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Tide Was Always HighThe Music of Latin America in Los Angeles$
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Josh Kun

Print publication date: 2017

Print ISBN-13: 9780520294394

Published to California Scholarship Online: May 2018

DOI: 10.1525/california/9780520294394.001.0001

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PRINTED FROM CALIFORNIA SCHOLARSHIP ONLINE (www.california.universitypressscholarship.com). (c) Copyright University of California Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CALSO for personal use.date: 26 July 2021

Rumba Emissaries

Rumba Emissaries

Chapter:
(p.76) 2 Rumba Emissaries
Source:
Tide Was Always High
Author(s):

Alexandra T. Vazquez

Publisher:
University of California Press
DOI:10.1525/california/9780520294394.003.0003

This chapter focuses on Cuban stage and film star Ninón Sevilla, and one of the most beloved icons of Cuban popular music Beny Moré. Sevilla helps revive all those venues shared between Cuban and Mexican performers, between Mexico City and Havana before, during, and after the world wars. The movement between these cities was not linear, nor did it follow a predictable path. It was more a dynamic intersection that held Los Angeles as part of its junction. Moré recorded some of the most important mambos with the mambo genre's “King,” Dámaso Pérez Prado. Although his reputation on the island was always formidable, it was only after Moré spent almost a decade in Mexico as its rising star that he became a celebrity in and for Cuba.

Keywords:   Ninón Sevilla, Beny Moré, Cubans, musicians, popular music, Los Angeles, mambo, Cuba, Mexico

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