a brief recapitulation, the 20 (20 points) author explains the implicit logic of the subject, associates it with 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…………… 25% 2. Presentations………………………………...... 20% 3. Quizzes………………………………………… 10% 3. Three (3) 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

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 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 6

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

Week 1 Introduction The Afro-Cuban Influence in Classical Music

Week 2 The Latin Tinge Puerto Rican Bomba & Plena

Week 3 Afro-Cuban son in the west of Cuba

Week 4 The Rumba Era in New York

Week 5 & 6 Cuba, the Island of Innovation

Week 6 & 7 The Radio and the Popularization of Latino Music in the United States. The 7

Beginnings of Latin Jazz

Week 7 & 8 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 & 10 The Big Mambo (and Cha-Cha-Chá) Era. Latinos after the American Way of Life

Week 11 The Decline of the Mambo Era. Transitional Styles Towards Salsa

Week 12 & 13 The Civil Rights Movement and the Latin Boogaloo

Week 13 & 14 Salsa, the Barrio Movement

Weeks 14, 16 & 17 Salsa Dancing Class

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Schedule

Week Date Topic / Readings / Assignments ______1 Monday 01/06 1. Introduction Explanation of the syllabus. Why salsa is an important form of music? Method. Expectations of the professor. ______Wednesday 01/08 2. Afro-Cuban Influence on Classical Music - Influences of Afro-Cuban rhythms in the configuration of Creole and European musical imaginations; - The opera connection: Havana-New Orleans-New York; - The tresillo and the habanera. George Bizet and Louis Moreau Gottschalk. Bizet’s Carmen “Habanera”; Gottshalck’s “Les yeus creoles”, (danse cubaine).

Reading: Sublette, N. (2004). Cuba and Its Music. From the First Drums to the Mambo. Chicago: Chicago Review Press (an A Capella Book), 141-156. ______2 Monday 01/13 3. The Latin Tinge - Early influence of Latino-Caribbean music in ragtime and New Orleans jazz. - James Reese Europe and the 369th Infantry (“Hellfighters”) Band. Rafael Hernández and Puerto Ricans musicians in the band. “The Memphis Blues”; - Beginnings of a Latino-Caribbean music current in the United States. The first Puerto Rican migration in New York City and their traditional music.

Readings: Roberts, J.S. (1999). Latin Jazz. The First of the Fussions. 1880s to Today. New York: Schirmer Books, 12-18; Sublette, N. (2004). Cuba and Its Music. From the First Drums to the Mambo. Chicago: Chicago Review Press (an A Capella Book), 323-332. ______Wednesday 01/15 4. Puerto Rican Bomba & Plena - Social contents of Bomba and Plena. “El Home Relief”; - Social importance of these Puerto Rican styles to consolidate Puerto Rican identity in New York City; - Bomba and plena: music and lyrics.

Reading: Glasser, R. (1997). Puerto Rican Musicians and their New York Communities. Berkeley & Los Angeles: University of California Press, 169-190; 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. 9

Final Project Proposal ______3 Monday 01/20 5. Afro-Cuban Son in the west of Cuba - Cuban son, music for migrant peasants; - The Sindo Garay story. Origins of Dominican bachata; - Son, a portable format. Structure of the son ensemble. “Échale salsita”; - Son: lyrics and music.

Readings: 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. 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. ______Wednesday 01/22 6. Afro-Cuban Son in the west of Cuba ______4 Monday 01/27 7. The Rumba Era in New York - Why Afro-Cuban styles triumphed in New York over Puerto Rican folkloric music? The African, European, and Creole legacies; - The first Latino-Caribbean vaudeville in New York City and its influence in the United States: Don Azpiazu and Antonio Machín play Moisés Simon’s “El manisero” (“The Peanut Vendor”); - Latino musicians and artists in New York during the swing era: Desi Arnaz, Mario Bauzá, Xavier Cugat, Juan Tizol, Miguelito Valdés; - Relations between Latino-Caribbean and Afro-American jazz musicians. Mario Bauzá in the Chick Weeb’s big band. Friendship between Mario Bauzá and Dizzie Gillespie; - Collaboration Tizol-Ellington: “Caravan”, “Perdido”…

Readings: Aguilar, P.A. and McCabe, D. (writers, producers, and directors)(2009). Latin Music USA [TV documentary]. Arlington: PBS. First Hour. (Video); 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; 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; Salazar, M. (2002). Mambo Kings. Latin Music in New York. New York: Schirmer Trade Books; Sublette, N. (2004). Cuba and Its Music. From the First Drums to the Mambo. Chicago: Chicago Review Press (an A Capella Book), 459-477. 10

Video from Youtube: “The Peanut Vendor”. ______Wednesday 01/29 8. The Rumba Era in New York First Paper Due ______5 February 9. Cuba, the Island of Innovation Monday 02/03 - Arcaño y sus maravillas, the Cuban Danzón, and Orestes López Mambo groove. “Isora Club”; - Arsenio Rodríguez: African roots and African vocabulary for the Afro-Latin ensemble; - Arsenio Rodríguez’s Conjunto: introduction of the conga drums, piano, and arrangement for two trumpets; - Arsenio Rodríguez’s Son Montuno, spiritual predecessor of Salsa. “Diablo” through the Mambo in the Son Montuno rhythmical structure. “Monte adentro”, “Bruca manigua”, “Hay fuego en el 23”.

Readings: García, D.F. (2006). Arsenio Rodríguez and the Transnational Flows of Latin Popular Music. Philadelphia: Temple University Press, 12-31. Sublette, N. (2004). Cuba and Its Music. From the First Drums to the Mambo. Chicago: Chicago Review Press (an A Capella Book), 442-452, 478-484, 505-507, 532-533. ______Wednesday 02/05 10. Cuba, the Island of Innovation ______6 Monday 02/10 11. Cuba, the Island of Innovation ______Wednesday 02/12 12. The Radio and the Popularization of Latino Music in the United States. The Beginnings of Latin Jazz - Strike of the radio broadcasters against the ASCAP. The Foundation of BMI; - Strike against ASCAP by the musicians forming part of the American Federation of Musicians; - The first recording labels and media network devoted to Latino Music in the United States; - Collaboration Dizzy Gillespie-Chano Pozo: “Manteca”, “A Night in Tunisia”. - Mario Bauza’s foundation of Latin Jazz: “Tanga”.

Readings: 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. ______7 Monday 02/17 13. The Radio and the Popularization of Latino Music in the United States. The Beginnings of Latin Jazz ______Wednesday 02/19 14. Politics, Demographics, and Sociology of Latin Music. Luis Muñoz 11

Marín, Operation Bootstrap, and the Puerto Rican Diaspora to New York City (1947-1952)

- Political compromises between Puerto Rico and the U.S.; - The formation of the Associate Free State; - Luis Muñoz Marín, General Governor of Puerto Rico; - The big Puerto Rican Diaspora to New York.

Readings: 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, 252-258. ______8 Monday 02/24 15. Politics, Demographics, and Sociology of Latin Music. Luis Muñoz Marín, Operation Bootstrap, and the Puerto Rican Diaspora to New York City (1947-1952) ______Wednesday 02/26 16. The Big Mambo (and Cha-Cha-Chá) Era. Latinos after the American Way of Life - First American labels specialized in Latino-Caribbean music; - Formation of a radio network promoting Latino-Caribbean Music; - Main venues in New York City offering Latino shows.

Readings: 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.

Second Paper Due ______March Monday 03/03 ______Mardi Gras Break 9 Wednesday 03/05

______10 Monday 03/10 17. The Big Mambo (and Cha-Cha-Chá) Era. Latinos after the American Way of Life (1) 12

- First American labels specialized in Latino-Caribbean music; - Formation of a radio network promoting Latino-Caribbean Music; - Main venues in New York City offering Latino shows.

Readings: 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. ______Wednesday 03/12 18. The Mambo (and Cha-Cha-Chá) Era. Latinos after the American Way of Life (2) - The three big orchestras and music leaders in NYC: Machito and his Afrocubans; Tito Puente, and Tito Rodríguez. Resemblances and differences; - Was Mambo really a Latino trend? Jewish entrepreneurs in the Latino-Caribbean show business; “Mamagüela”; - Was Mambo really a Latino trend? Mambo fashion and modern sophistication, in New York and Cuba. Outfits, scene, and architecture; - Connotation of Mambo in white Anglo-American society: Sexual Instincts in tuxedo and silk night gowns. Clip: Newport Cigarettes spot; - Mambo and Rock ‘n’ Roll: Let the best one win. Movies: Cha- Cha-Cha Boom; Rock Around the Clock.

Readings: 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; Salazar, M. (2002). Mambo Kings. Latin Music in New York. New York: Schirmer Trade Books. ______11 Monday 03/17 19. The Mambo (and Cha-Cha-Chá) Era. Latinos after the American Way of Life (2) ______Wednesday 03/19 20. The Decline of the Mambo Era. Transitional Styles Towards Salsa - Cuba and the United States keep their distance; - The Pachanga Style, by Eduardo Davidson; - Prejudices against Latinos in NYC durig the 50s and 60s. Movie: West Side Story; - Return towards Arsenio Rodríguez’s Son Montuno aesthetic. Son Montuno’s connection with the Latino barrio lifestyle. 13

Movie: The Pawnbroker; - Jerry Masucci, Johnny Pacheco, and the foundation of Fania Records.

Readings: 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; Hijuelos, O. (1989) Hijuelos, O. (1989). The Mambo Kings Play Songs of Love. New York: Farrar, Straus, Giroux, 293-296; 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 Books, 51-61. ______12 Monday 03/24 21. The Civil Rights Movement and the Latin Boogaloo - What was at stake during the Civil Rights Movements and why Latinos formed part of it?; - Boogaloo and the Latino-Caribbean identity in the United States; - Aesthetic characteristics of the Latino Boogaloo. “Boogaloo Blues”, “El Watusi”, “Watusi Boogaloo”, “Watusi ‘65”, “I Like it Like That”, “Ay, qué rico”, “King of Latin Soul”, “Mercy, Mercy, Baby”, “Acid”.

Readings: Jiménez Román, M. & Flores, J. (2010). The Afro-Latin@ Reader: History and Culture in the United States. Durham [NC]: Duke University Press, 199-206. Kempton, A. (2003). Boogaloo: the Quintessence of American Popular Music. New York: Pantheon Books, x-x. Meléndez, M. (2003). We took the Streets: Fighting for Latino Rights with the Young Lords. New York: St. Martin’s Press, 189- 198, 234-237, 238-241. Pietri, P. (1968). Puerto Rican Obituary… ______Wednesday 03/26 22. The Civil Rights Movement and the Latin Boogaloo - What was at stake during the Civil Rights Movements and why Latinos formed part of it?; - Boogaloo and the Latino-Caribbean identity in the United States; - Aesthetic characteristics of the Latino Boogaloo. “Boogaloo Blues”, “El Watusi”, “Watusi Boogaloo”, “Watusi ‘65”, “I Like it Like That”, “Ay, qué rico”, “King of Latin Soul”, “Mercy, Mercy, Baby”, “Acid”.

Readings: Jiménez Román, M. & Flores, J. (2010). The Afro-Latin@ Reader: History and Culture in the United States. Durham [NC]: 14

Duke University Press, 199-206. Kempton, A. (2003). Boogaloo: the Quintessence of American Popular Music. New York: Pantheon Books, x-x. Meléndez, M. (2003). We took the Streets: Fighting for Latino Rights with the Young Lords. New York: St. Martin’s Press, 189- 198, 234-237, 238-241. Pietri, P. (1968). Puerto Rican Obituary…

THIRD PAPER DUE ______13 Monday 03/31 23. The Civil Rights Movement and the Latin Boogaloo ______April 24. Salsa, the Barrio Movement Wednesday 04/02 - Musical characteristics of the Salsa style; - Why Salsa is what Rock and Pop are for Caucasian audiences?; - Salsa star system and the Motown Records example; - Salsa scene and drugs. A Latino counterculture - Salsa stages: from harsh machismo to social consciousness. “Abran paso”, “Anacaona”, “Indestructible”, “Piraña”, “Pedro Navaja”, “Pablo Pueblo”, “Juan Albañil”…

Readings: 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 Washburne, C. (2008). Sounding Salsa. Performing Latin Music in New York City. Philadelphia: Temple University Press, 109-129, 130-150, 167-206. ______14 Monday 04/07 25. Salsa, the Barrio Movement

______Wednesday 04/09 26. Salsa Dancing Class

______15 Monday 04/14

______Wednesday 04/16 15

Easter/Spring Break ______16 Monday 04/21 ______Wednesday 04/23 27. Salsa Dancing Class ______17 Monday 04/28 28. Salsa Dancing Class ______Wednesday 04/30 29. Last Class

Final Paper Due