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Essay / Research Paper Abstract
A 3 page essay that examines an essay on an aspect of Latino culture. In 1997, Warner Music produced an album, the Buena Vista Social Club (BVSC), which won a Grammy in 1998 and ultimately become one of the best-selling albums of all time--worldwide. Subsequently, in 1999, a documentary, by the same name, was produced that gave all of the credit for the BVSC album, regarding its impetus and production, to North American guitarist Ry Cooder (Hernandez 62). In her essay on this topic, Tanya Hernandez makes a number of intriguing points concerning the relationship between popular culture and the legacy of imperialism. Two of these points are that Ry Cooder's glorified role regarding the album is a continuation of the "discoverer/conqueror" mythos and, secondly, that the BVSC's glorification of prerevolutionary Cuba ignores the social realities of that era. No additional sources cited.
Page Count:
3 pages (~225 words per page)
File: D0_khbvsc.rtf
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Unformatted sample text from the term paper:
all time--worldwide. Subsequently, in 1999, a documentary, by the same name, was produced that gave all of the credit for the BVSC album, regarding its impetus and production, to
North American guitarist Ry Cooder (Hernandez 62). In her essay on this topic, Tanya Hernandez makes a number of intriguing points concerning the relationship between popular culture and the legacy
of imperialism. Two of these points are that Ry Cooders glorified role regarding the album is a continuation of the "discoverer/conqueror" mythos and, secondly, that the BVSCs glorification of prerevolutionary
Cuba ignores the social realities of that era. Hernandez quotes the documentary as saying that it was Cooders decision to seek out "talented musicians in Cuba" in order to
revitalize the "forgotten music" of a bygone era (Hernandez 62). What this version of the albums origin leaves out is the part that the Afro-Cuban musicians themselves had in
the creation of the BVSC. The documentary completely leaves out the contribution of bandleader Juan de Marcos Gonzales, who "masterminded and facilitated the collaboration" of musicians who were responsible for
the music on this album (Hernandez 62). Hernandezs argument is that Cooder assumes the mantle of imperialism. He is the "foreign explorer" who stands in "opposition to an unspoiled indigenous
Other" (Hernandez 63). Cooders own statements, as quoted by Hernandez, support this position. Another point made by Hernandez is that the BVSC offers an idealized version of Cuba in
the era prior to the Communist takeover. This idealization ignores relevant facts about the Buena Vista Social Club, a Cuban music hall in the 1940s which has long been closed,
such as that this nightspot was one of the few in Havana that allowed the patronage of people of African descent (Hernandez 66). The BVSC narrative, in its longing
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