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Latinas/os on the East Coast

A Critical Reader


Edited By Yolanda Medina and Ángeles Donoso Macaya

Latinas/os on the East Coast: A Critical Reader provides a comprehensive overview of established and contemporary research and essays written about communities that represent the Latina/o diaspora on the East Coast of the United States. Collectively, it contributes to the historical, cultural, political, and economic dynamics that affect the Latinas/os’ lived experience of the country. Analyzed through an interdisciplinary lens, this reader offers a critical examination of the policies and the practices that affect the following current and emerging themes and topics: History; Ethnicity and culture; Immigration, transnationalism, and civil rights; Education; Health; Women’s studies; Film and media studies; Queer studies; Literature; Visual and performing arts.
This book is an indispensable resource for scholars, researchers, educators, undergraduate and graduate students, as well as any individual, group, or organization interested in issues that affect Latinas/os in the United States in current times.
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Merengue Típico in New York City: A History


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Merengue Típico in New York City

A History

Sydney Hutchinson

A transnational music scene has developed since the 1960s connecting New York City with Santiago, Dominican Republic, through merengue típico, or traditional, accordion-based merengue (also termed perico ripiao). New York-based musicians and fans have transformed the musical, social, and economic practices of típico in both locations by incorporating influences from hip-hop, reggaetón, rock, house, and other forms of internationally popular music, while bringing the style to new audiences through both radio and live performance. This article traces the history of merengue típico in New York City through the testimony of típico musicians and producers. In doing so, it demonstrates that Dominican Americans and transnational migrants have been important players in the development of this musical genre for nearly half a century, particularly in the modern style termed merengue con mambo. While this style is controversial precisely because of the traces of transnational encounters it shows, which cause traditionalists to fear for the music’s future, típico’s capacity for change in fact serves to ensure its continued relevance for new generations.

Dominican musicians have lived in New York City since the 1930s. Yet the transnational music scene that exists today, characterized by the constant movement of musicians and exchange of musical ideas, did not begin to develop until well after the first big wave of Dominican migration in the 1960s. In this...

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