In addition, several Latino artists, including Rey Ruiz, Marc Anthony, and most famously, the Cuban-American singer Gloria Estefan, have had success as crossovers, penetrating the Anglo-American pop market with Latin-tinged hits, usually sung in English. This reference article is mainly selected from the English Wikipedia with only minor checks and changes (see www.wikipedia.org for details of authors and sources) and is available under the, 1960s and 70s New York City Latin melting pot. Besides having an amazing voice and a large music repertoire, Oscar D'Leon is also one of the best … Though East Harlem had long been a centre for Latin music in New York, during the 1960s many of the venues there shut down, and Brooklyn Heights' Saint George Hotel became "salsa's first stronghold". From drumming with its roots in Africa, to Spanish-influenced guitar and harp music and the indigenous contribution of maracas, Venezuelan music is largely unknown outside the country. In the 1940s Cuban dance bands grew much larger, becoming mambo and charanga orchestras led by bandleaders like Arsenio Rodriguez and Felix Chappotin.
Puerto Rican singer Lalo Rodríguez seduced romantic salsa lovers with his 1989 hit “Ven, Devorame Otra Vez.”. Oscar d'Leon is Venezuela's greatest Salsa artist in history. The Latin music scene of early 1960s New York was dominated by bands led by musicians such as Ray Barretto and Eddie Palmieri, whose style was influenced by imported Cuban fads such as pachanga and charanga; after the Cuban Missile Crisis of 1962, however, Cuban-American contact declined precipitously, and Puerto Ricans became a larger part of the New York Latin music scene. Salsa quickly spread outside of New York City, to Miami, Cuba, Puerto Rico and Colombia. Author Ed Morales has said the obvious, most common perception of salsa is an "extravagant, clave-driven, Afro-Cuban-derived songs anchored by piano, horns, and rhythm section and sung by a velvety voiced crooner in a sharkskin suit". Bands include everything from Saúl Vera to Lila Morillo. Leymarie claims that salsa is "essentially virile, an affirmation of the Latin man's pride and identity". The evergreen crossover hit from the groundbreaking album Siembra features salsa music’s best-known chorus (“La vida te da sorpresas Sorpresas te da la vida, ay dios”). Salsa's closest relatives are Cuban mambo and the son orchestras of the early 20th century, as well as Latin jazz. This was followed by a series of updated son montuno and plena tunes that evolved into modern salsa by 1973. Using the complex songo rhythm, bands like NG La Banda, Charanga Habanera, and Los Van Van developed timba, along with related styles like songo-salsa, which featured swift Spanish rapping. By the early 1970s, salsa's centre moved to Manhattan and the Cheetah, where promoter Ralph Mercado introduced many future stars to an ever-growing and diverse crowd of Latino audiences. Latin music, lyrics, and videos from Caracas - Venezuela, VE on ReverbNation Inspired by these movements, Latinos in New York formed the Young Lords, rejected assimilation and "made the barrio a cauldron of militant assertiveness and artistic creativity". Salsa also has a long tradition of lyrical experimentation, with singer-songwriters like Ruben Blades using incisive lyrics about everything from imperialism to disarmament and environmentalism. He created a sound based on prominent trombones and rootsy, mambo-inspired style. Mambo was very jazz-influenced, and it was the mambo big bands that kept alive the large jazz band tradition while the mainstream current of jazz was moving on to the smaller bands of the bebop era. During this time a hybrid Nuyorican cultural identity emerged, primarily Puerto Rican but influenced by many Latin cultures as well as the close contact with African Americans. The use of rapping in popular songo-salsa was appropriated by Sergio George, beginning with his work with the trio Dark Latin Groove, which "breathed the fire of songo rhythms and the energy of rap and soul into salsa".
The Manhattan-based recording company, Fania Records, introduced many of the first-generation salsa singers and musicians to the world. Salsa bands play a wide variety of songs, including pieces based on plenas and bombas, cumbia, vallenato and merengue; most songs, however, are modern versions of the Cuban son. The 1970s saw a number of musical innovations among salsa musicians. By the turn of the century, salsa was one of the major fields of popular music in the world, and salsa stars were international celebrities.
The 2-3 version contains two clave strikes in the first half of the eight beats and three in the second, while the 3-2 has the halves reversed.
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