Oye Como Va!

Listen Up! When the New York-born Tito Puente composed &quote;Oye Como Va!&quote; in the 1960s, his popular song was called &quote;Latin&quote; even though it was a fusion of Afro-Cuban and New York Latino musical influences. A decade later, Carlos Santana, a Mexican immigrant, blended Puente's tune with rock and roll, which brought it to the attention of national audiences. Like Puente and Santana, Latino/a musicians have always blended musics from their homelands with other sounds in our multicultural society, challenging ideas of what &quote;Latin&quote; music is or ought to be. Waves of immigrants further complicate the picture as they continue to bring their distinctive musical styles to the U.S.-from merengue and bachata to cumbia and reggaeton.In Oye Como Va!, Deborah Pacini Hernandez traces the trajectories of various U.S. Latino musical forms in a globalizing world, examining how the blending of Latin music reflects Latino/a American lives connecting across nations. Exploring the simultaneously powerful, vexing, and stimulating relationship between hybridity, music, and identity, Oye Como Va! asserts that this potent combination is a signature of the U.S. Latino/a experience.