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Musical ImagiNationU.S-Colombian Identity and the Latin Music Boom$
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Maria Elena Cepeda

Print publication date: 2010

Print ISBN-13: 9780814716915

Published to NYU Press Scholarship Online: March 2016

DOI: 10.18574/nyu/9780814716915.001.0001

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A Miami Sound Machine

A Miami Sound Machine

Deconstructing the Latin(o) Music Boom of the Late 1990s

Chapter:
(p.35) 2 A Miami Sound Machine
Source:
Musical ImagiNation
Author(s):

María Elena Cepeda

Publisher:
NYU Press
DOI:10.18574/nyu/9780814716915.003.0002

This chapter examines contemporary representations of Latin(o) music's presence in the United States. It emphasizes Miami's unique positionality and Colombian music's role in the Latin(o) music industry at the moment of Miami's conversion into a “post-Cuban” city—a moment in which Latin(o) popular music undergoes a critical shift from “invisibility” to a brand of “carefully regulated, segregated visibility.” It deconstructs the prevailing and largely superficial depictions of the Latin(o) music boom that exist in the popular media. In particular, it foregrounds the decontexualized, dehistoricized language and subject matter of various recordings, television programs, and popular print media produced, written, and/or performed by non-Latinos and U.S. Latino performers and industry figures alike, with emphasis on the unique role played by the Miami-based entrepreneurs Gloria and Emilio Estefan.

Keywords:   Columbian music, Latino music, Latin music boom, Gloria Estefan, Emilio Estefan, popular music

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