By Delia Poey (auth.)
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Extra resources for Cuban Women and Salsa: To the Beat of Their Own Drum
55 She would go on to perform and record with Cuban musical luminaries such as Bebo Valdés, Bola de Nieve, and Beny Moré; tour Europe, Latin America, and Japan; and appear in several films including the documentary Nosotros la música, directed by Rogelio París. In her first television appearance in 1953, she performed a song that would go on to become one of her signature pieces: “Que me castigue Dios” (May God Punish Me). The song is originally a Mexican ranchera by the legendary composer and Mariachi singer José Alfredo Jiménez.
Though she sang to the orishas on stage and in the studio, she was a church going Catholic girl . . 20 Her visual and aural self-representation demonstrated an awareness of gender and racial codes but managed to stage them in alternative ways. Along with the changes in her stage persona, Cruz’s time with Sonora Matancera also demonstrated the importance of her selection of pieces and arrangements. ”21 “In a short span of time . . Celia Cruz and the Sonora Matancera recorded a long list of tunes that would become classics of Cuban music, and later salsa.
She passed away alone in her apartment in the Vedado district of Havana on November 16, 1998, but her body was not discovered until five days later after neighbors complained of a foul odor. 69 In some ways, the lack of exchange with Cuban music produced on the island after 1959 spurred the development of salsa, but little attention has been paid to what was happening in Cuba in terms of dance music until the emergence of Timba in the 1990s. 70 Similarly, while there has been a body of work on the promotion of “folkloric” rumba in postrevolutionary Cuba, not much has been written on the incorporation of rumba in other popular music expressions and Mendoza’s career addresses that as well.