Celia Cruz y su Orgullosa Herencia Africana
Celia Cruz, la indiscutible Reina de la Salsa, siempre llevó con orgullo sus raíces africanas, una herencia que marcó su identidad, su música y su legado. Nacida en La Habana, Cuba, en , Celia creció en un ambiente donde la cultura africana estaba profundamente arraigada en la música, la religión y las tradiciones populares de la isla. Su voz y estilo inconfundibles ayudaron a globalizar los ritmos afrocubanos y a consolidar el género de la salsa en la escena internacional.
Desde los años 50, Celia grabó temas que resaltaban la influencia africana en la música cubana. Canciones como Chango Ta’ Veni, Bembe Colora y Quimbara se convirtieron en grandes éxitos y marcaron su carrera. Estos temas, caracterizados por sus potentes tambores y su energía inigualable, se consideran parte de sus primeras grabaciones más icónicas.
A lo largo de los años, surgieron varios mitos sobre Celia Cruz, incluyendo la idea de que su madre era haitiana y que ella practicaba la santería. Sin embargo, Celia siempre fue clara sobre su origen y creencias. Su madre, Catalina Alfonso, era cubana, y Celia fue una mujer profundamente católica. Aunque muchas de sus
The Meaning Behind The Song: Changó Ta Vení by Celia Cruz
Changó Ta Vení is a popular song by the renowned Cuban artist, Celia Cruz. Released in , this song has captivated audiences with its vibrant rhythm and powerful lyrics. It delves into the story of Changó, an Orisha from the Yoruba religion, and highlights the importance of faith and devotion.
The song opens with an energetic intro, drawing listeners in with its infectious beat. As the music progresses, Celia Cruz&#;s dynamic vocals come to life, conveying a sense of joy and celebration. The lyrics pay homage to Changó, portraying him as a divine figure who brings blessings and protection to his followers.
Changó, also known as Xangô in Brazilian Candomblé or Santa Bárbara in Afro-Cuban religions, represents the God of thunder, lightning, dance, and fire. In Yoruba mythology, Changó symbolizes power, passion, and justice. He is often depicted as a strong and courageous warrior, as well as a patron of musicians and dancers.
This song beautifully captures the essence of Changó&#;s spirit, inviting listeners to embrace their faith and immerse themselves in the joyous celebration of life. Through its intricate melodies and
Favorite Five: Celia Cruz albums
Posted: Sept. 18,
After 10 years of working on a documentary on salsa star Celia Cruz, Joe Cardona knows her music. We asked him to tell us about his favorite five albums. What follows are his picks in his own words.
"CELIA AND JOHNNY"
Fania,
This one is a no-brainer for me. Simply put, it's the soundtrack of my life.
It's Celia's first album with Johnny Pacheco, and it's a gem. Four songs off the album hit the charts: "Quimbara," "Lo Tuyo es Mental," "Toro Mata" and "Canto a la Habana." When Jerry Massucci, the founder of the Motown of salsa music, Fania Records, asked Celia Cruz who she wanted to record her first Fania album with, she responded quickly, "Johnny Pacheco." For Pacheco, it was career highlight to record with the lead singer of the band (La Sonora Matancera) he had admired for so long. The album catches the proverbial lightning in a bottle.
"ONLY THEY COULD HAVE MADE THIS ALBUM"
Vaya,
A close second is Celia's first recording with Willie Colón, who was known then as the bad boy of salsa. This gold record includes what many consider salsa's anthem, "Usted Abuso," originally a samba that Colon heard on a trip to B
We’re celebrating the warrior god Changó today, December 4. To read the full story of these groundbreaking Afro-Cuban recordings and listen to some key tracks, pleaseconsider supporting me with a paid subscription
In the late s, Panart released a set of three 78 RPM records under the title Toques de Santo. The elaborate portfolio package was bound with an illustrated cover depicting a naked woman wearing only a necklace of beads in an ecstatic pose accompanied by a drummer on a blood red background. The image depicted “exotic” and “savage” notions of the time; at the same time, the bare-breasted figure shown is built like a Tropicana showgirl. The records feature a young Celia Cruz performing Afro-Cuban religious chants. These calls to the saints in the Lucumí language are the first known studio recordings by Celia Cruz, who is now remembered as the world-renowned “Queen of Salsa.”
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