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Celia Cruz: The Queen of Salsa and Her Enduring Musical Family

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Celia Cruz, globally recognized as the “Queen of Salsa,” reigned as an iconic singer and electrifying performer from the 1940s into the 21st century. Her dynamic presence and powerful voice were instrumental in forging and popularizing “salsa,” a vibrant, pan-Hispanic music genre that burst onto the scene in the 1960s. Cruz’s expansive and versatile career transcended geographical boundaries, amplifying the reach of Caribbean and Latin American music while proudly celebrating its deep African roots.

“Toda la vida, yo he cantado musica alegre; . . . no me gusta cantar nada triste. Pues debo tener mis momentos de tristeza … pero eso es para mi, para mi interior. . . no quiero transmitir al público.”

[All my life, I’ve sung happy music; I don’t like to sing anything sad. Of course I have unhappy moments, but they are just for me, for my inner life. I don’t want to bring that to the public.]

-“Me Llamo Celia Cruz,” BBC documentary (1988)

From Havana to the World Stage: The Making of “La Guarachera de Cuba”

Born Úrsula Hilaria Celia de la Caridad Cruz Alfonso on October 21, 1925, in the vibrant Santos Suárez neighborhood of Havana, Cuba, Celia Cruz’s early life was steeped in family and music. Her household was a bustling hub of parents, siblings, half-siblings, and cousins. Finances were often tight, with her father’s railway worker salary supporting the large family. For a period, young Celia lived with her aunt, Tía Ana, who she always considered a second mother, highlighting the strong family bonds that characterized her upbringing. As one of the elder children in her extended family, Cruz’s earliest musical experiences involved serenading younger relatives to sleep, improvising melodies and lyrics beyond traditional lullabies.

Her innate musical talent soon propelled Cruz to local radio talent contests, a significant platform in Cuba during the 1930s and 1940s. Radio was the dominant entertainment medium, featuring everything from soap operas and sports to live music and amateur competitions. Despite sometimes struggling to afford transportation to the radio station, Cruz consistently won prizes, ranging from practical items like cake and soap to coveted treats like chocolate and, on one memorable occasion, a silver necklace. (Fernandez 2006)

Singing became Cruz’s driving ambition, but her father initially opposed this career path. Popular music was not viewed as a respectable profession, particularly for women. The industry, dominated by men and centered in nightclubs, carried negative associations with alcohol, drugs, sex work, and sexual harassment. Yielding to her father’s concerns, Cruz pursued teacher training. However, her passion for music remained undeterred. She continued to perform on the radio and with local bands at neighborhood dances. Ultimately, her exceptional talent triumphed over her father’s reservations, leading her to enroll in the national music conservatory.

As her professional singing career gained momentum, Cruz collaborated with various groups across different radio stations. CMQ, a prominent station, featured her regularly on “Estrellas Nacientes” (Rising Stars), a popular Sunday afternoon program. (Marceles 2004) Cruz’s remarkable versatility allowed her to explore diverse genres within traditional Cuban music. She excelled in rumba, with its rhythmic roots in the African diaspora, and guaracha, known for its lively tempo and witty lyrics.

However, as a dark-complexioned Afro-Cuban woman, Cruz encountered pervasive discrimination. Navigating racialized beauty standards that denigrated her appearance, she faced the intertwined challenges of racism, sexism, and colorism prevalent in the music industry and broader society. These prejudices remained a constant throughout her career.

A pivotal moment arrived in 1950 when Cruz became the lead vocalist for Radio Progreso’s immensely popular band, La Orquesta Sonora Matancera. This marked her breakthrough and elevated the band’s success, with their ratings soaring under Cruz’s captivating vocals. (Marceles 2004) Cuban music was gaining international traction, fueled by the island’s expanding radio infrastructure, boasting 145 stations by 1958. Havana’s vibrant nightlife, filled with nightclubs and cabarets, attracted tourists and provided ample venues for live music. (Moore 2006) Building on their local fame, La Sonora Matancera toured Latin America and signed with New York-based Seeco Records. The success of their song “Burundanga” (1953), which achieved gold status, led to Cruz’s first trip to the United States, which would eventually become her adopted homeland.

Exile and Acclaim: Reinventing Herself in a New World

Despite early triumphs, the Cold War and the Cuban Revolution dramatically altered Celia Cruz’s life and career trajectory. While she always cherished Cuba as mi tierra (her homeland), the shifting political landscape under Fidel Castro’s regime made her feel increasingly alienated. The new socialist government nationalized media and key industries, and nightclubs, symbols of capitalist excess, were shut down. Artists were expected to align their work with the ruling party’s ideology. (Moore 2006)

On June 15, 1960, La Sonora Matancera departed Cuba for a concert tour in Mexico, seemingly a routine engagement. However, they never returned. Joining nearly half a million Cuban political exiles, they sought refuge in the United States. The Cuban government denied Cruz’s subsequent requests to return, even when her mother was gravely ill. The inability to revisit Cuba, even to pay respects at her parents’ graves, remained a deep source of sorrow for Cruz. (Cruz 2004) Her closest encounter with her homeland came in 1990 when she performed at the U.S. naval base at Guantánamo Bay – geographically on the island, yet separated from Cuban territory by a barbed wire fence.

Amidst these turbulent times, a long-standing friendship with La Sonora Matancera’s trumpeter, Pedro Knight, blossomed into romance. They married in a modest ceremony in Connecticut in 1962. Knight became her manager, a pivotal figure in her career, encouraging her to pursue an independent path. While Cruz continued to perform, record, and tour with the band, spending a significant portion of each year in Mexico (Cruz 2004), Knight’s support paved the way for her solo endeavors. Her exceptional musical talent and influence drew comparisons to another iconic American singer, Ella Fitzgerald.

Following her emigration to the U.S., Cruz embraced her signature exclamation ¡AZUCAR! with gusto. She recounted that the catchphrase originated in a Miami restaurant, sparked by her surprise at being asked if she wanted sugar in her coffee. (Cruz 2004) She used the word during performances to express the intense joy and sweetness of the moment. Simultaneously, its literal meaning (sugar) resonated with her Spanish-speaking, Afro-Cuban identity. Cuba’s economy was historically built upon sugar production, a legacy intertwined with Black enslaved labor and the African diaspora. In exile, ¡AZUCAR! became a powerful assertion of her Cuban identity and passion.

Salsa’s Reign: Forging a New Musical Family

Cruz concluded her tenure with Seeco Records in 1965 and joined Tico Records, a smaller label specializing in mambo and Latin soul. There, she collaborated with luminaries like Tito Puente and Ray Barretto. Fania Records, a burgeoning label co-founded by Dominican musician Johnny Pacheco, acquired Tico Records a few years later. This marked the beginning of rich collaborations for Celia, working with both established figures like Pacheco and rising stars such as Willie Colón. Beyond her solo work, Cruz became a central figure in the Fania All-Stars, participating in albums, global concerts, documentaries, and television appearances. This collective represented a new kind of musical family for Cruz, expanding her artistic horizons.

These artists were pioneers in incorporating electric instruments and highlighting Afro-Cuban rhythms, birthing a new sound they called “salsa.” Rebranded as salsa, Afro-Caribbean music resonated with younger audiences in a pop market dominated by rock. The burgeoning popularity of salsa coincided with increased Latin American migration to the United States, particularly following changes in US immigration law in 1965. (Ojito 1998) Cruz’s “Quimbara,” from the album “Celia y Johnny” (1973), became an anthem of this new genre. (Abreu 2015)

Celia Cruz and Ray Barretto’s album “Ritmo en el Corazón” (Rhythm in the Heart) album cover. , 1988. Fania Records. Photograph. This image represents Celia Cruz’s collaborative spirit and her musical family within Fania Records.

The song “Quimbara” was a landmark collaboration between Celia Cruz and Dominican musician Johnny Pacheco on their album “Celia y Johnny” (Fania Records, 1974). The Bantu word “quimbara,” repeated throughout the song, lacks a direct English translation, adding to its mystique and rhythmic appeal. In 1974, Celia experienced a profound connection to her African heritage when the Fania All-Stars performed in Kinshasa, Zaire (now Democratic Republic of the Congo), as part of the “Rumble in the Jungle” event featuring Muhammad Ali and George Foreman. She was deeply moved by the enthusiastic reception to her rendition of “Guantanamera,” realizing the global reach of Cuban music.

Within the male-dominated world of salsa music, Cruz stood out as a prominent woman. Her deep, “percussive” contralto voice allowed her to command songs typically sung by men. (Pareles 1985) Simultaneously, she cultivated a flamboyant and feminine public image. Her extravagant style celebrated both her womanhood and her Blackness. She proudly showcased her Afro-Cuban roots, often wearing the bata cubana (Cuban dress), a traditional rumba dancer’s costume blending Spanish and African elements, for performances ranging from Carnegie Hall to Sesame Street. (Azúcar!)

Cuban Flag Bata Cubana worn by Celia Cruz. National Museum of American History, Smithsonian Institution, Washington, DC. Gift of the Celia Cruz Estate courtesy of the Celia Cruz Legacy Project. www.si.edu/object/cuban-flag-bata-cubana-worn-celia-cruz%3Anmah_1982092. This image highlights Celia Cruz’s iconic fashion and her connection to Cuban cultural heritage.

Cruz’s fashion, like her music, embraced innovation and celebrated Black culture and beauty, especially during the cultural shifts of the 1960s and 1970s. She experimented with hairstyles like cornrows and sported an Afro halo on the album cover for “Celia and Johnny.” From the 1980s onwards, she became known for her elaborate wigs, sequins, ruffles, dramatic makeup, and vibrant colors. Collaborating with stylist Ruth Sanchez, she layered accessories and jewelry (Cobo 2007), and custom designs by Narciso Rodriguez and Miguel Nieto further amplified her captivating stage persona.

A Lasting Legacy: Celia Cruz, the Music Icon

Celia Cruz remained musically adventurous and innovative, exploring genres like pop, rock, and rap well into the 21st century. She consistently topped music charts and garnered numerous awards. Her collaborative spirit, dedication to her fans, and improvisational genius enabled her to constantly evolve her sound and maintain her relevance across generations. Her collaboration with Haitian rapper Wyclef Jean on “Guantanamera” earned a Grammy nomination in 1998. In 1990, she received her first of five Grammy Awards for the album “Ritmo en el corazón,” a collaboration with Ray Barretto.

Celia Cruz Portrait. Rodríguez-Duarte, Alexis. “¡Yo soy de Cuba la Voz, Guantanamera!” National Portrait Gallery, Smithsonian Institution. This portrait captures Celia Cruz’s vibrant personality and enduring legacy as a music icon.

The accolades continued to accumulate: a star on the Hollywood Walk of Fame, a place on Miami’s Calle Ocho Walk of Fame, induction into the Wall of Fame at Madison Square Garden, a Smithsonian Lifetime Achievement Award, a National Endowment for the Arts medal, honorary doctorates, and Telemundo’s Artist of the Millennium title. She recorded some of her most beloved songs, “La Vida es un Carnaval” (1998) and “La Negra Tiene Tumbao” (2001), in her 70s. Her final album, “Regalo del Alma” (Sony, 2002), posthumously won a Grammy for Best Salsa Album.

Cruz became a naturalized U.S. citizen in 1977, yet Cuba always remained her spiritual home. Cuban American exiles adopted her “Canto a la Habana” as an unofficial anthem. She openly voiced her opposition to communism and the Cuban revolution. When challenged about her outspokenness, she asserted, “How could I not say anything when I had the freedom to do so?” (Cruz 2004) She consistently refused to share a stage with Cuban musicians aligned with the Castro regime. However, she generally kept her music separate from overt political messaging. “No hago de mi arte una bandera politica,” she stated. “Quienes me oyen cantar pueden tener cualquier política. Yo no canto para ofender a nadie.” (I don’t make my art into a political banner. Those who listen to me can have any political position. I don’t sing to offend anybody.)

Following a world tour in 2002, Cruz received a breast cancer diagnosis and underwent treatment. Subsequently, a brain tumor was discovered. She kept her health struggles private, determined to maintain her joyful public persona for her devoted fans, her extended musical family. On July 16, 2003, shortly after Telemundo’s tribute in Miami Beach, Celia Cruz passed away at her home in New Jersey.

In recognition of her monumental contributions, the U.S. Congress posthumously awarded Celia Cruz the Congressional Gold Medal in 2005. In 2024, the U.S. Mint honored her as part of the American Women Quarters™ Program. Having recorded over 70 albums across diverse musical styles, from orishas to boleros and even a Beatles tribute, Celia Cruz’s music transcended language, nationality, ethnicity, and generation. She cultivated deep connections with her fans, some of whom, like Omer Pardillo and Luisito Falcón, became part of her inner circle, her chosen family. (Marceles 2004)

This profound bond with her audience was sacred to Cruz, the foundation of her extraordinary success. “I have always been a singer of the people,” she reflected. “If my fans ask me for something, I try my best to please them, and I don’t impose on them what I think they should like.” (Cruz 2004) Above all, Celia Cruz communicated an infectious zest for life, confronting challenges with unwavering optimism. Her voice remains a timeless celebration of joy, beauty, and hope in an ever-changing world, a legacy cherished by her global family of fans.

Celia Cruz performing “La Vida Es Un Carnaval”, a song that embodies her joyful spirit and connection with her audience.

Works Cited

  • Abreu, Christina D. Rhythms of Race: Cuban Musicians and the Making of Latino New York City and Miami, 1940-1960. University of North Carolina Press, 2015.
  • “Azúcar! The Life and Music of Celia Cruz.” National Museum of American History, Washington DC. May 18, 2005 – May 29, 2006. https://www.si.edu/exhibitions/azucar-life-and-music-celia-cruz%3Aevent-exhib-2793. Archived site snapshot, https://wayback.archive-it.org/3340/20210119192055/https://amhistory.si.edu/celiacruz/printable/
  • Cobo, Leila. “Salsa queen’s over-the-top style lives again in ‘Celia.’” Reuters (October 5, 2007).
  • Cruz, Celia; Reymundo, Ana Cristina. Celia: My Life. Translated from the Spanish by José Lucas. NY: Rayo, 2004.
  • Fernandez, Raul. From Afro-Cuban Rhythms to Latin Jazz. University of California Press, 2006.
  • Marceles, Eduardo. Azucar! La biografia de Celia Cruz. NY: Reed Press, 2004.
  • Moore, Robin D. Music and Revolution: Cultural Change in Socialist Cuba. University of California Press, 2006.
  • Ojito, Mirta. “America’s Queen of Salsa; Singer’s Popularity Rides Waves of Immigration.” The New York Times (June 27, 1998).
  • Pareles, Jon. “Celia Cruz: At the Top of Salsa.” The New York Times (Nov. 19, 1985).

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