1.1 Salsa

From WolfWikis

Origin

Salsa music is a Spanish Caribbean genre of music that is popular around the world especially in Latin America. Salsa music is a mixture of multiple styles of music and multiple music variations. Salsa music is a Cuban & Puerto Rican style of music that was created in New York City in selected areas of Brooklyn, the Bronx, and Upper Manhattan, in the late 1980's by immigrants that migrated to the United States. This genre of music is popular in most areas of Latin America and Salsa Music is a wide spread type of music. In The Cuban and Puerto Rican areas are most known for this genre of music and this is where you can find the different types of salsa music. Salsa music has another name in Latin America “musica tropical”. In United States is where Salsa genre of music has gotten its fame. The different sound and style of music blossomed over the radio stations and into the homes of the US.

Information on Salsa Music

Eddie Palmicri, Willie Colon, I lector Lavoe, Cheo Feliciano, Bobby Valentin, Richie Rey and Bobby Cruz, Joe Cuba, Nicky Marrero, Joe Santiago, among many others, were children of Puerto Ricans from the island and New York who drew upon their experience in both places, and "fixed the authenticity" of this experience in their music(Salsa Music as Expressive Liberation 2004). Salsa Music is a style of music which deals more with certain instruments mixed with drums. Salsa music has a fast tempo to go along with the dance also named the “Salsa”. Salsa Music is formed using instruments like trombone and trumpet, and symbols along with a Caribbean vibe and drums like the Congo and bass. Salsa music is as artists would say music with feeling of joy and love. Salsa Music is a representation of the founders of Salsa music and the heritage that comes with the genre of music. The music was embraced with passion in poor urban neighborhoods throughout Latin America because it served as the voice and clamor of these marginalized people (Salsa Music as Expressive Liberation 2004).

The Turning Point of Salsa Music

It was the music we heard on the streets of our neighborhoods, through the walls of our apartments, and in the stores and restaurants we frequented, providing a steady background for youthful love affairs, day-to-day chores, and dreams of musical success. Salsa, the neglected child, gave us work in selected areas of Brooklyn, the Bronx, and Upper Manhattan, along with occasional trips to Boston and Philadelphia and annual tours of the small towns of Puerto Rico(Salsa Criticism at the Turn of the Century 2005). At the beginning of the Salsa Era, salsa was only heard in the streets of its origin. Salsa was barely played on radios of even heard at the brink of the Salsa Era. Salsa had some controversy about its origin and who was the real originator of this new genre of music. Whatever other ambiguities exist about salsa and the politics of Cuba, Moore paints a clear picture of a Cuban Communist Party—always dominated by white men—spending decades dismissing dance music as "'low class' music (miksica baja, sin nivel, de la hampa), crude and vulgar, as well as a cosa de negros," while supporting mostly "classical music, or pop music with overtly political content" such as Silvio Rodriguez ( Salsa Criticism at the Turn of the Century 2005).

Pablo Pueblo Pablo Pueblo Regresa un hombre en silencio De su trabajo cansado Su paso no lleva prtsa Su sombra nunca lo alcanza Lo espera el barrio de siempre Con el farol en la esqulna Con la basura alia en frente Yel ruido de la cantina Pablo Pueblo llega hasta el zaguan oscuro Y vuelve a ver las paredes Con las viejas papeletas Que prometian futuros en tides politiqueras Yen su cara se dibuja la decepcion de la espera Pablo Pueblo hijo del grito y la calle De la miseria y del hambre Del callejon y la pena Pablo Pueblo Su alimento es la esperanza Su paso no lleva prisa Su sombra nunca lo alcanza...

Pablo Pueblo Pablo Pueblo Returns the man in silence, from his job, tired his pace is not hurried his shadow never him catches His forever barrio awaits him With the street corner lantern in front there the garbage And the noise of the cantina Pablo Pueblo gets to the dark alley And again sees the walls With the old plasted flyers That promised a future In political matters And in his face is drawn the deception of the waiting Pablo Pueblo son of the scream and the street of the misery and the hungry of the alley and the sorrow Pablo Pueblo his nurishment is the hope his pace is not hurried his shadow never him catches... (Perspective on Salsa)

Salsa Performance at HPU

http://youtube.com/watch?v=mZHmGGDL9ps&feature=related

Conclusion

Salsa Music was created by a group of immigrants who wanted to bring some heritage and culture to the US when they migrated from the Caribbean islands.This style of music took times to get accustom to but it only took time before Salsa began to blossom into what it is today. It got this opportunity when the first radio station played Salsa music and the rest of the world caught on. From the romantic style with the quiet symbols and soft sounding drums to the fast tempo congo drums, trumbone, and claves. Salsa has made its mark on history all through overcoming criticism.

Refrences

"Salsa Criticism at the Turn of The Century" Katz, Marco. Popular Music & Society, Feb 2005. Vol. 28 http://web.ebscohost.com/ehost/pdf?vid=3&hid=8&sid=2b6a727a-5069-42be-bde5-bed31414a866%40sessionmgr3

"Salsa Music as Expressive Liberation". Berrios-Miranda, Marisol. Centro Journal. Fall 2004. Vol 16 http://web.ebscohost.com/ehost/pdf?vid=3&hid=14&sid=bdedd7ed-1b81-40a7-86f2-952547836ac1%40sessionmgr3

"Perspective on Salsa" Acosta, Leonardo. Centro Journal, Fall 2004, Vol 16 http://web.ebscohost.com/ehost/pdf?vid=3&hid=8&sid=bdedd7ed-1b81-40a7-86f2-952547836ac1%40sessionmgr3

"Salsa Around The World" L.C. Paoletta, Michael, Centro Journal, Fall 2003 http://web.ebscohost.com/ehost/detail?vid=4&hid=14&sid=2b6a727a-5069-42be-bde5-bed31414a866%40sessionmgr3