Oye Como Va!

by Pacini Hernandez, Deborah

• ISBN13: 9781439900901
• ISBN10: 1439900906
• Format: Paperback
• Copyright: 2009-12-28
• Publisher: Temple Univ Pr

Summary

Listen Up! When the New York born Tito Puento composed "Oye Como Va!"in the 1960s, his popular song was called "Latin" even though it was a fusion of Afro-Cuban and New York Latino musical influences. A decade later, Carlos Santana, a Mexican immigrant, blended Puente's tune with rock and roll, which brought it to the attention of national audiences. Like Puente and Santana, Latino/a musicians have always blended musics from their homelands with other sounds in our multicultural society, challenging ideas of what "Latin" music is or ought to be. Waves of immigrants further complicate the picture as they continue to bring their distinctive musical styles in to the U.S.-from merengue and bachata to cumbia and reggaeton. InOye Como Va!, Deborah Pacini Hernandez traces the trajectories of various US Latino musical forms in a globalizing world, examining how the blending of Latin music reflects Latino/a American lives connecting across nations. Exploring the simultaneously powerful, vexing, and stimulating relationship between hybridity, music, and identity,Oye Como Va!asserts that this potent combination is a signature of the US Latino/a experience.

Author Biography

Deborah Pacini Hernandez is Associate Professor, Anthropology and American Studies, Tufts University. She is the author of Bachata: A Social History of a Dominican Popular Music (Temple), and the co-editor of Reggaeton andRockin' Las AmTricas: The Global Politics of Rock in Latin/o America.

Table of Contents

Preface	p. vii
Introduction: Hybridity, Identity, and Latino Popular Music	p. 1
Historical Perspectives on Latinos and the Latin Music Industry	p. 15
To Rock or Not to Rock: Cultural Nationalism and Latino Engagement with Rock 'n' Roll	p. 34
Turning the Tables: Musical Mixings, Border Crossings, and New Sonic Circuitries	p. 54
New Immigrants, New Layerings: Tradition and Transnationalism in U.S. Dominican Popular Music	p. 77
From Cumbia Colombiana to Cumbia Cosmopolatina: Roots, Routes, Race, and Mestizaje	p. 106
Marketing Latinidad in a Global Era	p. 142
Notes	p. 163
Selected Bibliography	p. 199
Index	p. 207
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