Centro Journal ISSN: 1538-6279 [email protected] The City University of New York Estados Unidos

Flores, Carlos Five Decades of the Puerto Rican Music Scene in Chicago: A Personal Recollection Centro Journal, vol. XVI, núm. 1, spring, 2004, pp. 140-153 The City University of New York New York, Estados Unidos

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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 Flores(v7a).qxd 6/29/04 4:28 PM Page 140

CENTRO Journal

Volume7 xv1 Number 1 spring 2004

Five Decades of the Puerto Rican Music Scene in Chicago: A Personal Recollection

CARLOS FLORES

ABSTRACT

This essay documents the development and history of Puerto Rican music, places and musicians in Chicago. It highlights the musical relationships between Puerto Ricans and other groups, and the locations where such relationships took place. [Key words: Chicago, music, Puerto Rican music, place, dance, ]

Celia/Conde Dance Poster (1977) – Flier/poster advertisiment for a dance at the Golden Tiara Ballroom, 1977. Poster courtesy of Carlos Flores.

Album cover of La Justicia’s first album Salsa con Nostalgia, recorded in the 1970s. Courtesy of Carlos Flores.

New World Clipping (June, 1956) – Newspaper clipping from the Catholic Archdiocese newspaper The New World announcing the First Día de San Juan Festival in 1956. Courtesy of Manuel Martínez.

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Late 1940s through the 1950s: 1956, when the Caballeros de San Juan The Beginnings of Social, Civic, (Knights of St. John) organized El Día and Cultural Organizations de San Juan Festival in conjunction in Puerto Rican Chicago with the same holiday on the island. The presence of Puerto Ricans in Chicago The sponsoring organization was also can be traced to 1903, with the arrival of established through the efforts of families like those of Arturo Méndez and the Roman Catholic Archdiocese Adelina González and individuals like José of Chicago/Cardinal’s Committee Santana (1913), José LaSalle (1917), and the for the Spanish Speaking in Chicago. family of Luis Fuentes in the 1920s. The festival was held at the Chicago But Chicago did not experience its first Avenue Armory (presently the site significant migration of Puerto Ricans until of the Chicago’s Museum of 1946, when a private employment agency Contemporary Art), and it featured in the city (Castle, Barton, and Associates) the music of Tito Rodríguez and his established offices in to Orchestra, Trío Vegabajeño, and a recruit migrant workers to the Chicago Mexican comedian by the name of area. The recruitment efforts resulted Pecas. Doña Felisa Rincón de Gautier, in the migration of about 600 Puerto the mayor of San Juan, was an invited Music and dance Ricans, mostly women, to be contracted guest, and an estimated 6,000 Puerto Ricans attended the festivities. traditions define Puerto Rican culture. for domestic and foundry work. The second fest was held the following As Puerto Ricans migrated to the United States This marks the emergence of the year on June 23, 1957, and it included the during the twentieth century, these traditions Puerto Rican community in Chicago. presentation of the Orchestra Sinfónica eased their pain and solitude and helped them In the late 1940s and early 1950s the de San Juan (Symphony Orchestra of face the challenges of harsh winters, an unfamiliar Chicago Roman Catholic Archdiocese was San Juan), directed by conductor language, and overt discrimination. The Puerto one of several organizations that took the Arturo Somohano, and soloists Olga Rican migration to Chicago and other Midwest lead in providing services and counseling to Iglesias and Carmencita Figueroa. cities, like Loraine, Cleveland, Milwaukee, Gary, help the many Puerto Rican migrants make The event was held at the St. Phillip and East Chicago, bears interesting comparisons a smooth assimilation into the city’s general Stadium, an outdoor high school foot- and contrasts with the migration that occurred population. By 1947 the Puerto Rican ball stadium on the West Side of Chicago, in other eastern cities in the United States. Catholic Society (Sociedad Católica and it was attended by thousands of This article will present a brief history of how Puertorriqueña) had celebrated its first Puerto Ricans and non-Puerto Ricans. Chicago’s Puerto Rican community transplanted coronation dance in the facility of the Later that evening a dance was held and supported its cultural traditions through Catholic Youth Organization. On May 1, in a ballroom, featuring Arturo Somohano popular music over the last five decades. It is 1950, the archdiocese assisted in the and his combo and a floorshow.1 also based on my own personal experiences, publication of the first Puerto Rican The origins of the local Puerto having followed this music scene for more than newspaper, entitled Borinquen. According Rican music scene can be traced to four decades. It will describe the social, civic, to its editor, the newspaper was published the late 1940s, when Puerto Rican- and cultural organizations Puerto Ricans estab- for “the welfare of all Puerto Ricans in the born Rafael “Congo” Castro traveled lished as they migrated to Chicago, as well as city of Chicago.” One of the articles in the to Chicago from New York for a week- the individual musicians, artists, promoters, first edition invited all Puerto Ricans to long engagement in a downtown night- musical groups, and venues that have kept attend a debut concert presented by Mario club, playing bongos and percussion the music and the culture alive. Dumond, who directed the orchestras from El Escambrón Beach Club and the Condado with a West Indies dance show titled Beach Hotel in Puerto Rico, along with Show Calypso. Upon his arrival in Chicago, Castro became reacquainted From top to bottom: Ralphy Levitt y La Selecta at the Aragon Ballroom singer Ángel Santiago. The event was held (circa 1970); Latin jazz group, It’s Us, performing at the José De Diego on Mother’s Day, May 14, 1950, at the Merry with Puerto Rican pianist Quique Academy in Chicago, 1993; and Vitín Santiago at the First Garden Ballroom on Chicago’s North Side. Orchard, who had moved to Chicago Chicago International Salsa Congress, 2002; Kalinda Orchestra at the Chicago Jazz Institute winter Fest, 1996; La Justicia Orchestra The first major Chicago Puerto several years before and formed his performing at the Humboldt Park Boathouse, in the early 1970s. Rican Festival was held on June 24, own band. Orchard offered Castro Photography by Carlos Flores. Reprinted, by permission, from Carlos Flores.

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a job performing with his band at The 1960s — Puerto Ricans Arrive Some of the younger members from these the Glass Hat Cocktail Room in the in Chicago with a “Boom” groups, like Gilberto Díaz, percussionist from Congress Hotel. Castro performed By the 1960s there were more than Los Humacaeños, and Mike Maldonado, at this venue for more than a year 32,000 Puerto Ricans living in Chicago, singer from the Conjunto Río Platense, before moving on to form his own band, and the Caballeros de San Juan are still part of Chicago’s music scene El Congo y Su Combo.2 He would continued to play an essential role in as performers, producers, and promoters. perform in venues like the Cuban organizing the community. They had The first Puerto Rican Parade was Village, the Palladium (presently the established 12 concilios in the various held in downtown Chicago on June 11, site of the famous jazz club the Green parishes where Puerto Ricans lived 1966. This event was significant not Mill Lounge), Mambo City, and the and worshipped. The concilios organized only to Puerto Ricans, but to the entire famous El Mirador—opened in 1957 dances where parishioners would come Latino community because, for the first by the late Mexican businessmean with their families to enjoy an evening time, a segment of the Spanish-speaking César Dovalina. El Mirador was of music. I remember as a young teenager population was being recognized by the located on Rosevelt, near Halsted, attending these dances with my own entire city. Thousands of people lined and it was one of the first elegant family at the Concilio #3, located in the up along State Street that day to enjoy Latino-owned nightclubs where St. Michael’s parish gymnasium in the the floats, the marchers, and the Puerto patrons could enjoy dancing to Afro- Old Town neighborhood. Rican music being played. But the Latino Caribbean music with live bands. Other civic-social organizations and the celebration was short-lived. On June 12, Mexican bass player Manny García led so-called “town clubs” also began to emerge an altercation between white police the house band with an assortment of as centers where Puerto Ricans gathered to officers and local Puerto Rican residents Mexican, Anglo, and Puerto Rican socialize. The town clubs included Hijos de near the corner of Crystal and Damen, musicians. One notable musician who Ciales, Los Hijos de Yauco, Hijos de Lares, in the Humboldt Park neighborhood, performed with García’s band was Hijos de Moca, Hijos de Patillas, La Sociedad sparked a riot. Puerto Ricans battled singer Pellín Rodríguez. Rodríguez had Manatieña, Sociedad de Ponce, Sociedad the police for several days and set the settled in Chicago for several years Vegabajeña, the Puerto Rican Community neighborhood in flames. That weekend after living in New York and perform- Center, the Puesto Boricua (a Puerto signaled the official arrival of Puerto ing with the great Puerto Rican pianist Rican VFW organization), and others. Ricans in the city, and they arrived Noro Morales. In the 1960s Pellín joined One organization that deserves a with a “boom.” Andy Montañez, becoming one of the notable mention in the musical develop- According to Carlos Castro, a Puerto leading singers of El Gran Combo. ment of Chicago’s Puerto Rican community Rican community activist who experi- In 1957, Vitín Santiago arrived in is the Congreso Puertorriqueño de Ayuda enced the riots as a young man while Chicago from Puerto Rico with his Mutua (Puerto Rican Congress of Mutual working as a community youth worker orchestra to accompany the late Aid). It was established in 1951 to provide at the local YMCA, it was an entire Daniel Santos. They had been cultural and social outlets for people by new generation of young Puerto Ricans contracted for several months to open organizing baseball teams, musical events, who were involved in the riots. Many of a new club named the Sonora Night and other social activities. In the late these young people were either born Club. Due to a dispute with the club’s 1960s and early 1970s this organization in Chicago, or were raised in the city, management Santos abandoned the developed music programs geared and had a different experience than group, but Santiago had to stay on to towards the youth that continue to their parents while attending local meet contractual obligations. impact the present music scene.3 schools and growing up in the neigh- However, most of the musicians in s the demand for musical borhood. Many formed social clubs his band got homesick and returned entertainment grew, new music like the Black Eagles, Young Lords, to Puerto Rico. Piano player Tomy A groups began to emerge. Some of Paragons, Latin Kings, Harrison Gents, Muriel decided to stay in Chicago, the most popular orchestras in the early Continentals, not only to bond with and Santiago regrouped the band 1960s included Los Humacaeños, Los From top to bottom: Orquesta La Nativa performing at and made Chicago his home. Santiago Bravos del Ritmo, La Sonora Rítmica, Wilton and Grace for a Young Lord’s rally, 1975; Marta Nieves opened the elegant nightclub Coco Conjunto Ateneo, Felipe y la Gran with Orquesta La Unión at the Humboldt Park Fieldhouse (circa late 1970s); Eddie Palmieri at the Aragon Ballroom in Loco in the late 1960s and in the Sonora, Conjunto Río Platense, Tarzán Chicago (circa 1970); Ismael Rivera at the Aragon Ballroom 1980s opened the Latin Village. y su Gran Sonora, and Cayito y su Combo. in Chicago (circa 1970). Photography by Carlos Flores. Reprinted, by permission, from Carlos Flores.

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Trombonist Jimmy Bosch performs with Ángel Meléndez’s 911 Mambo Orchestra during the Third Chicago International Tito Allen and Chicago’s 911 Orchestra during the third Chicago International Salsa Congress, 2004. Salsa Congress, 2004. Photograph by Carlos Flores. Reprinted, by permission, from Carlos Flores. Photograph by Carlos Flores. Reprinted, by permission, from Carlos Flores.

their neighborhood friends, but to Chicago has its own history of the opened the Coco Loco. The Habana How Chicago’s Puerto Rican also to protect themselves from attacks Latin explosion in dance just as New York Madrid and the Coco Loco were elegant Community Stays Informed from other white ethnic groups. Constant had its Mambo Craze and Palladium Days. nightclubs that provided the finest About Music police harassment and brutality set the You also had several individuals teaching entertainment with performers like In the mid 1950s Carlos Cruz opened stage to spark a disturbance that was and dancing professionally in venues like Tito Rodríguez, Boby Capó, Olga La Voz Hispana, Chicago’s first Puerto beyond the control of the older estab- the Robert’s Show Lounge, Basin Street, Guillot, Vicentico Valdez, Raúl Marrero, Rican-owned record shop. It became lished Puerto Rican leadership. This is and the Saber Room. They included and Daniel Santos. I had the wonderful an important resource, where Puerto the same generation of young Puerto African-Americans (Saladeen Alamin, experience as an 18-year-old to see my Ricans purchased recordings, books, Ricans that began to experience different Gloria Farr), Puerto Ricans (Alma Miranda favorite group, Rafael Cortijo y su magazines, and musical instruments.4 musical tastes by listening, performing, Garza), and others (Lupita “Lupe” Combo, with Ismael Rivera, at the Radio was the Puerto Rican and dancing to rock and roll, rhythm & González, Ángel Arroyo). Habana Madrid. community’s most important source blues (soul music), and doo wop. This is I remember as a youngster attending Another important figure in the of information about music and music also the same generation who in the late dances at community venues and watching entertainment circle in Chicago’s events. In late 1949 and early 1950, 1960s and early 1970s embraced the music the cool couples dancing on the floor, Puerto Rican community in the 1960s businessmen Puro Pinzón and Modesto of a young Willie Colón and Héctor but I vividly recall a group of guys who was promoter/entrepreneur José Carlos López transmitted the first Puerto Rican Lavoe, Ismael Miranda, the Lebrón attended many of the dances. People (Charlie) Gómez, president of Las radio program, “Radio Borinquen.” Brothers, the Joe Cuba Sextet, La Sonora would form a circle around them, and Empresas Gómez. This company The late Elías Díaz y Pérez became the Ponceña, Johnny Pacheco and Pete in the circle these guys would take turns managed theaters in both Puerto Rican premier radio personality when he began “El Conde” Rodríguez, , dancing. They would jump in the air and and Mexican communities (Teatro Senate, transmitting his program “Radio Club Eddie Palmieri, and many more musicians land on the floor in a split. They would Teatro San Juan, Teatro Atlantic, Familiar” in the 1950s on station WCRW, coming out of New York and Puerto Rico. throw a handkerchief on the floor and and Teatro Gayety), and it published and later on AM stations WOPA and In the midst of these turbulent years pick it up with their mouths as they the community newspaper El Informador. WONX. Díaz y Pérez transmitted his the music scene continued to grow as performed their split routine, all in the The theaters presented Spanish language program for more than 40 years (in later individual promoters organized dances rhythm of mambos and rumbas. Some of films, mostly from Mexico, and live years with his sidekick, Dominican Tony in nightclubs like the Keymen’s Club the more popular dancers were charac- performances by prominent enter- Paez). Other radio personalities that were on the far West Side of the city. This is ters like Tato El Perfumado, Luisito tainment acts from Puerto Rico, on the air for decades were Raúl Cardona the first night club I attended in the late El Fañoso, and Joseito Rodríguez. Mexico, and Latin America. In the (El Show de Raúl Cardona), Carlos Juan 1960s, where I saw Ray Barretto and his In the late 1960s, entertainer/ Teatro Senate or the Teatro San Juan Arroyo, Carlos Uribe, and “Hi Fi” Baby Orchestra. These promoters also organ- entrepreneur Tony Quintana opened you could catch performances by Felipe Colón. Rey Rubio is another veteran ized events in neighborhood dance halls one of the first Puerto Rican-owned Rodríguez, Cheito González, Blanca radio personality who continues to be around the city—at the Ashland nightclubs, the Habana Madrid. A short Rosa Gil, Odilio González, Ramito, on the airwaves, providing a wealth Auditorium, Walsch Hall, Northwest time later, Eddie Galarza opened Café Machuchal, and Arsenio Rodríguez great deal of information to his Hall, and Link Hall. Olé, and entertainer Vitín Santiago and his orchestra. listeners about our music.

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There were three great radio shows that where you would be entertained programs for young people by establishing a 1980s and 1990s — Moving on Up played strictly Afro-Cuban and Afro-Latin by Gilberto Díaz y su Combo and Rojo music academy that provided Puerto Rican to the Downtown Scene Caribbean music (also referred to as “salsa”) Medina’s Orchestra (the majority of youth with instruments, free music lessons, The outdoor music festival is another during the 1970s and 1980s. The “Sabor musicians in this band were Mexican- and a place to practice. From 1968 through ingredient in Chicago’s Puerto Rican Latino Show” was hosted by Mexican Americans). At Los Violines you could enjoy the 1980s these community efforts resulted music scene. These festivals can be traced musicians Chilo Pérez and Víctor Parra. Joe Piano’s Orchestra, and at the Tropical in the creation of local bands that per- back to 1957. In the early 1970s I attend- Cuban-born Juan Montenegro hosted Magic, Manuel y Sus Estrellas or Diego formed around throughout the city. ed summer picnics in the Forest Preserves another show, the “Latin Explosion,” El Cubano y Su Combo. Other nightclubs These included La Justicia (1970), La Unión (Thatcher Woods), listening to the local for several years in the 1970s. The show included the Ali Bar, Night and Day, and (1971), La Inspiración (1972), La Solución steel drum performers. I played vibra- came on WEDC-AM from Monday Adan y Eva . Most of these venues were (1972), and Típica Leal (1979). The Congress’s phone with local groups in some of thruough Saturday, from midnight until Puerto Rican Rican-owned and were located organization also developed its own record the concerts held at the Humboldt Park the early morning hours, serving up a in the heart of the Puerto Rican community. label, Ebirac Records, and made several boathouse. Those concerts did not strong dose of hot tropical dancing music. As I mentioned earlier, the popularity recordings, including one with La Justicia compare with the larger festivals that The other program, entitled “Mambo of the New York/Puerto Rico music scene, with Ramito as an invited guest. The Puerto were presented in the 1980s. The Puerto Express,” began in the 1980s, when it developed through the distribution of Rican Congress also encouraged the Rican Parade Committee celebrated the was heard on the local public radio station recordings by Fania, Tico, and Alegre participation of women by creating an first Puerto Rican fiestas in Humboldt Park and was hosted by Víctor Parra (Mexican) Records, reinforced Chicago’s Puerto all-female orchestra by the name of as a reaction to the 1977 riots, and in and Billy Zayas (Puerto Rican). Rican music scene, especially among the La Liberación. Another Congress 1984, the first Festival Boricua was held It is also important to mention that in young. In the mid to late 1960s they were orchestra, La Juventud Típica, had a female on the grounds of the Roberto Clemente the 1960s Puerto Ricans became the first listening to and playing both rock and lead singer who later became the lead High School athletic field. Today these Latinos to be presented on local television. roll, and rhythm and blues, which included singer of La Unión. Women also participated are among the city’s best-attended In 1964, WCIU Channel 26 was the first music by The Mustangs, Bob Stone Group with other groups: Orquesta La Confidencia outdoor neighborhood festivals. UHF television station in Chicago that (Roberto Piedra), the Mystics, and the Soul had a female singer by the name of Jocye By the end of the 1970s the Latin hustle provided an opportunity for Rafael (Don Medallions. In the 1970s the Soul Medallions Fontánez and a female timbale player. dance became part of the mainstream Canuto) Cardona and Turín Acevedo to became La Confidencia, led by Polish- Big spectacular dances were held at the disco scene, and in Chicago many of us showcase Spanish language programming. American trumpet player Richard Straka, Aragon Ballroom, where thousands of would find our way down to the Happy It also aired “Tony Quintana’s Variety Show.” and the group remained for more than two Puerto Ricans/Latinos would come and Medium in the trendy Rush Street area. decades one of Chicago’s most popular danc- dance with Eddie Palmieri and Orchestra, At this venue, the DJ was the main source The 1970s — The Golden Era of ing bands. Other groups that also emerged Ismael Rivera y Los Cachimbos, Willie of music; live bands were not used. In the Chicago’s Puerto Rican Music Scene were La Mafia del Ritmo, Shorty Ramírez Colón, Héctor Lavoe, the Larry Harlow 1980s people who frequented the music By 1970, the Puerto Rican music scene in & Orchestra, La Nativa, and Típica 78. Orchestra, and the Fania All-Stars. The scene started opting for safety and elegance Chicago was at its peak. On any given The Puerto Rican Congress seized the International Ballroom and the Golden because many neighborhood nightclubs weekend you could go dancing at La Concha, opportunity to use music to develop Tiara were also were used for large events. had problems with crime, drug dealing,

Orquesta Blue Son en Clave Negra, led by Carlos García (timbales) perform at the Old Town School of Folk Music, 2004. Primera Orquesta de Cuatro de Chicago, 2003. Photograph by Carlos Flores. Photograph by Carlos Flores. Reprinted, by permission, from Carlos Flores. Reprinted, by permission, from Carlos Flores.

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and gangs. Several downtown nightclubs also recorded their original music but and restaurants that were not Puerto have not been able to secure record label Rican-owned began experimenting by contracts. As the salsa dance craze continues providing one of their off-nights as Salsa some of these groups will continue to Night or Tropical Night—Salsa Monday’s work, but their demand is not as great at the Moosehead, for example. In order and only the most outstanding musicians to stay competitive, Puerto Rican and and bands continue to work consistently. Latino entrepreneurs had to provide similar At the present time I have observed venues, such as Latin Village, Cats (Puerto a resurgent interest in promoting tradi- Rican-owned), and Tania’s (Cuban-owned). tional Puerto Rican music in our commu- n the 1980s began to go nity. In 2003 the Fifth Puerto Rican Cuatro in a different direction with the devel- Festival (which I initiated in 1998) was held Iopment and commercialization of to a sell-out crowd of some over 2,000 música romántica, which was intensified people. Proceeds from this festival provides by the emergence of the DJs and the free cuatro lessons for community mem- decision of nightclub owners to cut bers of all ages. As a result the first Puerto costs by not using large orchestras. Rican Cuatro Orchestra, has been estab- These factors impacted the music in lished, consisting of community residents cities around the country, including raging from 10 to 70 years of age. Two out- Chicago. Hip-hop culture, rock en español, standing Chicago public school music and other musical influences began to instructors, David and Orlando Rivera, encroach on young urban Latinos, have spearheaded the cuatro orchestra including Puerto Ricans, and took tradi- project. These two brothers, who have tional Afro-Latino Caribbean music resided in Chicago for over a decade, to another level. The 1990s saw the have taken the task of developing and evolution of Christian music (Orquesta implementing a curriculum to teach the Ebenzer, Héctor Núñez y su Orquesta), skills of cuatro playing and keep Puerto as well as the development of Latin jazz Rican cultural traditions alive. The Puerto groups such as Richie Pillot’s Havana Rican Arts Alliance, a local Puerto Rican Group, Blue Son en Clave Negra, cultural organization, is presently spon- Ensemble Descarga. soring this project, and has established a Ve t eran musicians from the late 1960s relationship with the Chicago public schools and 1970s continued to develop new to bring the cuatro into the classroom. musical groups (Orquesta Nova), and the The music and dance of bomba and plena new and younger musicians arriving on continues to be directed toward community the scene were more musically educated. youth by the Grupo Yuba, organized by Outstanding bands developed during this the Segundo Ruiz Belvis Cultural Center, time period, like Orquesta Yambo, and Grupo Africaribe, headed by longtime Cayito y la Distinguidad, Orquesta 809, community artist Tito Rodríguez. I am Orquesta Sabor, and Ángel Meléndez and delighted to report our traditional folklore his Orchestra. Many of these groups have (música jíbara) is presented, promoted, and preserved by individuals like Los Hermanos From top to bottom: Tito Rodríguez Orchestra performing at the First Día de San Juan Festival held on June 24, 1956, Olavarría, and local cuatristas like Javier at the Chicago Avenue Armory. [Rafael “Congo” Castro is Méndez, Nicky Brevan, and Josian Rivera. dancing in front of the bandstand]; Olga Iglesias, with Puerto Rico’s Sinfónica de San Juan, under the direction of Arturo Somohano at the Second Día de San Juan Festival, 1957; From top to bottom: Conjunto Río Platense (circa 1960s). Felipe Rodríguez signs autographs for his fans (cica 1950s); [Singer Mike Maldonado is standing in the middle]; Trío Vegabajeño performs for Doña Felisa Rincón de Gautier, Orquesta La Confidencia (circa 1980s); Orquesta La Nova Mayor of San Juan, during the First Día de San Juan Festival (circa 1980s); Orquesta La Nova with its leader Mike held in Chicago, 1956. Photographs courtesy of Manuel Maldonado (sitting). Photographs courtesy of Mike Martínez. Reprinted, by permission, from Carlos Flores. Maldonado. Reprinted, by permission, from Carlos Flores.

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A CKNOWLEDGMENTS I want to personally thank Carlos García, Gilberto Díaz, Mike Maldonado, Manuel Martínez, Tony Quintana, Víctor Parra, Carlos Castro, and Vitín Santiago, for sharing their historical knowledge and their insights in my preparation of this article. I also want to thank Patricia Stahl for her editing assistance.

NOTES 1 El Día de San Juan Festival continued to be organized by the Caballeros de San Juan, until 1966, when it was renamed La Parada Puertorriqueña (Puerto Rican Parade). El Comité de la Parada Puertorriqueña (Puerto Rican Parade Committee) became the new sponsor of the event, and it included newly formed organizations that were not connected to the Caballeros de San Juan or the Catholic archdiocese. Today, this committee is responsible for the annual Puerto Rican Parade held in downtown Chicago, and an accompanying six-day festival in Humboldt Park. 2 According to some African-Americans, during that time period, segregation policies in the Glass Hat made it impossible for people of African descent to be part of the audience, even though Castro was a black Puerto Rican. 3 To demonstrate the impact this organization had in the community, in September 1959 the Puerto Rican Congress baseball team represented Chicago in the national amateur baseball tournament and placed second in a tournament played in Ohio. Known as the “Terror of the Midwest,” it was recognized as the best amateur Latino baseball team in the nation. 4 In 1950, Cruz and his partner, Iluminado Alicea (also owner of Pan American Moving Company), opened the first Puerto Rican restaurant in Chicago, called by the name of El Tropical Restaurant. In 1955 they sold the restaurant to Cruz’s brother, Rafael Cruz Vélez, who changed the name to Café Central. Today, both of these business establishments are open, and they are still operated by the Cruz family. The Sonora Rítmica Orchestra (circa 1960s). [From left: first, Rafael “Congo” Castro; sixth, Félix Torres; and kneeling, group leader Hipólito Larilla]. Photograph courtesy of Nieves "Nina’ Cedeño. Reprinted, by permission, from Carlos Flores. REFERENCES Flores, Carlos. 1996. Rafael “Congo” Castro, One of the Last Performers of His Conclusion Generation. KALINDA Newsletter Spring. For the last fifty years, Chicago’s Puerto Rican community has preserved its musical Martínez, Manuel, 1989. Chicago: historia de nuestra comunidada puertorriqueña. traditions, which have helped earlier generations of migrants make the transition from Photographic documentary. Chicago: np. the island to the city. We are grateful to those who sustained our rich Puerto Rican Padilla, Félix M. 1987. Puerto Rican Chicago. Notre Dame: University of Notre Dame Press. cultural legacy, and I am honored to have been part of our musical history. Our Puerto Rican musical traditions in Chicago are in good hands. I am confident that those traditions will endure in the face of community gentrification, cultural fusion, and other challenges on the horizon.

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