The City of Musical Memory

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Lise A. Waxer. The City of Musical Memory

Music/Culture

The. City. of. Musical. Memory

Contents

Illustrations

Preface

Introduction

Salsa’s Rise and Transnational Spread

Recordings and Popular Memory

Cosmopolitan Culture and Globalization

Subjectivity and Popular Identity in Cali

Race, Ethnicity, and Class in Cali

Gender and Generation in Cali

The City of Musical Memory

1 “In Those Days, Holy Music. Rained Down”

Cali in the Regional and National Context

Music and Region in Colombia

Música Antillana: The Rise of a Cosmopolitan. Latin American Dance Music

Style and Structure in Música Antillana

The Cuban Predominance in Música Antillana

From Música Antillana to Salsa: The Sonora Matancera and Cortijo y su Combo

Música Antillana and Música Tropical in Colombia

Música Antillana and Música Tropical in Cali

2. Memory. and Movement. in the Record- Centered Dance. Scene

“Lo Que Trajo El Barco” (What the Ship Brought)

The Zona de Tolerancia: Developing Local Dance Culture

The Neighborhood Scene

Struggles to Secure the City

Nightclubs and Agüelulos

Salsa Ballets and Dance Competitions

Salsa Radio

The Decline of the Dance Scene

The Viejoteca Revival

How in the Devil Do We Situate the Viejotecas?

Viejotecas and Collective Memory

3. Life in theVinyl Museum

Alliances with Middle-Class Youth

Collecting Records

Record Collectors

Salsotecas and Tabernas

The Personalization of Technology in the Age of Mechanical Sound

The Taberna Latina

Pablo y su Música

The DJ as Metamusician

From Dance to Discourse

Salsa Dura, Salsa Romántica, and Gender Dynamics in Salsero Discourse

Salsotecas on the Airwaves

The Movimiento Guatequero

Vinyl Museums, Tradition, and the Performance of Musical Memory

4 “Heaven’s Outpost”

Early Salsa Pioneers

Cali’s Live Scene Expands

The Cali Sound

Grupo Niche

Guayacán

La Misma Gente

Consolidating the Live Scene

5. Taking Center Stage

The Flowering of Local Orquestas

The Cali Cartel

Company Salsa Bands

“Cali Is Not Just Salsa”

Music Education and the Second Generation of Caleño Salseros

Women and Children in Local Salsa

Orquestas Femeninas: All-Woman Salsa Bands

Salsa and Youth: All-Child Salsa Orquestas

Between Art and Commerce

Musical Style in the 1990s

6 “Cali Is Feria”

The Feria’s First Two Decades

From Casetas to Verbenas: The 1970s

Feria Culture and the Participatory Ethos

The Campanero: The Audience Play-Along Musician

Into the 1980s: The Festival de Orquestas

Encuentros de Salsotecas

Salsa Street and Salsa Citadel: The Late 1980s and Early 1990s

The Feria: Space of Hope, Space of Memory

7. Epilogue

Appendices

Notes

Notes to Introduction

Notes to Chapter 1

Notes to Chapter 2

Notes to Chapter 3

Notes to Chapter 4

Notes to Chapter 5

Notes to Chapter 6

Notes to Chapter 7

Glossary

Bibliography

Selected Discography

Index

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Some scholars define globalization as the last of three stages of global transformation, beginning in the 1500s, shifting during the 1800s, and accelerating sharply in the post–World War II period beginning in 1945 (see Mignolo 1998; Wallerstein 1974). This timeline roughly accords with key points in Colombia’s own history: colonization, independence, and increased economic participation in world markets from the 1940s on (coupled with the onset of extreme political violence and civil war after 1948 resulting from unequal distribution of resources). Música antillana’s appearance in Cali in fact corresponds almost exactly to the 1945 date, since it was around this time that Cuban and Puerto Rican sounds began moving out of Cali’s red-light district to become a centerpiece of popular life in working-class neighborhoods.

The adoption and resignification of salsa in Cali offers us a particularly clear illustration of the ways in which localization of a transnational or global style anchors local experience and understanding of large-scale global flows, such as the urban explosion that accompanied the country’s economic entry into the world coffee, sugar, and cocaine markets.

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