Contesting that Damned Mambo: Arsenio Rodríguez, Authenticity, and the People of El Barrio and the Bronx in the 1950s
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| Format: | Artículo científico |
| Sprache: | en |
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The City University of New York
2004
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| _version_ | 1876428021478457344 |
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| author | David F. García |
| author_facet | David F. García |
| contents | Contesting that Damned Mambo: Arsenio Rodríguez, Authenticity, and the People of El Barrio and the Bronx in the 1950s David F. García Sociología mambo Bronx El Barrio Palladium Cuban music This essay focuses on the local history of the Park Palace/Plaza, Club Cubano Inter-Americano, and the Tropicana of El Barrio and the Bronx and the contribution ofblack Cuban musician Arsenio Rodríguez (19111970) to this history. It documentsRodríguezs contestation for recognition as the creator of the mambo in themainstream American media, the contribution of his conjunto and son montuno styleto the music culture of El Barrio and the Bronx, and the reception of his musicamong resident Cubans and Puerto Ricans. The essay seeks to understand thehistory of this music culture not as an archaic, traditional, or authentic culturalphenomenon that was disconnected from the Palladium and the modern stylesof mambo big bands, but rather as a contemporary cultural phenomenon in dialoguewith the internationally popular mambo musical and dance styles of the 1950s. 2004 artículo científico 1538-6279 https://www.redalyc.org/articulo.oa?id=37716112 en http://www.redalyc.org/revista.oa?id=377 Centro Journal application/pdf The City University of New York Centro Journal (Estados Unidos de América) Num.1 Vol.XVI |
| format | Artículo científico |
| id | redalyc_37716112 |
| institution | Redalyc |
| language | en |
| publishDate | 2004 |
| publisher | The City University of New York |
| spellingShingle | Contesting that Damned Mambo: Arsenio Rodríguez, Authenticity, and the People of El Barrio and the Bronx in the 1950s David F. García Sociología mambo Bronx El Barrio Palladium Cuban music Contesting that Damned Mambo: Arsenio Rodríguez, Authenticity, and the People of El Barrio and the Bronx in the 1950s David F. García Sociología mambo Bronx El Barrio Palladium Cuban music This essay focuses on the local history of the Park Palace/Plaza, Club Cubano Inter-Americano, and the Tropicana of El Barrio and the Bronx and the contribution ofblack Cuban musician Arsenio Rodríguez (19111970) to this history. It documentsRodríguezs contestation for recognition as the creator of the mambo in themainstream American media, the contribution of his conjunto and son montuno styleto the music culture of El Barrio and the Bronx, and the reception of his musicamong resident Cubans and Puerto Ricans. The essay seeks to understand thehistory of this music culture not as an archaic, traditional, or authentic culturalphenomenon that was disconnected from the Palladium and the modern stylesof mambo big bands, but rather as a contemporary cultural phenomenon in dialoguewith the internationally popular mambo musical and dance styles of the 1950s. 2004 artículo científico 1538-6279 https://www.redalyc.org/articulo.oa?id=37716112 en http://www.redalyc.org/revista.oa?id=377 Centro Journal application/pdf The City University of New York Centro Journal (Estados Unidos de América) Num.1 Vol.XVI |
| title | Contesting that Damned Mambo: Arsenio Rodríguez, Authenticity, and the People of El Barrio and the Bronx in the 1950s |
| topic | Sociología mambo Bronx El Barrio Palladium Cuban music |
| url | https://www.redalyc.org/articulo.oa?id=37716112 |