Cuban Divas: La Reina de la Salsa, Celia Cruz
Only few people succeed in the music industry, and fewer people succeed at an international scale. Many factors impact when it comes to succeeding in the music industry, in other words an artist has to overcome a different number of challenges. During the beginning of 20th century, Cuba had few artists, which mainly remained known at a local level. It was until the mid 20th century when Cuban music would spark a revolution. Celia Cruz, a prime example of music revolutionary. Despite the many factors that challenged her success, Celia managed not only to succeed locally but eventually to become known as the Queen of Latin Music.
In this paper, we will analyze the socio-cultural factors Celia Cruz …show more content…
Despite her father’s opposition, Celia decided to drop out from the National Teacher’s College. It was one of Celia’s professors that encouraged her to become a full time artist (Celia Cruz). In the early 1940s she begins work with choreographer and producer Roderico Neyra also known as Rody and joins Las Mulatas de Fuego. Las Mulatas de Fuego, started as a Latin American dance troupe. With this group, Celia managed to travel to México and other Latin American countries. As a teen, Celia was able to make herself known internationally, but most importantly she managed to do what no other Afro-Cuban was able to do. Celia Cruz played a crucial role in the cultural spreading of mambo and eventually música tropical (Aparicio, 230). This was probably the first time an Afro-Cuban artist had performed outside of Cuba. Since the very beginning, Celia had fused her Afro-Cuban roots with her …show more content…
In 1950, Rody introduces Celia to the most prominent Cuban orchestra, La Sonora Matancera. When they were introduced, the lead singer of La Sonora Matancera, Myrtha Silva was in the process of leaving the orchestra. It was suggested Celia to replace her. This was the first time Celia was faced insecurity during her career. Myrtha, had already become well known in Cuba and Latin America. To find a replacement was no easy task. Most people suggested a male singer to replace the Puerto Rican. Finally, however it Celia who was selected to replace Myrtha. Despite being welcomed by the orchestra, Sydney Siegel of Seeco Records resisted her ambitions, insisting that “women didn’t sell records and that they were good only for live performances.” (Abreu, 99). Rogelio Martinez, leader of La Sonora insisted Sydney was wrong. In fact, “they agreed that if the record didn’t sell, Seeco wouldn’t have to pay out, that Sonora would be responsible for paying” (99). Fortunately, the first two records with Celia as a lead singer, Cao Cao Mani Picao and Mata Siraguay were an instant hit in Cuba. From that moment, producers never doubted her
Only few people succeed in the music industry, and fewer people succeed at an international scale. Many factors impact when it comes to succeeding in the music industry, in other words an artist has to overcome a different number of challenges. During the beginning of 20th century, Cuba had few artists, which mainly remained known at a local level. It was until the mid 20th century when Cuban music would spark a revolution. Celia Cruz, a prime example of music revolutionary. Despite the many factors that challenged her success, Celia managed not only to succeed locally but eventually to become known as the Queen of Latin Music.
In this paper, we will analyze the socio-cultural factors Celia Cruz …show more content…
Despite her father’s opposition, Celia decided to drop out from the National Teacher’s College. It was one of Celia’s professors that encouraged her to become a full time artist (Celia Cruz). In the early 1940s she begins work with choreographer and producer Roderico Neyra also known as Rody and joins Las Mulatas de Fuego. Las Mulatas de Fuego, started as a Latin American dance troupe. With this group, Celia managed to travel to México and other Latin American countries. As a teen, Celia was able to make herself known internationally, but most importantly she managed to do what no other Afro-Cuban was able to do. Celia Cruz played a crucial role in the cultural spreading of mambo and eventually música tropical (Aparicio, 230). This was probably the first time an Afro-Cuban artist had performed outside of Cuba. Since the very beginning, Celia had fused her Afro-Cuban roots with her …show more content…
In 1950, Rody introduces Celia to the most prominent Cuban orchestra, La Sonora Matancera. When they were introduced, the lead singer of La Sonora Matancera, Myrtha Silva was in the process of leaving the orchestra. It was suggested Celia to replace her. This was the first time Celia was faced insecurity during her career. Myrtha, had already become well known in Cuba and Latin America. To find a replacement was no easy task. Most people suggested a male singer to replace the Puerto Rican. Finally, however it Celia who was selected to replace Myrtha. Despite being welcomed by the orchestra, Sydney Siegel of Seeco Records resisted her ambitions, insisting that “women didn’t sell records and that they were good only for live performances.” (Abreu, 99). Rogelio Martinez, leader of La Sonora insisted Sydney was wrong. In fact, “they agreed that if the record didn’t sell, Seeco wouldn’t have to pay out, that Sonora would be responsible for paying” (99). Fortunately, the first two records with Celia as a lead singer, Cao Cao Mani Picao and Mata Siraguay were an instant hit in Cuba. From that moment, producers never doubted her