RIP Andy González

A great obituary by Bobby Sanabria here...

Sound Machine: Latinos in the Music Industry 1980s-2000s

The Latino population in the US has sextupled itself since 1970.

As one of the fastest-growing population groups, this also means that Latinos are rapidly becoming one of the largest sectors in U.S. society, passing African-Americans as the largest non-white group in the US in the 2000 census.

This growth is increasingly fueled by US-born Latinos.

So, understandably, advertisers, politicians, and the media are tripping over themselves to endear themselves to Latinos. However, Latino remains a complicated category.

The music industry is no exception. Latino music grew by 20% every year in the 1980s, with proliferating subcategories: Tropical (salsa, merengue, bachata), Regional Mexican and Tejano, and Spanish-language rock, pop, and alternative. 1998 figures show that of this, more than half the sales were of Mexican styles, and 23% Tropical. 

So the industry is still looking for the secret sauce to get at all the prized demographics. And not just the record industry:

OK. The new Latino generation is out there. It primarily speaks English but supposedly 'feels' Latin (according to many published studies). Why then, isn't it buying the alternative, edgier Latin music that should appeal to it? Perhaps because it's in Spanish. Whoever resolves this riddle will make a bundle. (Billboard, 2004)

Clubbing in the Underground: Freestyle and Hi-NRG
In New York, Los Angeles, and Chicago, Latinos played a central role in the formation of disco and its hip-hop- and electro-influenced successors in the late 1980s and early 990s. At the time, Latinos, making the post-disco, post-hip hop music called freestyle or Hi-NRG, which was basically an early electronic dance music. Some musicians, like Lisa Lisa and Cult Jam would do fairly well.
(This is the scene that Madonna would eventually emerge from. It's also worth noting the seminal importance of queer Latinx folk in the making of modern dance music, as dramatized in the 2018 series Pose. The gay discos of black and brown NYC also birthed voguing, which Madonna celebrated/ripped off).

Back on the pop charts
A less underground, poppier alternative emerged from Miami in the 1980s, in the person of Miami-based Gloria Estefan and Miami Sound Machine, headed by Gloria's husband Emilio Estefan. Originally only singing in Spanish and marketed only to Latin Americans, Estefan's music. Conga was a direct predecessor to the turn-of-the-millenium Latin Boom, but also helped establish EMilio Estefan in Miami as a major broker of a growing music industry tie-together of US Latino and Latin American markets.

Salsa moderna
RMM records, which took up the mantle of New York and Puerto Rican salsa after the decline of Fania, aimed at a particularly modern, bicultural sound. Producer Sergio George took up young Nuyorican singers who had dedicated themselves to freestyle music, like La India and Marc Anthony, and get them to sing a new, youthful brand of salsa (see also DLG and Proyecto Uno).

Miami and the Latin Boom

The big shift was in the music industry, as RMM went out of business and the 2000 census projected Latino demographic dominance in the US. The Latin music industry shifted toward Miami (and Los Angeles, which we'll talk about next week), where South Beach had been renovated in the 1990s, a large, educated, bilingual population arrived from Latin America. Emilio Estefan's Crescent Moon Studios, a Sony affiliate, brings in 200 million a year, and was well-situated to participate in the Latin Boom of the 2000s.

Christina Aguilera "goes Latin" at the Latin Grammys, although her own attachment to Latino culture was learned late.

Reggaetón and the "Hurban" market
By 2004, the music industry had found a new(-ish) genre capable of being marketed to young people across the hemisphere: reggaetón.

With ongoing migration and return migration between the US and Puerto Rico, and people sending mix tapes back and forth, there was already a rap scene in Spanish in the 1980s in Puerto Rico. The pioneering Vico C, whose ghetto philosopher tales of street life made him one of the best known from that place and time.

In the 1990s, New York hip hop, and subsequently Puerto Rican hip hop, was also increasingly influenced by Jamaican dancehall reggae. In New York, a significant portion of the black population, especially in Brooklyn, is of Jamaican, Trinidadian, and other West Indian/Caribbean ancestry, including some seminal figures in hip hop: Kool DJ Herc, Notorious BIG, KRS-One, Slick Rick, Busta Rhymes, Li'l Kim, Foxy Brown, and others.

 

Many Panamanian artists, of West Indian descent, translated Jamaican dancehall hits into Spanish. So (for example), Jamaican Little Lenny's English-language anthem to the ladyparts, "Punanny Tegereg" was transformed into "Tu Pum Pum," in Spanish, by Panamanian rapper "El General" in 1989. These  became popular among Spanish-speaking Puerto Ricans both in New York and on PR itself.
Dancehall/reggae and rap use different beats (as Marshall helpfully shows us). Hip hop is based on the so-called "boom bap," which rendered graphically, would look something like this.

Much dancehall, and reggaetón, uses the habanera-based rhythm of the Shabba Ranks song "Dem Bow" (1991) (covered by El General in Panama). The song and its riddim is basically a tresillo rhythm superimposed over a straight four count - that is, a habanera.

The "Dem Bow" riddim would become the backbone of reggaetón.

First however, a scene emerged in Puerto Rico associated with the Afro-Puerto Rican underclass of the island's housing projects or caseríos - usually called underground or melaza. This music was released in mixtapes. Here, none other than Vico C explains that the same artists rapped over both hip hop and the Dem Bow beat that would become reggaetón:

On the underground mixtapes, MC's in PR rapped over a background constructed out of samples. These samples rapidly changed between the dancehall-associated dembow and hip hop's boom bap. The famous Playero 38 mixtape for example, released by the San Juan-based DJ Playero in 1993 features (among others) a young Daddy Yankee.

Before  the first two minutes of the tape are up, we hear a Jamaican-style double-time introduction, then dancehall influenced rapping over a West Coast hip hop beat, which turns into the dancehall "Hot Dis Year riddim" before segueing into the beat from Queens hip hoppers' De La Soul's "Talkin' Bout Hey Love," and then back to "Hot Dis Year." Beyond its musical innovation, the melaza scene is important for its explicit borrowing, through hip hop inspired fashion and dance as well as music, of a transnational and expressly black identity, something rarely seen in the Caribbean.

By the turn of the millennium, the conversion of underground/melaza into reggaetón begins (although no one knew it yet). Free and easily downloadable beat-making programs became available online, making it possible for this with access to computers and the internet able to make beats. One of the most important was the free program Fruity Loops (now "FL Studio"). By the time of his 1999 mixtape, Playero 41, DJ Playero's beats (as on "Todas las yales" with Daddy Yankee) were almost entirely synthesized rather than sampled (and heavily influenced by techno music), although the music still featured shifts between dembow and hiphop beats. By 2000, the predominant beat was a Puerto Rican version of Dem Bow featuring bass drops and a syncopated synthesized timbal.

The Puerto Rican underground scene also inspired Francisco "Luny" Saldana  and Victor "Tunes" Cabrera, two Dominican-born DJs from the unlikely setting of Peabody, Massachusetts, a suburb with a mostly white population, who cooked up beats after work as cook and dishwasher at a Harvard University residence house. The beats made by the two were sleek and pop-friendly, beginning with their 2003 "Quiero saber" track with Ivy Queen.

Luny Tunes' 2003 mixtape Más Flow was a sensation in Puerto Rico, and set the formula for reggaetón."Gasolina," their 2004 track for Daddy Yankee was a worldwide mega-hit. In case you spent that year in a coma, it sounded like this.

Luny Tunes' rise coincided with  the moment at which the record industry started to look to market to young Latinos. In the wake of the 1999-2000 "Latin Boom" in pop music, the "hurban" market aimed to unite Latino young people - East Coast Caribbean, West Coast Mexican, Americans, and the sizable markets of Latin America itself, under the banner of so-called "Hispanic-Urban" or "Hurban" music. By 2005, Spanish-language radio stations, owned by gymongous media conglomerates like Clear Channel and the US-based Spanish-language Univisión empire,   across the country was moving to a "Hurban" format featuring reggaetón, hip hop, and dance-oriented pop.

New York's "La Kalle" radio (2006)

Hurban radio (2005)

Hurban (2005)

Wayne Marshall on hurban renewal

The deliberate appeals to a Latinos of various national ancestries, both in and out of the US, is clear in "Oye mi canto," produced by Boy Wonder, a NYC-born musician of Dominican and Puerto Rican descent. The song (featuring Daddy Yankee and Nuyorican N.O.R.E., and PR-born, NY-based vocal duo Nina Sky) explicitly mentions number of different countries, and the video uses flags (helpfully supported by scantily-clad models) to make the international appeal explicit.

This international appeal also is partially responsible for the rise of bachata-influenced reggaetón like Wissin y Yandel's "Mayor que yo," featuring the twangy bachata guitar sound.

LA Punk

The story of punk is a in some ways similar to hip-hop: DIY youth music celebrating the joy of not giving a shit, often in settings of abandonment, whether urban neglect or suburban malaise. It had In the case of punk, there was also a desire to reverse the pretensions and excesses of '70s progressive rock. The musicians for punk rock bands (Punk being a term reclaimed from a homophobic slur on rock that rock critics didn't like) stripped off all that to get at the propellant core of rock and roll music, not unlike the garage rock that was their direct forebear.

New York was important in punk rock history (Ramones, Television, Patti Smith, etc.), as was the LA/SoCal area, home of seminal bands like Black Flag, the Germs, Agent Orange, and many others. Many of these were part of a scene focused on Hollywood and subrubs like Orange County. These scenes were well-documented (for example in the brilliant 1980 documentary The Decline of Western Civilization (full film here, trailer here).

Meanwhile, there was also an important scene in East LA, of mostly Chicano punks and venues like The Vex, but also in people's back yards, a phenomenon that continues today.  The Vex held a the "Punk Prom" in 1980 that brough the Hollywood and East LA scenes together, but a subsequent riot at a Black Flag Show ended destroyed the venue.

Gender

A patriarchal kind of masculinity is an important element of traditional Mexican culture. This might seem odd, but the emotional costs to men of very fixed and patriarchal gender norms is a sub-text to lots of Mexican music, in which weeping cowboys, the mask of toughness loosened by liquor and seasoned by rage, are a constant trope, as in the classic "Tu Maldito Amor" (Your Damn Love) by the great film star Vicente Fernández. Unsurprisingly, country music — which also deals with a lot of masculine sadness —is popular in Texas in particular, and a number of country stars have been Texas-Mexicans. (The most famous was Freddy Fender, (b. 1937 as Valdemar Huerta). He had a big hit with "Wasted Days and Wasted Nights" in 1959, but he couldn't promote it, because he was put in prison for marijuana possession (exacerbated by his association with a married white woman). He'd come back to great acclaim in the 1970s and 1980s, especially with "Before the Next Teardrop" [here sung in bilingual in a medley with another Mexican country standard, "Rancho Grande"].There were a few other Mexican-American country stars, too, though, a tradition that continues). 

Anyway...

Gender themes, or gender-adjacent themes of power and control, is also a feture of punk rock. A lot of the Chicano punk groups featured women, and gender nonconformity, in varying forms and degrees. This seems to underlie a lot of Chicano participation in punk, as well as related goth and emo forms, from punk rock masculine posturing (like The Zeros' "Don't Push Me Around" and "Wimp"), to the Chicano obsession with the working-class sensitivity of English mope-rockers Morissey and the Smiths.

Patriarchy is oppressive to straight men, but even more so to women (a theme of Jim Mendiola's tender punk film "Pretty Vacant") and femmes. The female and gay presence in Chicana punk has been string form the beginning, as with The Brat.



Alice Bags (born Alice Almendáriz) was the frontwoman, along with Patricia Morrison, of The Bags. She'd go on to found Cholita! The Female Menudo with intersex punk rocker Vaginal Davis. Bags is still at it today.

Most punk was in English, but some bands from the Vex scene went back and forth, like The Plugz, who have an amazing "La Bamba" cover and a few Spanish songs on the soundtrack for the cult classic film (starring Emilio Estevez as a punk rock slacker) Repo Man. Los Illegals were important for bilingual songs like "El Lay" (L.A.) and political songs like "We Don't Need a Tan." Ex-Illegals Robert López went on to adopt the alter ego "El Vez/ The Mexican Elvis," a campy send-up of Elvis with a fake Mexican accent.

Meanwhile there's a whole new generation of LA Latinx punks, and all kinds of goth and emo, many of which also engage in a certain amount of play with gender roles.

Mexican-American resources

In case anyone was interested in doing a project on Mexican-American music, the University Arizona recently digitized their collection of Mexican-American newspapers. Here's the press release, in case you're wondering what's in there,  and here's the collection.

Nuyoricans, Hip Hop, and the Burning Bronx

Bronx, NY

A great online resource by old school South Bronx PR breaker Mr. Wiggles

The abandonment of the Bronx…
Gang life in the Bronx

Block parties and basement jams
Black, Puerto Rican, and West Indian Bronxites, MCing, freaking to the beat,  and feeling gang tensions at a good old fashioned block party from the Bronx gang documentary 80 Blocks from Tiffany's.
DJ's like Kool Herc started bringing big sound systems and chattin' to jams at public parks, tennis courts, and apartment rec rooms to play this music. Abandoned buildings were another place that kids would set up clubs.

The rise of the break
Meanwhile, a song would have a particular break which people would clamor for.

"It's Just Begun" by the Jimmy Castor Bunch (break at about 2:11)

"Apache" by the Incredible Bongo Band (break at about 2:21)

Those who danced the breaks developed styles like uprock and downrock, dancing the breaks - these were the B-Boys.

When the DJ Grandmaster Flash invented backspinning, a track could be looped by a DJ to become the basis of a hip hop song.

One important Puerto Rican DJ was Charlie Chase (born Carlos Mandes).

"Amen Brother" by The Winstons, at 1:27 is the famous six-second break that not only was used extensively in early hip hop but spawned entire subcultures like drum-and-bass and jungle

Sample-era classic hip-hop breaks-cum-beats.

From gangs to crews

Gang truce and the Bambaata dances.
Gangs reformulated themselves as competitive crews.
Some were dedicated to graffiti. Subway Montage from Wild Style, music by Grandmaster Caz

The same was true of basketball and especially  dancers and DJs. B-Boy battles in particular were serious business.

Cold Crush Brothers vs. Fantastic 5, with Puerto Ricans Charlie Chase, Ruby Dee and Whipper-Whip

Commodification and the disappearance of Puerto Ricans

Hip hop culture starting appearing in movies and other movies, and even commercials like these, and MC's started recording original tracks. As this went on, Puerto Ricans were marginalized, in part because they were more associated with B-Boying than the previously marginal MCing, and partially because they did not appear in movies - most of the US outside New York did not really know what a Puerto Rican was. With the rise of Michael Jackson, breakdancing peaked and the Puerto Ricans were out. 

The radicals, Chicanos and Nuyoricans

Some paths:
Puerto Rican folklore
Afro-Cuban traditional music
African-American soul and funk
African-American experimental jazz


Eddie Palmieri

The innovative Palmieri never signed with Fania and never stopped experimenting or making msuic outside the box. After introducing the two-trombone sound that fueled salsa, he made political music like "Justicia"and Live at Sing-Sing prison, ("VP Blues" here). He did fusion projects with soul music, like "Harlem River Drive." He was experimented with jazz music, pushing the musical theory (4th voicings and pentatonics) of jazz pianist McCoy Tyner toward Latin music and even doing way-out Cecil Taylor type free jazz.

"Vamonos pa'l monte" (with Charlie Palmieri, live in Central Park)

Grupo Folklórico y Experimental Neoyorkino

It started as a listening club in René López's basement, and opened out into one of the great experimental projects, that spawned multiple bands, and much of the Latin jazz movement. They played Cuban trad guajira, plena, Puerto Rican mazurka, and Santería batá, as well as some really swinging salsa.

Latin Jazz
Like Jerry and Andy González's projects, such as Ft. Apache Band, and many others.
 

Salsa was, among the things, a nationalist movement, as illustrated in the Fania film, Our Latin Thing (Cosa nuestra)

People have been, and still are playing rumba in the parks of New York.

Salsa poetry

Here Afro-Nuyorican Last Poet and Young Lords co-founder Felipe Luciano reading his poem "Jíbaro/My Pretty Nigger" opening for Eddie Palmieri at Sing-Sing Prison, 1972.

Luciano opening for Palmieri again, here.

Pedro Pietri, founder of the Nuyorican Poet's Café, reading "Puerto Rican Obituary" (1969)

The Young Lords

The Young Lords, whose 13 Point Plan included rights for US Puerto Ricans, the independence of the island of Puerto Rico, women's liberation, and solidarity with the Vietnamese people, began in Chicago in 1967, spread to New York (and beyond) in 1969, and was influential until the mid 1970s.

 Meanwhile, in LA...

The Chicano movement was a confluence of related struggles: an assimilationist Mexican-American movement that sought equal rights of citizenship and political representation; a labor movement organized around Mexican-American (and to some extent, Asian-American) farmworkers; a student movement that organized against the Vietnam War, police discrimination and brutality, equality of education, and negative stereotypes of Latinos in the popular media; and a nationalist movement organized around the idea of creating an independent and territorially defined nation.

The Chicano movement had political, artistic, and of course musical ramifications.  Those musical ramifications were varied, but in general they can be described as passing from a very ambiguous acknowledgement of their ethnicity to a much more straightforward racial pride.

Texas artists like Little Joe Hernández and Sonny Ozuña, who started off as younger exponents of the orquesta sound, were shut out of the mainstream music industry, much more than their East LA peers like the Premiers and Cannibal & the Headhunters, and were closer to rural Mexican culture. Little Joe Hernández, for example, had grown up picking cotton and hearing conjunto and orquesta in Central Texas. But bby the late 1960's, musicians like Little Joe were influenced by the hippie counterculture and the Chicano movement to move even more strongly toward conjunto music, with a heavy whiff of hippie-ness. His song "Las Nubes" became the unofficial anthem of the farmworker's union, and featured a hybrid aesthetic, with  a traditional conjunto feel and rhythm and Spanish lyrics, but also a drum kit and electric guitar and some almost progressive rock-sounding interludes.

Another important stream was the rock and Afro-Cuban fusion pioneered by Santana. The path is more circuitous than it might seem. Carlos Santana was born in Mexico and grew up playing mariachi music. But he hated that music and was much more inspired by blues and rock in the multi-racial band he led when he moved to San Francisco. Afro-Cuban slowly began to come in with Mike Carabelo, a high school friend of Santana's who had picked up congas in drum circles, and especially from San Francisco club owner and rock impresario Phil Graham, a transpalnted New Yorker (Born Jewish in Germany and escaping right before World War II) who had grown up dancing in the Palladium. Santana played at the legendary Woodstock festival, to tremendous acclaim, especially when the Woodstock film came out.

This model, of Chicanos playing Afro-Cuban-tinged rock was influential for many bands, such as El Chicano, which, despite largely ignoring actual Mexican music, was quite political and up-front about being Chicanos.

Later, Los Lobos, of L.A., started experimenting with traditional Mexican music, and even put it into their cover of Valens' "La Bamba" for the movie of the same name - note the trad jarocho breakdown at the end of the song (2:20). Country-rocker Linda Ronstadt, a multi-platinum-selling artist who was the best known and best paid woman in the msuic industry during her heyday in the 1970s, and who had never highlighted being an Arizona Chicana, did an all-mariachi album called "Canciones para mi padre/Songs for My Father" in 1987, and two more albums of Mexican music in the early 1990s.

Salsa

If you're interested in salsa, one of the best books on the subject, by the Venezuelan César Rondón, happens to be online through the BU library.

Before there was salsa...

There was, of course, the Palladium. Tito Rodríguez: his "voice was suave enough to sound new, but it also had the vigor and mischief to get even the young tough guys to dance." (Rondón 11). After 1963, he turned to boleros, "those tender love songs that can only be rendered in Spanish" (Rondón 14). And Tito Puente.

The early 1960's charanga boom:

Charanga Duboney, with Johnny Pacheco and Charlie Palmieri (Eddie's older brother), Rondón 13 (rendón 15)

Salsa diehard Ray Barretto began with a charanga group (and without an Afro): here's "Charanga Moderna" from 1962, featuring violinist Alfredo de la Fé.

Eddie Palmieri
Eddie Palmieri and La Perfecta's two-trombone sound (borrowed from Mon Rivera, a plena singer in Puerto Rico) was a revelation in 1962, and would provide the perfect amount of New York grit for what would become salsa.

Willie Colón and Hector Lavoe
Salsa's young roughnecks.

Colón/Lavoe album covers

From Lo mato: "Calle luna, calle sol" by Willie Colón with Hector Lavoe (Rondón 68). Lavoe sings:
"Put your hand in your pocket, pull out your knife and open it. Listen to me, in this neighborhood they've killed a lot of tough guys. In these tough streets, you can't relax. Be careful with your words - you're not worth a kilo." 

Their albim "Asalto Navideño" - a pun mixing their usual street tough image with traditional Purto Rican Christmas caroling (sort of) - incorporated the cuatro from música jíbara.

It also contains the first of many experiments by Colón with non-Cuban music - not only música jíbara, but Panamanian murga. Colón's later "El gran varón"  deals with homosexuality and AIDS

Héctor Lavoe
Lavoe, who was born in Puerto Rico and came to NY as a young man, was popular in part because of how much his voice was heard as reminiscent of música jíbrar, even though he was no traditionalist. He was wont to insert an improvised "Le lo lai" from música jíbara whenever the mood struck, even in a non-Puerto Rican song like the apocalyptic masterpiece "Todo tiene su final" ("Everything Ends"). New York Puerto Ricans identified very strongly with him, and songs like "Mi Gente/My People" (here sung with the Fania All-Stars in Zaire - Cuban music and salsa have been popular in West Africa since the "rhumba" days - in 1975, for the Ali-Foreman "Rumble in the Jungle"). He also sang religious themes, such as the santería-influenced "Aguanile."His most famous song was "El cantante," about a famous singer whom despite his fame and acclaim, has just as much pain as anyone else, which became sadly auto-biographical as Lavoe's inner demons took over his life through the 1980s and 1990s until his death in 1993.

Rubén Blades

After Hector Lavoe left Willie Colón's band in 1973, Blades took up Rubén Blades as singer. A college-educated Panamanian from a well-off politically leftists family in Panama, Blades worked at the mailroom of Fania before getting artists to record some of his songs, and finally emerged as a singer himself and the composer of complex and thoughtful, often politically tinged songs that were popular throughout Latin America.

"Plástico"

The "Stairway to Heaven" of salsa, "Pedro Navaja."

Eddie Palmieri

The innovative Palmieri never signed with Fania and never stopped experimenting or making msuic outside the box. After introducing the two-trombone sound that fueled salsa, he made political music like "Justicia"and Live at Sing-Sing prison, ("VP Blues" here). He did fusion projects with soul music, like "Harlem River Drive." He was experimented with jazz music, pushing the musical theory (4th voicings and pentatonics) of jazz pianist McCoy Tyner toward Latin music and even doing way-out Cecil Taylor type free jazz.

"Vamonos pa'l monte" (with Charlie Palmieri, live in Central Park)

Ray Barretto
Another polyfacetic artists. We already heard his proto-boogaloo "Watusi."

In traditional/típico mode, doing Arsenio Rodríguez's "Bruca maniguá"

In more modernist mode, "Cocinando"
In swinging salsa mode, "Más vale un guaguancó"

And mixing everything, "Canto abacuá"

Johnny Pacheco

Johnny Pacheco, aside from co-running Fania Records and leading the Fania All-Stars, was himself a well-known flutist, with a deep típico feel.

Larry Harlow

The Fania bandleader and pianist. Here rocking it with singer Ismael Miranda on "Abran paso" (with great period video) and "Abandonada fue." He was also deeply típico. His neckname, the "Judío Maravilloso" (Marvellous Jew)was derived from the nickname of his idol Arsenio Rodríguez, "El Ciego Maravilloso" (The Marvellous Blind Man): Larry Harlow's "Suéltala" vs. Arsenio Rodríguez's original "Suéltala"

Harlow's "Divina Gracia," featuring Celia Cruz, from Hommy, a salsa version of "Acid Queen" from The Who's rock opera Tommy

Harlow's son/charanga phase: "El paso de Encarnación"

Celia Cruz

"Quimbará" with Johnny Pacheco

And in her pre-NY phase in the Sonora Matancera in Cuba, singing "Burundanga"

Grupo Folklórico y Experimental Neoyorkino 

It started as a listening club in René López's basement, and opened out into one of the great experimental projects, that spawned multiple bands, and much of the Latin jazz movement. They played Cuban trad guajira, plena, Puerto Rican mazurka, and Santería batá, as well as some really swinging salsa.

Típica '73

"Mañoño," with Adalberto Santiago

"Pa' gozá," recorded in Cuba with Cuban musicians

Meanwhile, in Puerto Rico

Puerto Rican Rafael Cortijo's group (featuring Ismael Rivera) (Rendón 12), here in the early 1960s

El Gran Combo, a later outgrowth of Cortijo's Combo

La Sonora Ponceña, featuring pianist Papo Lucca: "Boranda"

Willie Rosario

Post-Fania salsa (salsa romántica)

Salsa romántica: Lalo Rodríguez, Frankie Ruíz

Marc Anthony and La India together on "Vivir lo nuestro"

Gilberto Santa Rosa "Bomba de tiempo"

Victor Manuelle

Neo-traditional salsa

Jimmy Bosch

Spanish Harlem Orchestra

Latin Jazz
Like Jerry and Andy González's projects, such as Ft. Apache Band, and many others.
 

Salsa was, among the things, a nationalist movement, as illustrated in the Fania film, Our Latin Thing (Cosa nuestra)

People have been, and still are playing rumba in the parks of New York.

Bonus: Salsa poetry

Here Afro-Nuyorican Last Poet and Young Lords co-founder Felipe Luciano reading his poem "Jíbaro/My Pretty Nigger" opening for Eddie Palmieri at Sing-Sing Prison, 1972.

Luciano opening for Palmieri again, here.

Pedro Pietri, founder of the Nuyorican Poet's Café, reading "Puerto Rican Obituary" (1969)

Bonus: The Young Lords

The Young Lords, whose 13 Point Plan included rights for US Puerto Ricans, the independence of the island of Puerto Rico, women's liberation, and solidarity with the Vietnamese people, began in Chicago in 1967, spread to New York (and beyond) in 1969, and was influential until the mid 1970s.