Frances Aparicio is the author of Listening to Salsa: Gender, Latin Popular Music, and Puerto Rican Cultures ( ISBN 978-0-8195-6308-8). [1] She is also the co-author of Musical Migrations: Transnationalism and Cultural Hybridity in Latin/o America, Volume I and Tropicalizations: Transcultural Representations of Latinidad (Re-Encounters with Colonialism). She is the editor of several books including Latino Voices. She has been a professor at Northwestern University and University of Illinois at Chicago, where she directed the Latina/Latino Studies Program.
She was born Frances Rivera in Puerto Rico on December 11, 1955. She moved to the United States to earn her bachelor's at Indiana University Bloomington. She earned a Ph.D. at Harvard University. She is an editorial advisory board member of Chasqui, a Latin American and Latinx literature, philosophy, and arts journal. [2]
Latin hip hop is hip hop music that is recorded by artists in the United States of Hispanic and Latino descent, along with Spanish-speaking countries in the Caribbean, North America, Central America, South America, and Spain.
Salsa music is a style of Caribbean music, combining elements of Cuban, Puerto Rican, and American influences. Because most of the basic musical components predate the labeling of salsa, there have been many controversies regarding its origin. Most songs considered as salsa are primarily based on son montuno and son Cubano, with elements of cha-cha-chá, bolero, rumba, mambo, jazz, R&B, rock, bomba, and plena. All of these elements are adapted to fit the basic Son montuno template when performed within the context of salsa.
The Music of Puerto Rico has evolved as a heterogeneous and dynamic product of diverse cultural resources. The most conspicuous musical sources of Puerto Rico have primarily included African, Taino Indigenous, and European influences. Puerto Rican music culture today comprises a wide and rich variety of genres, ranging from essentially native genres such as bomba, jíbaro, seis, danza, and plena to more recent hybrid genres such as salsa, Latin trap and reggaeton. Broadly conceived, the realm of "Puerto Rican music" should naturally comprise the music culture of the millions of people of Puerto Rican descent who have lived in the United States, especially in New York City. Their music, from salsa to the boleros of Rafael Hernández, cannot be separated from the music culture of Puerto Rico itself.
Reggaeton is a modern style of popular and electronic music that originated in Panama during the late 1980s, and which rose to prominence in the late 1990s and early 2000s through a plethora of Puerto Rican musicians. It has evolved from dancehall, with elements of hip hop, Latin American, and Caribbean music. Vocals include toasting/rapping and singing, typically in Spanish.
Boogaloo or bugalú is a genre of Latin music and dance which was popular in the United States in the 1960s. Boogaloo originated in New York City mainly by stateside Puerto Ricans with African American music influences. The style was a fusion of popular African American rhythm and blues (R&B) and soul music with mambo and son montuno, with songs in both English and Spanish. The American Bandstand television program introduced the dance and the music to the mainstream American audience. Pete Rodríguez's "I Like It like That" was a famous boogaloo song.
The Nuyorican movement is a cultural and intellectual movement involving poets, writers, musicians and artists who are Puerto Rican or of Puerto Rican descent, who live in or near New York City, and either call themselves or are known as Nuyoricans. It originated in the late 1960s and early 1970s in neighborhoods such as Loisaida, East Harlem, Williamsburg, and the South Bronx as a means to validate Puerto Rican experience in the United States, particularly for poor and working-class people who suffered from marginalization, ostracism, and discrimination.
Martha Ivelisse Pesante Rodríguez, known professionally as Ivy Queen, is a Puerto Rican singer, rapper, songwriter, and actress. She is considered one of the pioneers of the reggaeton genre, commonly referred to as the Queen of Reggaeton.
Bobby Cruz is a Puerto Rico salsa singer and religious minister. He was part of the duo Richie Ray & Bobby Cruz. Both Cruz and Ray became religious ministers and as such founded over 70 Christian churches during the time they retired from popular music, which lasted about 16 years.
Linda Bell Viera Caballero, known professionally as La India, is a Puerto Rican singer and songwriter of salsa, house music and Latin pop. La India has been nominated for both Grammy and Latin Grammy Awards, winning the Latin Grammy Award for Best Salsa Album for the Intensamente La India Con Canciones De Juan Gabriel album.
Michael Stuart is an American salsa singer, songwriter and actor.
Sandungueo, also known as perreo, is a style of dance and party music associated with reggaeton that emerged in the late 1980s in Puerto Rico. This style of dancing and music was created by DJ Blass, hence his Sandunguero Vol. 1 & 2 albums and popularized and spread worldwide by the website Sandungueo.com.
Latino studies is an academic discipline which studies the experience of people of Latin American ancestry in the United States. Closely related to other ethnic studies disciplines such as African-American studies, Asian American studies, and Native American studies, Latino studies critically examines the history, culture, politics, issues, sociology, spirituality (Indigenous) and experiences of Latino people. Drawing from numerous disciplines such as sociology, history, literature, political science, religious studies and gender studies, Latino studies scholars consider a variety of perspectives and employ diverse analytical tools in their work.
Guadalupe Victoria Yolí Raymond, better known as La Lupe, was a Cuban singer of boleros, guarachas and Latin soul known for her energetic, sometimes controversial performances. Following the release of her first album in 1961, La Lupe moved from Havana to New York and signed with Tico Records, which marked the beginning of a prolific and successful career in the 1960s and 1970s. She retired in the 1980s due to religious reasons.
Césario Concepción Martínez,, was a Puerto Rican musician, big band leader and composer, who brought the music of his native land to the United States, mainly New York City, and Latin American ballroom dancing between the 1940s and early 1970s and to ballrooms all over the world. He popularized the modern plena as a Latin song style.
Bachatón is a fusion genre of reggaeton from Panama and Puerto Rico as well as bachata from the Dominican Republic. Bachaton combines bachata melodies and reggaeton style beats, lyrics, rapping, and disc jockeying. The word "bachatón" is a portmanteau of "bachata" and "reggaeton". "Bachatón" was coined and widely accepted in 2005. It is a subgenre of reggaeton and bachata.
Frances Negrón-Muntaner is a Puerto Rican filmmaker, writer, and scholar. Her work is focused on a comparative exploration of coloniality, primarily in Puerto Rico and the United States, with special attention given to the intersections between race, ethnicity, gender, sexuality, and politics. She is an associate professor of English and Comparative Literature and Director of the Center for the Study of Ethnicity and Race at Columbia University in New York City. She has also contributed to the Huffington Post, El Diario/La Prensa, and 80 Grados, and since 2008 has served as a Global Expert for the United Nations Rapid Response Media Mechanism. She is one of the best-known Puerto Rican lesbian artists currently living in the United States.
La Misma Gente is a Colombian salsa music band founded in 1978 in Palmira, 20 miles East of Cali, by Jorge Herrera, leader and timbalero, and keyboard player Jaime Henao. It became one of the emblematic Cali salsa groups alongside Grupo Niche and Orquesta Guayacán, although unlike these groups the group was originally local to Cali and had grown out of a mainly white high school band. The group's early records are modeled after the Puerto Rican sound of trumpet quartet led Sonora Poncena, which Henao had listened to as youth, although expanded with two saxophones and a trombone. The band's first successful songs were "Juanita Ae" and "Titico". Later hits include "Hasta Que Llegaste," and "No Hay Carretera". The vocalists have changed over the band's 30 years but on the 30 Aniversario DVD the vocalists are Rey Calderon and Nelson Morales.
Latin music is a term used by the music industry as a catch-all category for various styles of music from Ibero-America, which encompasses Latin America, Spain, Portugal, and the Latino population in Canada and the United States, as well as music that is sung in either Spanish and/or Portuguese. It may also include music from other territories where Spanish- and Portuguese-language music is made.
Caminando (Walking) It is the name of the 10° studio album by Rubén Blades with Son Del Solar, his first album after moving from Elektra to Sony International published on May 28, 1991. The album was a critical and commercial success with Latin and salsa audiences, marking a temporary return to Blades earlier coro-heavy style which marked the collaborations with Willie Colón of a decade earlier on Fania. The album also reinstated the political content of his music, though some listeners still found the social criticism lacking. Blades new band for Sony, Son del Solar, includes four of the Seis del Solar members from his Elektra albums: percussionists Ralph Irizarry, Eddie Montalvo and Robby Ameen with pianist Oscar Hernández. The album reached number three on the Billboard Tropical Albums chart and received a Grammy nomination for Best Tropical Latin Album in 1992.
Women have made significant contributions to Latin music, a genre which predates Italian explorer Christopher Columbus' arrival in Latin America in 1492 and the Spanish colonization of the Americas. The earliest musicians were Native Americans, hundreds of ethnic groups across the continent, whose lyrics "reflect conflict, beauty, pain, and loss that mark all human experience." Indigenous communities reserved music for women, who were given equal opportunities with men to teach, perform, sing, and dance. Ethnomusicologists have measured ceramic, animal-bone, and cane flutes from the Inca Empire which indicate a preference for women with a high vocal range. Women had equal social status, were trained, and received the same opportunities in music as men in indigenous communities until the arrival of Columbus in the late 15th century. European settlers brought patriarchal, machismo ideologies to the continent, replacing the idea of equality between men and women. They equated native music with "savagery" and European music with "civilization". Female musicians tended to be darker-skinned as a result of the slave trade, and contemporary society denigrated music as a profession. Latin music became Africanized, with syncopated rhythms and call-and-response; European settlement introduced harmony and the Spanish décima song form.