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  • Coffeehouse

    coffeehousecoffee shop, or café (French: [kafe] ), is an establishment that serves various types of coffee, espressolatteamericano and cappuccino, among other hot beverages. Some coffeehouses may serve iced coffee among other cold beverages, such as iced tea, as well as other non-caffeinated beverages. A coffeehouse may also serve food, such as light snacks, sandwiches, muffins, cakes, breads, pastries, and/or donuts. Many doughnut shops in the Canadian and U.S. serve coffee as an accompaniment to doughnuts.[1][2] In continental Europe, some cafés even serve alcoholic beverages. Coffeehouses range from owner-operated small businesses to large multinational corporations. Some coffeehouse chains operate on a franchise business model, with numerous branches across various countries around the world.

    While café may refer to a coffeehouse, the term “café” can also refer to a dinerBritish café (also colloquially called a “caff”), “greasy spoon” (a small and inexpensive restaurant), transport caféteahouse or tea room, or other casual eating and drinking place.[3][4][5][6][7] A coffeehouse may share some of the same characteristics of a bar or restaurant, but it is different from a cafeteria. Many coffeehouses in West Asia offer shisha (actually called nargile in Levantine ArabicGreek, and Turkish), flavored tobacco smoked through a hookah. An espresso bar is a type of coffeehouse that specializes in serving espresso and espresso-based drinks.

    From a cultural standpoint coffeehouses largely serve as centers of social interaction: a coffeehouse provides patrons with a place to congregate, talk, read, write, entertain one another, or pass the time, whether individually or in small groups. A coffeehouse can serve as an informal social club for its regular members.[8] As early as the 1950s Beatnik era and the 1960s folk music scene, coffeehouses have hosted singer-songwriter performances, typically in the evening.[9] The digital age saw the rise of the Internet café along similar principles.

    Etymology

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    The word coffee in various European languages[10]

    The most common English spelling of café is the French word for both coffee and coffeehouse;[11][12] it was adopted by English-speaking countries in the late 19th century.[13] The Italian spelling, caffè, is also sometimes used in English.[14] In Southern England, especially around London in the 1950s, the French pronunciation was often facetiously altered to /kæf/ and spelt caff.[15]

    The English word coffee and French word café (coffeehouse) both derive from the Italian caffè[11][16]—first attested as caveé in Venice in 1570[17]—and in turn derived from Arabic qahwa (قهوة). The Arabic term qahwa originally referred to a type of wine, but after the wine ban by Islam, the name was transferred to coffee because of the similar rousing effect it induced.[18] European knowledge of coffee (the plant, its seeds, and the drink made from the seeds) came through European contact with Turkey, likely via Venetian-Ottoman trade relations.

    The English word café to describe a restaurant that usually serves coffee and snacks rather than the word coffee that describes the drink, is derived from the French café. The first café in France is believed to have opened in 1660.[11] The first café in Europe is believed to have been opened in BelgradeOttoman Serbia in 1522 as a Kafana (Serbian coffee house).[19]

    The translingual word root /kafe/ appears in many European languages with various naturalized spellings, including Portuguese, Spanish, and French (café); German (Kaffee); Polish (kawa); Serbian (кафа / kafa); Ukrainian (кава, ‘kava’); and others.

    History

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    Ottoman Empire

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    Ottoman miniature of a meddah performing at a coffeehouse

    Storyteller (meddah) at a coffeehouse in the Ottoman Empire. The first coffeehouses appeared in the Muslim world in the 15th century.

    The first coffeehouses appeared in Damascus. These Ottoman coffeehouses also appeared in Mecca, in the Arabian Peninsula in the 15th century, then spread to the Ottoman Empire‘s capital of Istanbul in the 16th century and in Baghdad. Coffeehouses became popular meeting places where people gathered to drink coffee, have conversations, play board games such as chess and backgammon, listen to stories and music, and discuss news and politics. They became known as “schools of wisdom” for the type of clientele they attracted, and their free and frank discourse.[20][21]

    Coffeehouses in Mecca became a concern of imams who viewed them as places for political gatherings and drinking, leading to bans between 1512 and 1524.[22] However, these bans could not be maintained, due to coffee becoming ingrained in daily ritual and culture among Arabs and neighboring peoples.[20] The Ottoman chronicler İbrahim Peçevi reports in his writings (1642–49) about the opening of the first coffeehouse (kiva han) in Istanbul:

    Until the year 962 [1555], in the High, God-Guarded city of Constantinople, as well as in Ottoman lands generally, coffee and coffeehouses did not exist. About that year, a fellow called Hakam from Aleppo and a wag called Shams from Damascus came to the city; they each opened a large shop in the district called Tahtakale, and began to purvey coffee.[23]

    A coffeehouse in Cairo, 18th century

    Persia

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    The 17th-century French traveler and writer Jean Chardin gave a lively description of the Persian coffeehouse (qahveh khaneh in Persian) scene:

    People engage in conversation, for it is there that news is communicated and where those interested in politics criticize the government in all freedom and without being fearful, since the government does not heed what the people say. Innocent games … resembling checkers, hopscotch, and chess, are played. In addition, mollasdervishes, and poets take turns telling stories in verse or in prose. The narrations by the mollas and the dervishes are moral lessons, like our sermons, but it is not considered scandalous not to pay attention to them. No one is forced to give up his game or his conversation because of it. A molla will stand up in the middle, or at one end of the qahveh-khaneh, and begin to preach in a loud voice, or a dervish enters all of a sudden, and chastises the assembled on the vanity of the world and its material goods. It often happens that two or three people talk at the same time, one on one side, the other on the opposite, and sometimes one will be a preacher and the other a storyteller.[24]

    Europe

    [edit]

    A coffeehouse in London, 17th century
    “Discussing the War in a Paris Café”, The Illustrated London News, 17 September 1870, during the Franco-Prussian War

    In the 17th century, coffee appeared for the first time in Europe outside the Ottoman Empire, and coffeehouses were established, soon becoming increasingly popular. The first coffeehouse is said to have appeared in 1632 in Livorno, founded by a Jewish merchant,[25][26] or later in 1640, in Venice.[27] In the 19th and 20th centuries in Europe, coffeehouses were very often meeting points for writers and artists.[28]

    Austria

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    Viennese café
    Trieste from where the cappuccino spread

    The traditional tale of the origins of the Viennese café begins with the mysterious sacks of green beans left behind when the Turks were defeated in the Battle of Vienna in 1683. All the sacks of coffee were granted to the victorious Polish king Jan III Sobieski, who in turn gave them to one of his officers, Jerzy Franciszek Kulczycki, a Ukrainian cossack and Polish diplomat of Ruthenian descent. Kulczycki, according to the tale, then began the first coffeehouse in Vienna with the hoard, also being the first to serve coffee with milk. There is a statue of Kulczycki on a street also named after him.

    However, it is now widely accepted that the first Viennese coffeehouse was actually opened by an Armenian merchant named Johannes Diodato (also known as Johannes Theodat). He opened a registered coffeehouse in Vienna in 1685.[29][30]Fifteen years later, four other Armenians owned coffeehouses.[30] The culture of drinking coffee was itself widespread in the country in the second half of the 18th century.

    Over time, a special coffee house culture developed in Habsburg Vienna. On the one hand, writers, artists, musicians, intellectuals, bon vivants and their financiers met in the coffee house, and on the other hand, new coffee varieties were always served. In the coffee house, people played cards or chess, worked, read, thought, composed, discussed, argued, observed and just chatted. A lot of information was also obtained in the coffee house, because local and foreign newspapers were freely available to all guests. This form of coffee house culture spread throughout the Habsburg Empire in the 19th century.[31][32]

    Scientific theories, political plans but also artistic projects were worked out and discussed in Viennese coffee houses all over Central Europe. James Joyce even enjoyed his coffee in a Viennese coffee house on the Adriatic in Trieste, then and now the main port for coffee and coffee processing in Italy and Central Europe. From there, the Viennese Kapuziner coffee developed into today’s world-famous cappuccino. This special multicultural atmosphere of the Habsburg coffee houses was largely destroyed by the later National Socialism and Communism and can only be found today in a few places that have long been in the slipstream of history, such as Vienna or Trieste.[33][34][35][36]

    England

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    Main article: English coffeehouses in the 17th and 18th centuries

    The first coffeehouse in England was set up on the High Street in Oxford in 1650[37]–1651[38][page needed] by “Jacob the Jew”. A second competing coffee house was opened across the street in 1654, by “Cirques Jobson, the Jew” (Queen’s Lane Coffee House).[39] In London, the earliest coffeehouse was established by Pasqua Rosée in 1652.[40] Anthony Wood observed of the coffee houses of Oxford in his Life and Times (1674) “The decay of study, and consequently of learning, are coffee houses, to which most scholars retire and spend much of the day in hearing and speaking of news”.[41] The proprietor was Pasqua Rosée, the servant of a trader in goods from the Ottoman Empire named Daniel Edwards, who imported the coffee and assisted Rosée in setting up the establishment there.[42][43]

    From 1670 to 1685, the number of London coffeehouses began to increase, and they also began to gain political importance due to their popularity as places of debate.[44] English coffeehouses were significant meeting places, particularly in London. By 1675, there were more than 3,000 coffeehouses in England.[45] The coffeehouses were great social levelers, open to all men and indifferent to social status, and as a result associated with equality and republicanism. Entry gave access to books or print news. Coffeehouses boosted the popularity of print news culture and helped the growth of various financial markets including insurance, stocks, and auctions. Lloyd’s of London had its origins in a coffeehouse run by Edward Lloyd, where underwriters of ship insurance met to do business. The rich intellectual atmosphere of early London coffeehouses was available to anyone who could pay the sometimes one penny entry fee, giving them the name of ‘Penny Universities’.[46]

    Though Charles II later tried to suppress London coffeehouses as “places where the disaffected met, and spread scandalous reports concerning the conduct of His Majesty and his Ministers”, the public still flocked to them. For several decades following the Restoration, the wits gathered around John Dryden at Will’s Coffee House, in Russell Street, Covent Garden.[47] As coffeehouses were believed to be areas where anti-government gossip could easily spread, Queen Mary and the London City magistrates tried to prosecute people who frequented coffeehouses as they were liable to “spread false and seditious reports”. William III‘s privy council also suppressed Jacobite sympathizers in the 1680s and 1690s in coffeehouses as these were the places that they believed harbored plotters against the regimes.[48]

    By 1739, there were 551 coffeehouses in London; each attracted a particular clientele divided by occupation or attitude, such as Tories and Whigs, wits and stockjobbers, merchants and lawyers, booksellers and authors, men of fashion or the “cits” of the old city center. According to one French visitor, Antoine François Prévost, coffeehouses, “where you have the right to read all the papers for and against the government”, were the “seats of English liberty”.[49]

    Jonathan’s Coffee House in 1698 saw the listing of stock and commodity prices that evolved into the London Stock ExchangeLloyd’s Coffee House provided the venue for merchants and shippers to discuss insurance deals[repetition], leading to the establishment of Lloyd’s of London insurance market, the Lloyd’s Register classification society, and other related businesses. Auctions in salesrooms attached to coffeehouses provided the start for the great auction houses of Sotheby’s and Christie’s.

    In Victorian England, the temperance movement set up coffeehouses (also known as coffee taverns) for the working classes, as a place of relaxation free of alcohol, an alternative to the public house.[50][51]

    Romania

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    In 1667, Kara Hamie, a former Ottoman Janissary from Constantinople, opened the first coffee shop in Bucharest (then the capital of the Principality of Wallachia), in the center of the city, where today sits the main building of the National Bank of Romania.[52]

    France

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    Pasqua Rosée, an Armenian by the name Harutiun Vartian, also established the first coffeehouse in Paris in 1672 and held a citywide coffee monopoly until Procopio Cutò, his apprentice, opened the Café Procope in 1686.[53] This coffeehouse still exists today and was a popular meeting place of the French EnlightenmentVoltaireRousseau, and Denis Diderot frequented it, and it is arguably the birthplace of the Encyclopédie, the first modern encyclopedia.

    Hungary

    [edit]

    The first known cafes in Pest date back to 1714 when a house intended to serve as a Cafe (Balázs Kávéfőző) was purchased. Minutes of the Pest City Council from 1729 mention complaints by the Balázs café and Franz Reschfellner Cafe against the Italian-originated café of Francesco Bellieno for selling underpriced coffee.[54]

    Italy

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    Caffè Florian in Venice

    During the 18th century, the oldest extant coffeehouses in Italy were established: Caffè Florian in Venice, Antico Caffè Greco in Rome, Caffè Pedrocchi in PaduaCaffè dell’Ussero in Pisa and Caffè Fiorio in Turin.

    Ireland

    [edit]

    In the 18th century, Dublin coffeehouses functioned as early reading centers and the emergence of circulation and subscription libraries that provided greater access to printed material for the public. The interconnectivity of the coffeehouse and virtually every aspect of the print trade were evidenced by the incorporation of printing, publishing, selling, and viewing of newspapers, pamphlets and books on the premises, most notably in the case of Dick’s Coffee House, owned by Richard Pue; thus contributing to a culture of reading and increased literacy.[55] These coffeehouses were a social magnet where different strata of society came together to discuss topics covered by the newspapers and pamphlets. Most coffeehouses of the 18th century would eventually be equipped with their own printing presses or incorporate a book shop.[56]

    Today, the term café is used for most coffeehouses – this can be spelled both with and without an acute accent, but is always pronounced as two syllables. The name café has also come to be used for a type of diners that offers cooked meals (again, without alcoholic beverages) which can be standalone or operating within shopping centres or department stores. In Irish usage, the presence or absence of the acute accent does not signify the type of establishment (coffeehouse versus diner), and is purely a decision by the owner: for instance, the two largest diner-style café chains in Ireland in the 1990s were named “Kylemore Cafe” and “Bewley’s Café” – i.e., one written without, and one with, the acute accent.

    Portugal

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    Statue of Fernando Pessoa by Lagoa Henriques, next to the A Brasileira café, in Chiado, Lisbon

    The history of coffee in Portugal is usually told to have begun during the reign of king John V, when Portuguese agent Francisco de Melo Palheta supposedly managed to steal coffee beans from the Dutch East India Company and introduce it to Brazil. From Brazil, coffee was taken to Cape Verde and São Tomé and Príncipe, which were also Portuguese colonies at the time. Despite this story, coffee already existed in Angola, having been introduced by Portuguese missionaries. During the 18th century, the first public cafés appeared, inspired by French gatherings from the 17th century, becoming spaces for cultural and artistic entertainment.

    Several cafes emerged in Lisbon such as: Martinho da Arcada (being the oldest café still functioning, having opened in 1782), Café TavaresBotequim Parras, among others. Of these several became famous for harbouring poets and artists, such as Manuel du Bocage with his visits to Café Nicola, which opened in 1796 by the Italian Nicola Breteiro; and Fernando Pessoa with his visits to A Brasileira, which opened in 1905 by Adriano Teles. The most famous of these coffee houses was the Café Marrare, opened by the napolitan Antonio Marrare, in 1820, frequently visited by Júlio CastilhoRaimundo de Bulhão PatoAlmeida GarrettAlexandre Herculano and other members of the Portuguese government and the intelligentsia. It began its own saying: «Lisboa era Chiado, o Chiado era o Marrare e o Marrare ditava a lei» (English: “Lisbon was the Chiado, the Chiado was the Marrare and the Marrare dictated the law”).

    Other coffee houses soon opened across the country, such as Café Vianna, opened in Braga, in 1858, by Manoel José da Costa Vianna, which was also visited by important Portuguese writers such as Camilo Castelo Branco and Eça de Queirós. During the 1930’s, a surge in coffee houses happened in Porto with the opening of several that still exist, such as Café Guarany, opened in 1933, and A Regaleira, opened in 1934.

    Switzerland

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    In 1761 the Turm Kaffee, a shop for exported goods, was opened in St. Gallen.[57]

    Finland

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    Café Ekberg in 2024

    Finland’s first coffee house, Kaffehus, was founded in Turku in 1778.[58] The oldest still-in-use coffee house in Helsinki called Café Ekberg was founded 1852.[59]

    Gender

    [edit]

    The exclusion of women from coffeehouses as guests was not universal, but does appear to have been common in Europe. In Germany, women frequented them, but in England and France they were banned.[60] Émilie du Châtelet purportedly cross-dressed to gain entrance to a coffeehouse in Paris.[61]

    In a well-known engraving of a Parisian café c. 1700,[62] the gentlemen hang their hats on pegs and sit at long communal tables strewn with papers and writing implements. Coffee pots are ranged at an open fire, with a hanging cauldron of boiling water. The only woman present presides, separated in a canopied booth, from which she serves coffee in tall cups.

    Aside from the discussion around women as guests of the coffeehouses, it is noted that women did work as waitresses at coffeehouses and also managed coffeehouses as proprietors. Well known women in the coffeehouse business were Moll King (coffee house proprietor) in England, and Maja-Lisa Borgman in Sweden.[63]

    Contemporary

    [edit]

    In most European countries, such as Spain, AustriaDenmark, Germany, Norway, Sweden, Portugal, and others, the term café means a restaurant primarily serving coffee, as well as pastries such as cakes, tartspies, or buns. Many cafés also serve light meals such as sandwiches. European cafés often have tables on the pavement (sidewalk) as well as indoors. Some cafés also serve alcoholic drinks (e.g., wine), particularly in Southern Europe. In the Netherlands and Belgium, a café is the equivalent of a bar, and also sells alcoholic drinks. In the Netherlands a koffiehuis serves coffee, while a coffee shop (using the English term) sells “soft” drugs (cannabis and hashish) and is generally not allowed to sell alcoholic drinks. In France, most cafés serve as lunch restaurants in the day, and bars in the evening. They generally do not have pastries except in the mornings, when a croissant or pain au chocolat can be purchased with breakfast coffee. In Italy, cafés are similar to those found in France and known as bar. They typically serve a variety of espresso coffee, cakes and alcoholic drinks. Bars in city centers usually have different prices for consumption at the bar and consumption at a table.[64][citation needed]

    Americas

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    Argentina

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    Café Tortoni is an emblematic café in Buenos Aires. Frequented by Jorge Luis Borges among many other figures of Argentina.

    Coffeehouses are part of the culture of Buenos Aires and the customs of its inhabitants. They are traditional meeting places for ‘porteños’ and have inspired innumerable artistic creations. Some notable coffeehouses include Confitería del MolinoCafé TortoniEl Gato NegroCafé La Biela.

    United States

    [edit]

    Caffe Reggio on MacDougal Street in New York City’s Greenwich Village which was founded in 1927

    The first coffeehouse in America opened in Boston, in 1676.[65] However, Americans did not start choosing coffee over tea until the Boston Tea Party and the Revolutionary War. After the Revolutionary War, Americans momentarily went back to drinking tea until after the War of 1812 when they began importing high-quality coffee from Latin America and expensive inferior-quality tea from American shippers instead of Great Britain.[66] Whether they were drinking coffee or tea, coffeehouses served a similar purpose to that which they did in Great Britain, as places where business was done. In the 1780s, Merchant’s Coffee House located on Wall Street in New York City was home to the organization of the Bank of New York and the New York Chamber of Commerce.[67]

    Coffeehouses in the United States arose from the espresso– and pastry-centered Italian coffeehouses of the Italian American immigrant communities in the major U.S. cities, notably New York City’s Little Italy and Greenwich Village, Boston’s North End, and San Francisco’s North Beach. From the late 1950s onward, coffeehouses also served as a venue for entertainment, most commonly folk performers during the American folk music revival.[68] Both Greenwich Village and North Beach became major haunts of the Beats, who were highly identified with these coffeehouses. As the youth culture of the 1960s evolved, non-Italians consciously copied these coffeehouses. The political nature of much of 1960s folk music made the music a natural tie-in with coffeehouses with their association with political action. A number of well-known performers like Joan Baez and Bob Dylan began their careers performing in coffeehouses. Blues singer Lightnin’ Hopkins bemoaned his woman’s inattentiveness to her domestic situation due to her overindulgence in coffeehouse socializing in his 1969 song “Coffeehouse Blues”.[citation needed]

    In 1966, Alfred Peet began applying the dark roast style to high quality beans and opened up a small shop in Berkeley, California to educate customers on the virtues of good coffee.[66] Starting in 1967 with the opening of the historic Last Exit on Brooklyn coffeehouse, Seattle became known for its thriving countercultural coffeehouse scene; the Starbucks chain later standardized and mainstreamed this espresso bar model.[69]

    From the 1960s through the mid-1980s, churches and individuals in the United States used the coffeehouse concept for outreach. They were often storefronts and had names like The Lost Coin (Greenwich Village), The Gathering Place (Riverside, CA), Catacomb Chapel (New York City), and Jesus For You (Buffalo, NY). Christian music (often guitar-based) was performed, coffee and food was provided, and Bible studies were convened as people of varying backgrounds gathered in a casual setting that was purposefully different from traditional churches. An out-of-print book, published by the ministry of David Wilkerson, titled, A Coffeehouse Manual, served as a guide for Christian coffeehouses, including a list of name suggestions for coffeehouses.[70]

    In 2002, Brownstones Coffee of Amityville, New York opened its first location as a breakfast-oriented coffeehouse well before that business model became popular.[71] The trend later caught on through coffeehouses such as Starbucks,[72] which seemed to be on every street corner in several major American cities including Los Angeles and Seattle.[73]

    Format

    [edit]

    See also: List of coffeehouse chains

    Coffeehouses often sell pastries or other food items.

    Cafés may have an outdoor section (terrace, pavement or sidewalk café) with seats, tables and parasols. This is especially the case with European cafés. Cafés offer a more open public space compared to many of the traditional pubs they have replaced, which were more male dominated with a focus on drinking alcohol.

    One of the original uses of the café, as a place for information exchange and communication, was reintroduced in the 1990s with the Internet café or Hotspot.[74] The spread of modern-style cafés to urban and rural areas went hand-in-hand with the rising use of mobile computers. Computers and Internet access in a contemporary-styled venue help to create a youthful, modern place, compared to the traditional pubs or old-fashioned diners that they replaced.

    Asia

    [edit]

    Coffeehouses in Egypt are colloquially called ‘ahwah /ʔhwa/, which is the dialectal pronunciation of قَهْوة qahwah (literally “coffee”)[75][76] (see also Arabic phonology#Local variations). Also commonly served in ‘ahwah are tea (shāy) and herbal teas, especially the highly popular hibiscus blend (Egyptian Arabickarkadeh or ennab). The first ‘ahwah opened around the 1850s and were originally patronized mostly by older people, with youths frequenting but not always ordering. There were associated by the 1920s with clubs (Cairo), bursa (Alexandria) and gharza (rural inns). In the early 20th century, some of them became crucial venues for political and social debates.[75]

    In India, coffee culture has expanded in the past twenty years. Chains like Indian Coffee HouseCafé Coffee DayBarista Lavazza have become very popular. Cafes are considered good venues to conduct office meetings and for friends to meet.[77]

    A coffee shop in Bacoor, Philippines

    In China, an abundance of recently started domestic coffeehouse chains may be seen accommodating business people for conspicuous consumption, with coffee prices sometimes even higher than in the West.

    Rumah Loer, a contemporary-style coffee shop (Indonesianrumah kopi kekinian) in PalembangIndonesia

    In Malaysia and Singapore, traditional breakfast and coffee shops are called kopi tiam. The word is a portmanteau of the Malay word for coffee (as borrowed and altered from English) and the Hokkien dialect word for shop (店; POJ: tiàm). Menus typically feature simple offerings: a variety of foods based on eggtoast, and coconut jam, plus coffee, tea, and Milo, a malted chocolate drink that is extremely popular in Southeast Asia and Australasia, particularly Singapore and Malaysia.

    In Indonesia, traditional coffee houses are called kedai kopirumah kopi, or warung kopi which is often abbreviated as warkopKopi tubruk is a common drink in small warkop. As a coffee drink companion, traditional kue is also served in the coffee house. The first coffee house in Indonesia was founded in 1878 in Jakarta which named Warung Tinggi Tek Sun Ho.[78]

    In the Philippines, coffee shop chains like Starbucks have become the prevalent hangouts for upper- and middle-class professionals in such districts as the Makati CBD. However, carinderias (small eateries) continue to serve coffee alongside breakfast and snack dishes. Events called “Kapihan” (fora) are often held inside bakeshops or restaurants that also serve coffee for breakfast or merienda. There are also a number of establishments often referred to as “cafés” that serve not just coffee and pastries, but full meals, often international cuisine highly altered to Filipino tastes.[79]

    A shop specialised in drip coffee in Nakhon Ratchasima, Thailand

    In Thailand, the term “café” is not only a coffeehouse in the international definition, as in other countries, but in the past was considered a night restaurant that serves alcoholic drinks during a comedy show on stage. The era in which this type of business flourished was the 1990s, before the 1997 financial crisis.[80]

    The first real coffeehouse in Thailand opened in 1917 at the Si Kak Phraya Si in the area of Rattanakosin Island, by Madam Cole, an American woman who living in Thailand at that time, Later, Chao Phraya Ram Rakop (เจ้าพระยารามราฆพ), Thai aristocrat, opened a coffeehouse named “Café de Norasingha” (คาเฟ่นรสิงห์) located at Sanam Suea Pa (สนามเสือป่า), the ground next to the Royal Plaza.[81] At present, Café de Norasingha has been renovated and moved to within Phayathai Palace.[82] In the southern region, a traditional coffeehouse or kopi tiam is popular with locals, like many countries in the Malay Peninsula.[83]

    Australia

    [edit]

    The Federal Coffee Palace, built on Collins Street, Melbourne, in 1888, was the largest and grandest Coffee Palace ever built. It was demolished in 1973.
    Centre Place, Melbourne. Australia and New Zealand have competing claims as being the birthplace of the “flat white“.

    In the 19th century, coffee houses such as the Collingwood Coffee Palace or the Federal Coffee Palace in the centre of Melbourne were established and were part of the temperance movement to reduce the consumption of alcohol in society.[84]

    In modern Australia, coffee shops are ubiquitously known as cafés. Since the post-World War II influx of Italian and Greek immigrants introduced the first espresso coffee machines to Australia in the 1950s, there was initially a slow rise in café culture, particularly in Melbourne, until a boom in locally owned cafés Australia-wide began in the 1990s.[85] Alongside the rise in the number of cafés there has been a rise in demand for locally (or on-site) roasted specialty coffee, particularly in Sydney and Melbourne. A local favourite is the “flat white” which remains a popular coffee drink.[86]

    Africa

    [edit]

    In Cairo, the capital of Egypt, most cafés have shisha (waterpipe). Most Egyptians indulge in the habit of smoking shisha while hanging out at the café, watching a match, studying, or even sometimes finishing some work. In Addis Ababa, the capital of Ethiopia, independent coffeehouses that struggled prior to 1991 have become popular with young professionals who do not have time for traditional coffee roasting at home. One establishment that has become well-known is the Tomoca coffee shop, which opened in 1953.[87][88]

    Europe

    [edit]

    United Kingdom

    [edit]

    The patrons of the first coffeehouse in England, The Angel, which opened in Oxford in 1650,[89] and the mass of London coffee houses that flourished over the next three centuries, were far removed from those of modern Britain. Haunts for teenagers in particular, Italian-run espresso bars and their formica-topped tables were a feature of 1950s Soho that provided a backdrop as well as a title for Cliff Richard‘s 1960 film Expresso Bongo. The first was The Moka in Frith Street, opened by Gina Lollobrigida in 1953. With their “exotic Gaggia coffee machine[s],… Coke, Pepsi, weak frothy coffee and… Suncrush orange fountain[s]”[90] they spread to other urban centers during the 1960s, providing cheap, warm places for young people to congregate and an ambience far removed from the global coffee bar standard that would be established in the final decades of the century by chains such as Starbucks and Pret a Manger.[90][91]

    Espresso bar

    [edit]

    This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources in this section. Unsourced material may be challenged and removed. (October 2018) (Learn how and when to remove this message)
    Interior of an espresso bar from Baliuag, Philippines

    The espresso bar is a type of coffeehouse that specializes in coffee drinks made from espresso. Originating in Italy, the espresso bar has spread throughout the world in various forms. Prime examples that are internationally known are Starbucks Coffee, based in Seattle, U.S., and Costa Coffee, based in Dunstable, U.K. (the first and second largest coffeehouse chains respectively), although the espresso bar exists in some form throughout much of the world.

    The espresso bar is typically centered around a long counter with a high-yield espresso machine (usually bean to cup machines, automatic or semiautomatic pump-type machine, although occasionally a manually operated lever-and-piston system) and a display case containing pastries and occasionally savory items such as sandwiches. In the traditional Italian bar, customers either order at the bar and consume their drinks standing or, if they wish to sit down and be served, are usually charged a higher price. In some bars there is an additional charge for drinks served at an outside table. In other countries, especially the United States, seating areas for customers to relax and work are provided free of charge. Some espresso bars also sell coffee paraphernalia, candy, and even music. North American espresso bars were also at the forefront of widespread adoption of public WiFi access points to provide Internet services to people doing work on laptop computers on the premises.

    The offerings at the typical espresso bar are generally quite Italianate in inspiration; biscotticannoli and pizzelle are a common traditional accompaniment to a caffe latte or cappuccino. Some upscale espresso bars even offer alcoholic drinks such as grappa and sambuca. Nevertheless, typical pastries are not always strictly Italianate and common additions include sconesmuffinscroissants, and even doughnuts. There is usually a large selection of teas as well, and the North American espresso bar culture is responsible for the popularization of the Indian spiced tea drink masala chai. Iced drinks are also popular in some countries, including both iced tea and iced coffee as well as blended drinks such as Starbucks’ Frappucino.

    A worker in an espresso bar is referred to as a barista. The barista is a skilled position that requires familiarity with the drinks being made (often very elaborate, especially in North American-style espresso bars), a reasonable facility with some equipment as well as the usual customer service skills.

  • Salsa music

    Salsa music is a style of Latin American music, combining elements of CubanPuerto Rican, and Dominican American influences. Because most of the basic musical components predate the labeling of salsa, there have been many controversies regarding its origin. Most songs considered as salsa are primarily based on son montuno and son Cubano,[10] with elements of cha-cha-chábolerorumbamambojazzR&Bbomba, and plena.[11] All of these elements are adapted to fit the basic Son montuno template when performed within the context of salsa.[12]

    Originally the name salsa was used to label commercially several styles of Hispanic Caribbean music, but nowadays it is considered a musical style on its own and one of the staples of Hispanic American culture.[13][14]

    The first self-identified salsa band is Cheo Marquetti y su Conjunto – Los Salseros which was formed in 1955.[15] The first album to mention Salsa on its cover was titled “Salsa” which was released by La Sonora Habanera in 1957. Later on self-identified salsa bands were predominantly assembled by Puerto Rican and Cuban musicians in New York City in the 1970s. The music style was based on the late son montuno of Arsenio RodríguezConjunto Chappottín and Roberto Faz. These musicians included Celia CruzWillie ColónRubén BladesJohnny PachecoMachito and Héctor Lavoe.[16][17] During the same period a parallel modernization of Cuban son was being developed by Los Van VanIrakereNG La Banda under the name of songo, which further evolved into timba in the late 80s with artists like Charanga Habanera; both styles are at present also labelled as salsa. Though limited by an embargo, the continuous cultural exchange between salsa-related musicians inside and outside of Cuba is undeniable.[18]

    Origins of the term Salsa

    [edit]

    Graciela on claves and her brother Machito on maracas; Machito said that salsa was much like what he had been playing from the 1940s.

    The word Salsa means sauce in the Spanish language. The origin of the connection of this word to a style of music is disputed by various music writers and historians.

    The musicologist Max Salazar traced the origin of the connection to 1930 when Ignacio Piñeiro composed the song Échale salsita (Put some sauce in it).[19] The phrase is seen as a cry from Piñeiro to his band, telling them to increase the tempo to “put the dancers into high gear”.[20] In the mid-1940s, Cuban Cheo Marquetti emigrated to Mexico. He named his group Conjunto Los Salseros, with whom he recorded a couple of albums for the Panart and Egrem labels. Later on, while based in Mexico City, the musician Beny Moré would shout salsa during a performance to acknowledge a musical moment’s heat, making a connection with the hot salsa (sauce) made in the country.[20][21]

    Puerto Rican music promoter Izzy Sanabria claims he was the first to use the word salsa to denote a music genre:

    In 1973, I hosted the television show Salsa which was the first reference to this particular music as salsa. I was using [the term] salsa, but the music wasn’t defined by that. The music was still defined as Latin music. And that was a very, very broad category, because it even includes mariachi music. It includes everything. So salsa defined this particular type of music … It’s a name that everyone could pronounce.[22]

    Sanabria’s Latin New York magazine was an English language publication. Consequently, his promoted events were covered in The New York Times, as well as Time and Newsweek magazines.[23] Sanabria confessed the term salsa was not developed by musicians: “Musicians were busy creating the music but played no role in promoting the name salsa.”[24] For this reason the use of the term salsa has been controversial among musicians. Some have praised its unification element. Celia Cruz said, “Salsa is Cuban music with another name. It’s mambo, chachachá, rumba, son … all the Cuban rhythms under one name.”[25] Willie Colón described salsa not as a precise musical style but a power to unite in the broadest terms: “Salsa was the force that united diverse Latino and other non-Latino racial and ethnic groups …Salsa is the harmonic sum of all Latin culture “.[26] On the other hand, even some New York based artists were originally against the commercialization of music under that name; Machito said: “There’s nothing new about salsa, it is just the same old music that was played in Cuba for over fifty years.”[24] Similarly, Tito Puente stated: “The only salsa I know is sold in a bottle called ketchup. I play Cuban music.[27] Cuban musicologist Mayra Martínez wrote that “the term salsa obscured the Cuban base, the music’s history or part of its history in Cuba. And salsa was a way to do this so that Jerry Masucci, Fania and other record companies, like CBS, could have a hegemony on the music and keep the Cuban musicians from spreading their music abroad.”[28] Izzy Sanabria responded that Martínez was likely giving an accurate Cuban viewpoint, “but salsa was not planned that way”.[28] Johnny Pacheco, co-founder of Fania Records gave his definition of the term “Salsa” during various interviews. “La salsa es, y siempre ha sido la musica Cubana.” “Salsa is, and always has been, Cuban music.”.[29][30][31]

    The marketing potential from the name was so big, that eventually both Machito, Puente and even musicians in Cuba embraced the term as a financial necessity.[32][33][34]

    Instrumentation

    [edit]

    Bongos.

    The instrumentation in salsa bands is mostly based on the son montuno ensemble developed by Arsenio Rodríguez, who added a horn section, as well as tumbadoras (congas) to the traditional Son cubano ensemble; which typically contained bongosbasstres, one trumpet, smaller hand-held percussion instruments (like clavesgüiro, or maracas) usually played by the singers, and sometimes a piano. Machito’s band was the first to experiment with the timbales.[35] These three drums (bongos, congas and timbales) became the standard percussion instruments in most salsa bands and function in similar ways to a traditional drum ensemble. The timbales play the bell pattern, the congas play the supportive drum part, and the bongos improvise, simulating a lead drum. The improvised variations of the bongos are executed within the context of a repetitive marcha, known as the martillo (‘hammer’), and do not constitute a solo. The bongos play primarily during the verses and the piano solos. When the song transitions into the montuno section, the bongo player picks up a large hand held cowbell called the bongo bell. Often the bongocero plays the bell more during a piece, than the actual bongos. The interlocking counterpoint of the timbale bell and bongo bell provides a propelling force during the montuno. The maracas and güiro sound a steady flow of regular pulses (subdivisions) and are ordinarily clave-neutral.

    Nonetheless, some bands instead follow the Charanga format, which consists of a string section (of violinsviola, and cello), tumbadoras (congas)timbalesbassfluteclaves and güiro. Bongos are not typically used in charanga bands. Típica 73Orquesta Broadway, Orquesta Revé and Orquesta Ritmo Oriental where popular Salsa bands with charanga instrumentation. Johnny Pacheco, Charlie PalmieriMongo Santamaría and Ray Barretto also experimented with this format.

    Latin big bands in the 1950s-1960s included a brass section of trumpets and saxes.

    Throughout its 50 years of life, Los Van Van have always experimented with both types of ensembles. The first 15 years the band was a pure charanga, but later a trombone section was added. Nowadays the band could be considered a hybrid.

    In the 1960s, Eddie Palmieri decided to replace the violins with two trombones for a heavier sound.[36]

    Rhythm

    [edit]

    Dancing Salsa in Mexico

    Salsa music typically ranges from 160 bpm (beats per minute) and 220 bpm, which is suitable for salsa dancing.

    The key instrument that provides the core groove of a salsa song is the clave. It is often played with two wooden sticks (called clave) that are hit together. Every instrument in a salsa band is either playing with the clave (generally: congas, timbales, piano, tres guitar, bongos, claves (instrument), strings) or playing independent of the clave rhythm (generally: bass, maracas, güiro, cowbell). Melodic components of the music and dancers can choose to be in clave or out of clave at any point.

    2-3 Son clave

    Duration: 10 seconds.0:10


    Problems playing this file? See media help.

    For salsa, there are four types of clave rhythms, the 3-2 and 2-3 Son claves being the most important, and the 3-2 and 2-3 Rumba claves. Most salsa music is played with one of the son claves, though a rumba clave is occasionally used, especially during rumba sections of some songs. As an example of how a clave fits within the 8 beats of a salsa dance, the beats of the 2-3 Son clave are played on the counts of 2, 3, 5, the “and” of 6, and 8.

    There are other common rhythms found in salsa music: the chord beat, the tumbao, and the Montuno rhythm.

    The chord beat (often played on cowbell) emphasizes the odd-numbered counts of salsa: 1, 3, 5 and 7 while the tumbao rhythm (often played on congas) emphasizes the “off-beats” of the music: 2, 4, 6, and 8. Some dancers like to use the strong sound of the cowbell to stay on the Salsa rhythm. Alternatively, others use the conga rhythm to create a jazzier feel to their dance since strong “off-beats” are a jazz element.

    Tumbao is the name of the rhythm that is typically played with the conga drums. Its most basic pattern is played on the beats 2, 3, 4, 6, 7 and 8. Tumbao rhythm is helpful for learning to dance contra-tiempo (“On2”). The beats 2 and 6 are emphasized when dancing On2, and the Tumbao rhythm heavily emphasizes those beats as well.

    The Montuno rhythm is a rhythm that is often played with a piano. The Montuno rhythm loops over the 8 counts and is useful for finding the direction of the music. By listening to the same rhythm, that loops back to the beginning after eight counts, one can recognize which count is the first beat of the music.

    Musical structure

    [edit]

    Main article: Salsa (musical structure)

    Most salsa compositions follow the basic son montuno model based on the Afro-Cuban clave rhythm and composed of a verse section, followed by a coro-pregón (call-and-response) chorus section known as the montuno. The verse section can be short, or expanded to feature the lead vocalist and/or carefully crafted melodies with clever rhythmic devices. Once the montuno section begins, it usually continues until the end of the song. The tempo may gradually increase during the montuno in order to build excitement. The montuno section can be divided into various sub-sections sometimes referred to as mambodiablomoña, and especial.[37]

    History

    [edit]

    1930s and 1940s: Origins in Cuba

    [edit]

    Many musicologists find many of the components of salsa music in the Son Montuno of several artists of the 30s and 40s like Arsenio Rodríguez, Conjunto Chappottín (Arsenio’s former band now led by Félix Chappottín and featuring Luis “Lilí” Martínez Griñán) and Roberto Faz. Salsa musician Eddie Palmieri once said “When you talk about our music, you talk about before, or after, Arsenio…..Lilí Martínez was my mentor”.[38] Several songs of Arsenio’s band, like Fuego en el 23El DivorcioHacheros pa’ un paloBruca maniguáNo me llores and El reloj de Pastora were later covered by many salsa bands (like Sonora Ponceña and Johnny Pacheco).

    On the other hand, a different style, Mambo, was developed by Cachao, Beny Moré and Dámaso Pérez Prado. Moré and Pérez Prado moved to Mexico City where the music was played by Mexican big band wind orchestras.[39]

    1950s-1960s: Cuban music in New York City

    [edit]

    The Palladium Ballroom, home of the mambo, c. 1950s.

    During the 1950s, New York became a hotspot of Mambo with musicians like the aforementioned Pérez Prado, Luciano “Chano” Pozo, Mongo Santamaría, Machito and Tito Puente. The highly popular Palladium Ballroom was the epicenter of mambo in New York.

    Ethnomusicologist Ed Morales notes that the interaction of Afro-Cuban and jazz music in New York was crucial to the innovation of both forms of music. Musicians who would become great innovators of mambo, like Mario Bauzá and Chano Pozo, began their careers in New York working in close conjunction with some of the biggest names in jazz, like Cab CallowayElla Fitzgerald, and Dizzy Gillespie, among others. Morales noted that: “The interconnection between North American jazz and Afro-Cuban music was taken for granted, and the stage was set for the emergence of mambo music in New York, where music fans were becoming accustomed to innovation.”[40] He later notes that Mambo helped pave the way for the widespread acceptance of salsa years later.

    Another popular style was cha-cha-cha, which originated in the Charanga bands in Cuba. By the early 1960s, there were several charanga bands in New York led by musicians (like Johnny PachecoCharlie PalmieriMongo Santamaría and Ray Barretto) who would later become salsa stars.

    In 1952, Arsenio Rodríguez moved for a short period to New York City taking with him his modern son montuno. During that period his success was limited (NYC was more interested in Mambo), but his guajeos (who influenced the musicians he shared the stage with, such as Chano Pozo, Machito, and Mario Bauzá), together with the piano tumbaos of Lilí Martínez, the trumpet of Félix Chappottín and the rhythmic lead vocals of Roberto Faz would become very relevant in the region a decade later.[1]

    In 1966, the Palladium closed because it lost its liquor license.[41] The mambo faded away, as new hybrid styles such as boogaloo, the jala-jala and the shing-a-ling had brief but important success.[41] Elements of boogaloo can be heard in some songs of Tito Puente, Eddie Palmieri, Machito and even Arsenio Rodríguez.[42] Nonetheless, Puente later recounted: “It stunk … I recorded it to keep up with the times.[43] Popular Boogaloo songs include “Bang Bang” by the Joe Cuba Sextet and “I Like It Like That” by Pete Rodríguez and His Orchestra.

    During the late 1960s, the Dominican musician Johnny Pacheco and Italian-American businessman Jerry Masucci founded the recording company Fania Records. They introduced many of the artists that would later be identified with the salsa movement, including Willie Colón, Celia Cruz, Larry HarlowRay Barretto, Héctor Lavoe and Ismael Miranda. Fania’s first record album was “Cañonazo”, recorded and released in 1964. It was panned by music critics as 10 of the 11 songs were covers of previously recorded tunes by such Cuban artists as Sonora Matancera, Chappottín y Sus Estrellas and Conjunto Estrellas de Chocolate. Pacheco put together a team that included percussionist Louie Ramírez, bassist Bobby Valentín and arranger Larry Harlow to form the Fania All-Stars in 1968. Meanwhile, the Puerto Rican band La Sonora Ponceña recorded two albums named after songs of Arsenio Rodriguez (Hachero pa’ un palo and Fuego en el 23).

    1970s: Songo in Cuba, salsa in NYC

    [edit]

    The 1970s was witness to two parallel modernizations of the Cuban son in Havana and in New York. During this period the term salsa was introduced in New York, and songo was developed in Havana.

    The band Los Van Van, led by the bassist Juan Formell, started developing songo in the late 1960s. Songo incorporated rhythmic elements from folkloric rumba as well as funk and rock to the traditional son. With the arrival of the drummer Changuito, several new rhythms were introduced and the style had a more significant departure from the son montuno/mambo-based structure.[44]

    Songo integrated several elements of North American styles like jazz, rock and funk in many different ways than mainstream salsa. Whereas salsa would superimpose elements of another genre in the bridge of a song, the songo was considered a rhythmic and harmonic hybrid (particularly regarding funk and clave-based Cuban elements). The music analyst Kevin Moore stated: “The harmonies, never before heard in Cuban music, were clearly borrowed from North American pop [and] shattered the formulaic limitations on harmony to which Cuban popular music had faithfully adhered for so long.”[45] During the same period, Cuban super group Irakere fused bebop and funk with batá drums and other Afro-Cuban folkloric elements; Orquesta Ritmo Oriental created a new highly syncopated, rumba-influenced son in the charanga ensemble; and Elio Revé developed changüí.[46]

    Roger Dawson hosted a very popular Las Vegas radio show featuring salsa.

    On the other hand, New York saw in the 1970s the first use of the term salsa to commercialize several styles of Latin dance music. However, several musicians believe that salsa took on a life of its own, organically evolving into an authentic pan-Latin American cultural identity. Music professor and salsa trombonist Christopher Washburne wrote:

    This pan-Latino association of salsa stems from what Félix Padilla labels a ‘Latinizing’ process that occurred in the 1960s and was consciously marketed by Fania Records: ‘To Fania, the Latinizing of salsa came to mean homogenizing the product, presenting an all-embracing Puerto Rican, Pan-American or Latino sound with which the people from all of Latin America and Spanish-speaking communities in the United States could identify and purchase.’ Motivated primarily by economic factors, Fania’s push for countries throughout Latin America to embrace salsa did result in an expanded market. But in addition, throughout the 1970s, salsa groups from Colombia, the Dominican Republic, and Venezuela, among other Latin American nations, emerged, composing and performing music that related to their own specific cultural experiences and affiliations, which posited salsa as a cultural identity marker for those nations as well.[47]

    In 1971, the Fania All-Stars sold out Yankee Stadium.[48] By the early 1970s, the music’s center moved to Manhattan and the Cheetah, where promoter Ralph Mercado introduced many future Puerto Rican salsa stars to an ever-growing and diverse crowd of Latino audiences. The 1970s also brought new semi-known Salsa bands from New York City, bands such as Ángel Canales, Andy Harlow, Chino Rodríguez y su Consagracion (Chino Rodríguez was one of the first Chinese Puerto Rican artists that caught the eye of Fania Record’s owner Jerry Masucci and later became the booking agent for many of the Fania artists.), Wayne Gorbea, Ernie Agusto y la Conspiración, Orchestra Ray Jay, Orchestra Fuego, and Orchestra Cimarron, among other bands that were performing in the Salsa market on the East Coast.

    Celia Cruz, who had had a successful career in Cuba with Sonora Matancera, was able to transition into the salsa movement, eventually becoming known as the Queen of Salsa.[49][50][51]

    Larry Harlow stretched out from the typical salsa record formula with his opera Hommy (1973), inspired by The Who‘s Tommy album, and also released his critically acclaimed La Raza Latina, a Salsa Suite.

    In 1975, Roger Dawson created the “Sunday Salsa Show” over WRVR FM, which became one of the highest-rated radio shows in the New York market with a reported audience of over a quarter of a million listeners every Sunday (per Arbitron Radio Ratings). Ironically, although New York’s Hispanic population at that time was over two million, there had been no commercial Hispanic FM. Given his jazz and salsa conga playing experience and knowledge (working as a sideman with such bands as salsa’s Frankie Dante’s Orquesta Flamboyán and jazz saxophonist Archie Shepp), Dawson also created the long-running “Salsa Meets Jazz” weekly concert series at the Village Gate jazz club where jazz musicians would sit in with an established salsa band, for example Dexter Gordon jamming with the Machito band. Dawson helped to broaden New York’s salsa audience and introduced new artists such as the bilingual Ángel Canales who were not given play on the Hispanic AM stations of that time. His show won several awards from the readers of Latin New York magazine, Izzy Sanabria’s Salsa Magazine at that time and ran until late 1980 when Viacom changed the format of WRVR to country music.[52]

    Despite an openness to experimentation and a willingness to absorb non-Cuban influences, such as jazzR&Bbomba and plena, and already existing mambo-jazz, the percentage of salsa compositions based in non-Cuban genres during this period in New York is quite low, and, contrary to songo, salsa remained consistently wedded to older Cuban templates.[53][54] Some believe the pan-Latin Americanism of salsa was found in its cultural milieu, more than its musical structure.[55]

    An exception of this is probably found in the work of Eddie Palmieri and Manny Oquendo, who were considered more adventurous than the highly produced Fania records artists. The two bands incorporated less superficially jazz elements as well as the contemporary Mozambique (music). They were known for its virtuous trombone soloists like Barry Rogers (and other “Anglo” jazz musicians who had mastered the style). Andy González, a bass player who performed with Palmieri and Oquendo recounts: “We were into improvising … doing that thing Miles Davis was doing — playing themes and just improvising on the themes of songs, and we never stopped playing through the whole set.”[56] Andy and his brother Jerry González started showing up in the DownBeat Reader’s Poll, and caught the attention of jazz critics.[citation needed]

    1980s: Salsa expansion in Latin America and the birth of timba

    [edit]

    Oscar D’Leon (2011).

    During the 1980s, several Latin American countries, such as Colombia, Venezuela, Peru, Mexico and Panama, began producing their own salsa music.[57] Two of the biggest stars from this period are Oscar D’León from Venezuela and Joe Arroyo from Colombia.[58] Other popular acts are Fruko y sus TesosGrupo Niche and Rubén Blades (now as a soloist).

    During this period Cuba received international salsa musicians for the first time.

    Venezuelan salsa star Oscar D’León’s 1983 tour of Cuba is mentioned prominently by every Cuban I’ve ever interviewed on the subject. Rubén Blades’ album Siembra was heard everywhere on the island throughout the mid-80s and has been quoted extensively in the guías and coros of everyone from Van Van’s Mayito Rivera (who quotes [Blades’] ‘Plástico’ in his guías on the 1997 classic Llévala a tu vacilón), to El Médico de la Salsa (quoting another major hook from ‘Plástico’—’se ven en la cara, se ven en la cara, nunca en el corazón’—in his final masterpiece before leaving Cuba, Diós sabe).[59]

    Prior to D’León’s performance, many Cuban musicians rejected the salsa movement, considering it a bad imitation of Cuban music. Some people say that D’León’s performance gave momentum to a “salsa craze” that brought back some of the older templates and motivated the development of timba.

    Before the birth of timba, Cuban dance music lived a period of high experimentation among several bands like the charangas: Los Van Van, Orquesta Ritmo Oriental, and Orquesta Revé; the conjuntos: Adalberto Alvarez y Son 14, Conjunto Rumbavana and Orquesta Maravillas de Florida; and the jazz band Irakere[60]

    Timba was created by musicians of Irakere who later formed NG La Banda under the direction of Jose Luis “El Tosco” Cortez. Many timba songs are more related to main-stream salsa than its Cuban predecessors earlier in the decade. For example, the song “La expresiva” (of NG La Banda) uses typical salsa timba/bongo bell combinations. The tumbadoras (congas) play elaborate variations on the son montuno-based tumbao, rather than in the songo style. For this reason some Cuban musicians of this period like Manolito y su Trabuco, Orquesta Sublime, and Irakere referred to this late-80s sound as salsa cubana, a term which for the first time, included Cuban music as a part of salsa movement.[34] In the mid-1990s California-based Bembé Records released CDs by several Cuban bands, as part of their salsa cubana series.

    Nonetheless, this style included several innovations. The bass tumbaos were busier and more complex than tumbaos typically heard in NY salsa. Some guajeos were inspired by the “harmonic displacement” technique of the Cuban jazz pianist Gonzalo Rubalcaba. Curiously, it was in Cuba where hip hop and salsa first began to meet. For example, many breakdown sections in NG La Banda‘s album En la calle are a combination of guaguancó and hip hop rhythms.

    During this period, Cuban musicians had more of an impact on jazz than salsa in the United States. Even though the Mariel boatlift took hundreds of Cuban musicians to the US, many of them were astonished to hear what sounded to them like Cuban music from the 1950s. Cuban conguero Daniel Ponce summarized this sentiment: “When the Cubans arrived in New York, they all said ‘Yuk! This is old music.’ The music and the feelings and arrangements [haven’t] changed.”[61] Nonetheless, there was an awareness of the modern Cuban styles in the US. Tito Puente recorded the Irakere composition “Bacalao con pan” (1980), and Rubén Blades covered Los Van Van’s “Muevete” (1985). While the Puerto Rican bands Batacumbele (featuring a young Giovanni Hidalgo) and Zaperoko fully embraced songo music under the mentorship of Changuito.

    During the ’80s other variants of salsa like salsa romántica and salsa erótica evolved, with lyrics dwelling on love and romance. Salsa romántica can be traced back to Noches Calientes, a 1984 album by singer José Alberto “El Canario” with producer Louie Ramírez. Some viewed salsa romántica as a rhythmically watered-down version of the genre. Critics of salsa romántica, especially in the late ’80s and early ’90s, called it a commercialized, diluted form of Latin pop, in which formulaic, sentimental love ballads were simply put to Afro-Cuban rhythms — leaving no room for classic salsa’s brilliant musical improvisation, or for classic salsa lyrics that tell stories of daily life or provide social and political commentary. Some artists of these styles include Ómar Alfann, Palmer Hernández and Jorge Luis Piloto.

    1990s: Pop salsa and timba explosion

    [edit]

    Marc Anthony performing at the White House (2009)

    The 1990s was marked by “pop salsa” in the US, and the “timba explosion” in Cuba.

    Sergio George produced several albums that mixed salsa with contemporary pop styles with Puerto Rican artists like Tito NievesLa India, and Marc Anthony. George also produced the Japanese salsa band Orquesta de la LuzBrenda K. StarrSon By FourVíctor Manuelle, and the Cuban-American singer Gloria Estefan enjoyed crossover success within the Anglo-American pop market with their Latin-influenced hits, usually sung in English.[62] More often than not, clave was not a major consideration in the composing or arranging of these hits. Sergio George is up front and unapologetic about his attitude towards clave: “Though clave is considered, it is not always the most important thing in my music. The foremost issue in my mind is marketability. If the song hits, that’s what matters. When I stopped trying to impress musicians and started getting in touch with what the people on the street were listening to, I started writing hits. Some songs, especially English ones originating in the United States, are at times impossible to place in clave.”[63] As Washburne points out however, a lack of clave awareness does not always get a pass:

    Marc Anthony is a product of George’s innovationist approach. As a novice to Latin music, he was propelled into band leader position with little knowledge of how the music was structured. One revealing moment came during a performance in 1994, just after he had launched his salsa career. During a piano solo he approached the timbales, picked up a stick, and attempted to play clave on the clave block along with the band. It became apparent that he had no idea where to place the rhythm. Shortly thereafter during a radio interview in San Juan (Puerto Rico), he exclaimed that his commercial success proved that you did not need to know about clave to make it in Latin music. This comment caused an uproar both in Puerto Rico and New York. After receiving the bad press, Anthony refrained from discussing the subject in public, and he did not attempt to play clave on stage until he had received some private lessons.[64]

    In Cuba, what came to be known as the “timba explosion” began with the debut album of La Charanga HabaneraMe Sube La Fiebre, in 1992. Like NG La Banda, Charanga Habanera used several new techniques like gear changes and song-specific tumbaos, but their musical style was drastically different and it kept changing and evolving with each album. Charanga Habanera underwent three distinct style periods in the 90s, represented by the three albums[65] Manolín “El Médico de la salsa”, an amateur songwriter discovered and named by El Tosco (NG La Banda) at med school, was another superstar of the period. Manolín’s creative team included several arrangers, including Luis Bu and Chaka Nápoles. As influential as Manolín was from a strictly musical point of view, his charisma, popularity and unprecedented earning power had an even more seismic impact, causing a level of excitement among musicians that had not been seen since the 1950s. Reggie Jackson referred to Manolin as “the straw that stirs the drink.”—Moore (2010: v. 5: 18)[66]

    The term salsa cubana which had barely taken hold, again fell out of favor, and was replaced with timba. Some of the other important timba bands include Azúcar Negra, Manolín “El Médico de la salsa”, Havana d’Primera, Klimax, Paulito FG, Salsa Mayor, Tiempo Libre, Pachito Alonso y sus Kini Kini, Bamboleo, Los Dan Den, Alain Pérez, Issac Delgado, Tirso Duarte, Klimax, Manolito y su Trabuco, Paulo FG, and Pupy y Los que Son Son.

    Cuban timba musicians and New York salsa musicians have had positive and creative exchanges over the years, but the two genres remained somewhat separated, appealing to different audiences. Nonetheless, in 2000 Los Van Van were awarded the first ever Grammy Award for Best Salsa Album.

    In Colombia, salsa remained a popular style of music producing popular bands like Sonora CarruselesCarlos Vives, Orquesta Guayacan, Grupo NicheKike Santander, and Julian Collazos. The city of Cali became known as Colombia’s “capital of salsa”.[67] In Venezuela, Cabijazz was playing a unique modern blend of timba-like salsa with a strong jazz influence.

    2010s: Timba-fusion hits

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    During the late 00s and the 10s, some timba bands created new hybrids of salsa, timba, hip hop and reggaeton (for example Charanga Habanera – Gozando en la Habana and Pupy y Los que Son, SonLoco con una moto).[68][69] A few years later the Cuban reggaeton band Gente de Zona and Marc Anthony produced the timba-reggaeton international mega-hit La Gozadera reaching over a billion views in YouTube.

    The style known as Cubaton, that was also popular during this period, was mostly based on reggaeton with only some hints of salsa/timba.

    African salsa

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    Orchestra Baobab

    Cuban music has been popular in sub-Saharan Africa since the mid twentieth century. To the Africans, clave-based Cuban popular music sounded both familiar and exotic.[70] The Encyclopedia of Africa v. 1. states:

    Beginning in the 1940s, Afro-Cuban [son] groups such as Septeto Habanero and Trio Matamoros gained widespread popularity in the Congo region as a result of airplay over Radio Congo Belge, a powerful radio station based in Léopoldville (now Kinshasa DRC). A proliferation of music clubs, recording studios, and concert appearances of Cuban bands in Léopoldville spurred on the Cuban music trend during the late 1940s and 1950s.[71]

    Congolese bands started doing Cuban covers and singing the lyrics phonetically. Soon, they were creating their own original Cuban-like compositions, with lyrics sung in French or Lingala, a lingua franca of the western Congo region. The Congolese called this new music rumba, although it was really based on the son. The Africans adapted guajeos to electric guitars, and gave them their own regional flavor. The guitar-based music gradually spread out from the Congo, increasingly taking on local sensibilities. This process eventually resulted in the establishment of several different distinct regional genres, such as soukous.[72]

    Cuban popular music played a major role in the development of many contemporary genres of African popular music. John Storm Roberts states: “It was the Cuban connection, but increasingly also New York salsa, that provided the major and enduring influences—the ones that went deeper than earlier imitation or passing fashion. The Cuban connection began very early and was to last at least twenty years, being gradually absorbed and re-Africanized.”[73] The re-working of Afro-Cuban rhythmic patterns by Africans brings the rhythms full circle.

    The re-working of the harmonic patterns reveals a striking difference in perception. The I IV V IV harmonic progression, so common in Cuban music, is heard in pop music all across the African continent, thanks to the influence of Cuban music. Those chords move in accordance with the basic tenets of Western music theory. However, as Gerhard Kubik points out, performers of African popular music do not necessarily perceive these progressions in the same way: “The harmonic cycle of C-F-G-F [I-IV-V-IV] prominent in Congo/Zaire popular music simply cannot be defined as a progression from tonic to subdominant to dominant and back to subdominant (on which it ends) because in the performer’s appreciation they are of equal status, and not in any hierarchical order as in Western music.”[74]

    The largest wave of Cuban-based music to hit Africa was in the form of salsa. In 1974 the Fania All Stars performed in Zaire (known today as the Democratic Republic of the Congo), Africa, at the 80,000-seat Stadu du Hai in Kinshasa. This was captured on film and released as Live In Africa (Salsa Madness in the UK). The Zairean appearance occurred at a music festival held in conjunction with the Muhammad Ali/George Foreman heavyweight title fight. Local genres were already well established by this time. Even so, salsa caught on in many African countries, especially in the Senegambia and Mali. Cuban music had been the favorite of Senegal’s nightspot in the 1950s to 1960s.[75] The Senegalese band Orchestra Baobab plays in a basic salsa style with congas and timbales, but with the addition of Wolof and Mandinka instruments and lyrics.

    According to Lise Waxer, “African salsa points not so much to a return of salsa to African soil (Steward 1999: 157) but to a complex process of cultural appropriation between two regions of the so-called Third World.”[76] Since the mid-1990s African artists have also been very active through the super-group Africando, where African and New York musicians mix with leading African singers such as Bambino Diabate, Ricardo LemvoIsmael Lo and Salif Keita. It is still common today for an African artist to record a salsa tune, and add their own particular regional touch to it.

    Lyrics

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    Salsa lyrics range from simple dance numbers, and sentimental romantic songs, to risque and politically radical subject matter. Music author Isabelle Leymarie notes that salsa performers often incorporate machoistic bravado (guapería) in their lyrics, in a manner reminiscent of calypso and samba, a theme she ascribes to the performers’ “humble backgrounds” and subsequent need to compensate for their origins. Leymarie claims that salsa is “essentially virile, an affirmation of the man’s pride and identity”. As an extension of salsa’s macho stance, manly taunts and challenges (desafio) are also a traditional part of salsa.[77]

    Salsa lyrics often quote from traditional Cuban sones and rumbas. Sometimes there are references to Afro-Cuban religions, such as Santeria, even by artists who are not themselves practitioners of the faith.[78] Salsa lyrics also exhibit Puerto Rican influences. Hector LaVoe, who sang with Willie Colón for nearly a decade used typical Puerto Rican phrasing in his singing.[79] It is not uncommon now to hear the Puerto Rican declamatory exclamation “le-lo-lai” in salsa.[80] Politically and socially activist composers have long been an important part of salsa, and some of their works, like Eddie Palmieri’s “La libertad – lógico”, became Latin, and especially Puerto Rican anthems. The Panamanian singer Ruben Blades in particular is well known for his socially-conscious and incisive salsa lyrics about everything from imperialism to disarmament and environmentalism, which have resonated with audiences throughout Latin America.[81] Many salsa songs contain a nationalist theme, centered around a sense of pride in black Latino identity, and may be in Spanish, English or a mixture of the two called Spanglish.[77]

    Films

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    • 1979 – Salsa: Latin Music in the Cities. Directed by Jeremy Marre.
    • 1988 – Salsa. Former Menudo member Robi Draco Rosa plays a teenager who wants to win a dance contest. Celia CruzWilkins and Tito Puente also appear.
    • 1996 – Giovanni Hidalgo – In The Tradition. Hidalgo introduces basic sounds, tuning and technique, patterns of son montuno, bolero, charanga, danzón and multi-percussion applications of those forms.
    • 2007 – El Cantante. El Cantante is a biographical film which stars singers Marc Anthony and Jennifer Lopez. The film is based on the life of the late salsa singer Héctor Lavoe, who is portrayed by Anthony.
    • 2014 – Sex, Love & Salsa. Directed by Adrian Manzano. Choreographer: Julie L Tuttlebee. Salsa dancer Julie Tuttlebee also features in several scenes.