Oye Como Va!: Hybridity and Identity in Latino Popular Music

Oye Como Va!: Hybridity and Identity in Latino Popular Music

4.0 2
by Deborah Pacini Hernandez
     
 

Listen Up! When the New York-born Tito Puente 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… See more details below

Overview

Listen Up! When the New York-born Tito Puente 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 to the U.S.-from merengue and bachata to cumbia and reggaeton.

In Oye Como Va!, Deborah Pacini Hernandez traces the trajectories of various U.S. 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 U.S. Latino/a experience.

Read More

Product Details

ISBN-13:
9781439900895
Publisher:
Temple University Press
Publication date:
12/28/2009
Pages:
238
Product dimensions:
6.20(w) x 9.10(h) x 0.80(d)

Table of Contents

Preface 
1. Introduction: Hybridity, Identity, and Latino Popular Music 
2. Historical Perspectives on Latinos and the Latin Music Industry 
3. To Rock or Not to Rock: Cultural Nationalism and Latino Engagement with Rock ’n’ Roll 
4. Turning the Tables: Musical Mixings, Border Crossings, and New Sonic Circuitries 
5. New Immigrants, New Layerings: Tradition and Transnationalism in U.S. Dominican Popular Music 
6. From Cumbia Colombiana to Cumbia Cosmopolatina: Roots, Routes, Race, and Mestizaje 
7. Marketing Latinidad in a Global Era 
Notes 
Selected Bibliography 
Index

Customer Reviews

Average Review:

Write a Review

and post it to your social network

     

Most Helpful Customer Reviews

See all customer reviews >