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Not to be confused with Boogaloo (funk dance) or Electric boogaloo (dance). Boogaloo_sentence_0

For the American far-right extremist movement, see Boogaloo movement. Boogaloo_sentence_1

For other uses, see Boogaloo (disambiguation). Boogaloo_sentence_2

"Shing-a-ling" redirects here. Boogaloo_sentence_3

For the Filipino snack, see Shing-a-ling (food). Boogaloo_sentence_4


Stylistic originsBoogaloo_header_cell_0_1_0 Boogaloo_cell_0_1_1
Cultural originsBoogaloo_header_cell_0_2_0 1960s, New York CityBoogaloo_cell_0_2_1
Regional scenesBoogaloo_header_cell_0_3_0

Boogaloo or bugalú (also: shing-a-ling, Latin boogaloo, Latin R&B) is a genre of Latin music and dance which was popular in the United States in the 1960s. Boogaloo_sentence_5

Boogaloo originated in New York City mainly among teenage Hispanic and Latino Americans. Boogaloo_sentence_6

The style was a fusion of popular African American rhythm and blues (R&B) and soul music with mambo and son montuno, with songs in both English and Spanish. Boogaloo_sentence_7

The American Bandstand television program introduced the dance and the music to the mainstream American audience. Boogaloo_sentence_8

Pete Rodríguez's "I Like It like That" was a famous boogaloo song. Boogaloo_sentence_9

Except for the name, the dance is unrelated to the Boogaloo street dance from Oakland, California and the electric boogaloo, a style of dance which developed decades later under the influence of funk music and hip-hop dance. Boogaloo_sentence_10

History Boogaloo_section_0

In the 1950s and '60s, African Americans in the United States listened to various styles of music, including jump blues, R&B and doo-wop. Boogaloo_sentence_11

Latinos in New York City shared these tastes, but they also listened to genres like mambo or cha cha chá. Boogaloo_sentence_12

There was a mixing of Puerto Ricans, Cubans and African Americans and others in clubs, whose bands tried to find common musical ground. Boogaloo_sentence_13

Boogaloo was a result of this search, a marriage of many styles including Cuban son montuno, guaguancó, guajira, guaracha, mambo, and American R&B and soul. Boogaloo_sentence_14

Boogaloo has been called by Izzy Sanabria "the greatest potential that Cuban rhythms had to really cross over in terms of music". Boogaloo_sentence_15

Styles like doo wop also left a sizable influence, through Tony Pabón (of the Pete Rodríguez Band), Bobby Marín, King Nando, Johnny Colón and his vocalists Tony Rojas and Tito Ramos. Boogaloo_sentence_16

Though boogaloo did not become mainstream nationwide until later in the decade, two early Top 20 hits came in 1963: Mongo Santamaría's cover version of the Herbie Hancock's "Watermelon Man" and Ray Barretto's "El Watusi". Boogaloo_sentence_17

Inspired by these two successes, a number of bands began imitating their infectious rhythms (which were Latinized R&B), intense conga rhythms and clever novelty lyrics. Boogaloo_sentence_18

Boogaloo was the only Cuban-style rhythm which occasionally acquired English lyrics. Boogaloo_sentence_19

Established Cuban-influenced orchestras also recorded the occasional boogaloo, including Pérez Prado, Tito Rodríguez and Tito Puente was an American musician, songwriter . Boogaloo_sentence_20

Most of the other groups were young musicians – some were teenagers – the Latin Souls, the Lat-Teens, Pucho & His Latin Soul Brothers, Joe Bataan and the Latinaires. Boogaloo_sentence_21

Use of the term boogaloo in referring to a musical style was probably coined in about 1966 by Richie Ray and Bobby Cruz. Boogaloo_sentence_22

The biggest boogaloo hit of the '60s was "Bang Bang" by the Joe Cuba Sextet, which sold over one million copies in 1966. Boogaloo_sentence_23

"El Pito" was another hit by this popular combo. Boogaloo_sentence_24

Hits by other groups included Johnny Colón's "Boogaloo Blues", Pete Rodríguez's "I Like It like That", and Héctor Rivera's "At the Party". Boogaloo_sentence_25

The same year as Joe Cuba's pop success, 1966, saw the closing of New York City's Palladium Ballroom, when the venue, the home of big band mambo for years, lost its liquor license. Boogaloo_sentence_26

The closing marked the end of mainstream mambo, and boogaloo ruled the Latin charts for several years before salsa began to take over. Boogaloo_sentence_27

At the same time, several other rhythmical inventions came to notice: the dengue, the jala-jala and the shing-a-ling were all offshoots of the mambo and chachachá. Boogaloo_sentence_28

The older generation of Latin musicians have been accused of using their influence to repress the young movement, for commercial reasons. Boogaloo_sentence_29

There was certainly pressure on booking agents by the established bands. Boogaloo_sentence_30

The craze was mostly over by 1970, perhaps because of the hostility of established bands and key booking agents; the reason is uncertain. Boogaloo_sentence_31

Almost every major and minor Latin dance artist of the time had recorded at least a few boogaloos on their albums. Boogaloo_sentence_32

It had been an intense, if brief, musical movement, and the music is still highly regarded today. Boogaloo_sentence_33

The Latin boogaloo bands were mostly led by young, sometimes even teenage musicians from New York's Puerto Rican community. Boogaloo_sentence_34

These included, but weren't limited to, Bataan, Cuba, Bobby Valentín, the Latin Souls, the Lat-Teens, Johnny Colón, Willie Colón and the Latinaires. Boogaloo_sentence_35

As such, Latin boogaloo can be seen as "the first Nuyorican music" (René López), and has been called "the greatest potential that (Latinos) had to really cross over in terms of music" (Izzy Sanabria). Boogaloo_sentence_36

However, Latino musicians and composers also made a big contribution to doo-wop. Boogaloo_sentence_37

Latin boogaloo also spread throughout the wider Latin music world, especially in Puerto Rico, where top band El Gran Combo released many boogaloos. Boogaloo_sentence_38

Latin music scenes in Peru, Colombia, Panama and elsewhere also embraced the boogaloo. Boogaloo_sentence_39

Though the dance craze only lasted until 1968/69, Latin boogaloo was popular enough that almost every major and minor Latin dance artist of the time recorded at least a few boogaloos on their albums. Boogaloo_sentence_40

That included boogaloos by long-time veteran, mambo-era musicians such as Eddie Palmieri and his "Ay Que Rico" or Tito Puente's "Hit the Bongo". Boogaloo_sentence_41

The boogaloo faded from popularity by the end of 1969. Boogaloo_sentence_42

What caused the fairly rapid end of the boogaloo's reign is in doubt. Boogaloo_sentence_43

According to several sources, jealous older Latin music artists colluded with record labels (in particular, Fania Records), radio DJs, and dance hall promoters to blacklist boogaloo bands from venues and radio. Boogaloo_sentence_44

This scenario is explored in the 2016 film We Like It Like That, a documentary on the history of Latin boogaloo. Boogaloo_sentence_45

Alternatively, it was a fad that had run out of steam. Boogaloo_sentence_46

Its demise allowed older musicians to make a comeback on the New York scene. Boogaloo_sentence_47

The explosive success of salsa in the early 1970s saw former giants like Puente and the Palmieri Brothers return to the top, while most Latin boogaloo bands went out of business (Joe Bataan and Willie Colón being two notable exceptions). Boogaloo_sentence_48

In Cali, Colombia, boogaloo, salsa and pachanga are played by disk jockeys in FM and AM radio stations and dance clubs. Boogaloo_sentence_49

The Caleños prefer their boogaloo sped up, from 33 to 45 RPM, to match the city's fast dance style. Boogaloo_sentence_50

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