Development of Latin music in New York City: lecture at UCLA

Latin Beat Magazine, May, 1997

On August 21, 1995,A Professor Stevena of the Department of Ethnomusicology, and author of Barrio Rhythms, Mexican American Music in Los Angeles, was in New York. We met to discuss the information he marshalled for his book about the life and music of Tito Puente. It was at this time that Dr. Loza invited me to lecture to his class about the development of Latin music in New York. Right after the February 14, 1995 confirmation, I began researching the topic.

On March 7, 1996, at UCLA's Popper Theatre at Schoenburg Hall, Dr. Loza introduced me to over 100 students who listened attentively for the hour and 15 minute lecture. On eight occasions I stopped speaking so the class could listen to the original recordings I had referred to. I began with the year 1626 when Dutch immigrants purchased the island of Manhattan for trinkets which amounted to $24.00. The following are excerpts from my speech and my remarks.

"Ever since then, with each passing century, immigrants from all over the world have settled in New York, spoken 75 different languages and read one of the 70 foreign newspapers sold at newsstands. On March 17, 1917, the United States Congress made Puerto Rico an organized but unincorporated U.S. territory, with American citizenship granted to all Puerto Ricans who wanted it. Immediately thereafter the Puerto Rican exodus from the island to the continental United States began. The Puerto Rican learned English, learned to love the hot dog, and accepted the custom of wearing an overcoat and gloves during those frigid winter months. By the turn of the 20th century, Harlem was predominately a wealthy Jewish community. Rafael Hernández, Puerto Rico's most famous song composer and his sister Victoria, were among the first Puerto Ricans who settled at Manhattan's 99th Street and 2nd Avenue. As the Jewish population decreased, the Puerto Rican's increased. Rafael Hernández was the first Latin musician to sound a Latin music note in 1919 when he sang and played guitar at a 99th Street house party. In 1926, Cuban trumpeter-bandleader Vicente Sigler became the first to play Latin music with a big band in New York City. In April, 1927, one of Cuba's most gifted musicians, Alberto Socarras, relocated to New York. The year 1930 marked the birth of New York's Latin music industry. Two events were responsible. The first was a dance held at the Park Palace Jewish Caterers at 110th Street & 5th Avenue, which resulted in the opening of dance halls, after-hour clubs, Spanish-speaking movie theatres and music stores. The second event was in April, 1930, when the Cuban-imported band of Don Aspiazu overwhelmed the audience during its two week appearances with an arousing version of El manisero (The Peanut Vendor)... from the moment vocalist Antonio Machin walked out of a wing throwing peanuts to the audience and uttering Mani...Mani." I stopped speaking so the class could hear 1 minute and 30 seconds of the original recording.

"Latin music was more than entertainment, it was a reminder of the two beautiful islands in the Caribbean and its folkways. Music was also a means to earn a few more dollars to supplement the primary income. Almost every Puerto Rican and Cuban family had at least one musician, a self taught vocalist, maraquero or guitarist. Poor families who could not rent a hall for a wedding, a baptismal or a birthday party, held it in their apartment. During the '30s a house party in El Barrio was a happy event. The apartment and hallways reeked with the spicy aromas of garlic and oregano which emanated from the fresh hams in the oven. Trios or quartets which consisted of a lead vocalist, a maraca player who doubled as a second voice, a guitarist, a pianist (if the apartment had one), and a trumpeter, provided the live music in the living room." For one minute and 30 seconds Conjunto Matamoros' Echale candela was played to give the students an idea on how music of the '30s sounded.

"During the decade of the thirties, the Puerto Rican and Cuban relationships were strained. The cause was the competition for housing, employment and political identity. The musical battle, a war between Cuba and Puerto Rico, was promoted at El Campo Amor Theatre, then located at 116th Street and 5th Avenue. It happened during the spring of 1935 when a message flashed across the screen: 'FLASH! FLASH! FLASH!' then: 'WAR! WAR! WAR! between Cuba and Puerto Rico...at the Park Palace between the orchestras of Alberto Socarras of Cuba and Augusto Coen of Puerto Rico.' The magnet attracting the dancers was the dislike the two groups had for each other at the time...Puerto Ricans, citizens by a 1919 Congressional proclamation, traveled to and from Puerto Rico without problems. Cuban tourists, unlike Puerto Ricans, could not remain in the United States after 29 days for fear of being arrested and deported. The small percentage of Cubans who were citizens had confrontations competing for New York City's menial jobs, housing and ethnic control of El Barrio. The music wars urged dancers to support their countrymen... the enthusiasm resulted in fist fights and riots and the battle gimmick was abandoned in the early forties.