Arsenio Rodríguez and the Transnational Flows of Latin by David F. Garcia

By David F. Garcia

Arsenio Rodr guez used to be probably the most vital Cuban musicians of the 20th century. during this first scholarly examine, ethnomusicologist David F. Garc a examines Rodr guez's lifestyles, together with the conjunto musical blend he led and the hugely influential son montuno form of track he created within the Nineteen Forties. Garc a recounts Rodr guez's conflict for attractiveness on the peak of mambo mania in ny urban and the importance of his tune within the improvement of salsa. With firsthand debts from kin and fellow musicians, "Arsenio Rodr guez and the Transnational Flows of Latin renowned track "follows Rodr guez's fortunes on numerous continents, speculating on why he by no means loved huge advertisement luck regardless of the significance of his tune. Garc a specializes in the jobs that race, id, and politics performed in shaping Rodr guez's song and the trajectory of his musical occupation. His transnational viewpoint has vital implications for Latin American and well known tune studies."

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On the other hand, he remained artistically and professionally dedicated to the working class of Havana (see chapter 2). In two other songs, however, he did make unambiguous statements against the colonial and imperialist relationships that Puerto Rico and Cuba had with the United States. " He composed this song on returning to Havana from New York City in 1947 and recorded it in Havana in the following year. On March 12, 1949, three drunken American sailors urinated on the statue of the nation's father, Jose Marti, located in Havana's Parque Central.

As Cuban Alfredito Valdes]r. (who performed with Arsenio's conjunto in the early 1960s) succinctly stated, "Arsenio, being a direct descendant of Africans, siempre 10 dijo en su mttsica [always said it in his music]. He always acknowledged that he was cubano and that he was afrocubano" (Alfredo Valdes interview 2001). "ADORE HER AS MARTI DID" In his patriotic songs, Arsenio expressed his concerns regarding contemporary political and social matters that affected all Cubans. From the time he began his professional career as a musician and composer in the Copyrighted Material "I Was Born of Africa" 27 late 1920s to his final visit to Havana in 1957, Cuba underwent frequent periods of political instability and economic hardship.

94101). Hence, for Arsenio, playing and composing music was not simply one of the very few occupations available to a blind, black working-class individual. It was also a promising means by which he could achieve artistic and personal recognition. He undoubtedly was aware of the social challenges he faced. But as his musical accomplishments reflect, he was committed to overcoming what might have seemed to be insurmountable odds. C. ) Arsenio began by introducing himself and his music: Good afternoon ladies and gentlemen ...

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