Bachata: A Social History of a Dominican Popular Music
Like rap in the United States, bachata began as a music of the poor and dispossessed. Originating in the shantytowns of the Dominican Republic, it reflects the social and economic dislocation of the poorest Dominicans.
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Chapter One Defining Bachata
Chapter Two Music and Dictatorship
Chapter Three The Birth ofBachata
Chapter Four Power Representation and Identity
Chapter Five Love Sex and Gender
Chapter Six From the Margins to the Mainstream
African amargue Amaro Aracena audience bachata musicians bachata producers bachata records bachata songs bachateros balada Balaguer band barrio bars began bolero broadcast called bachata carrilera cassettes chata colmados concon context Convite country's Cuban cultural dance Deborah Pacini Hernandez disc jockeys Dominican music Dominican musicians Dominican Republic Dominican society economic elite emerged example Guerra guitar music guitar-based music important Inchaustegui informal sector interview Johnny Ventura Juan Luis Guerra Keil La Voz Dominicana listeners live Luis Segura mainstream merengue orquestas merengue tipico merengue's middle-class migrants modern mujer music business music industry musical style nueva cancion orquesta merengue Paniagua pariguayo Petan played political poor popular music post-Trujillo promoted Puerto Rico quiero Radhames Aracena Radio Guarachita radio stations Rafael Raulin record stores Rodriguez romantic music rural origins salsa Santo Domingo sexual shantytowns singer singing social Sonia Silvestre sound studio tion Tony Santos traditional Trujillo urban Victor Victor woman women