• Sign up for new title announcements and special offers.

  • Cloth: $109.95 - In Stock
    978-0-8223-4940-2
  • Paperback: $29.95 - In Stock
    978-0-8223-4959-4
  • Quantity
  • Add To Bag
  • Acknowledgments xi

    Introduction 1

    1. ¡Hip Hop, Revolución!: Nationalizing Rap in Cuba 33

    2. The Revolution of the Body: Reggaetón and the Politics of Dancing 108

    3. The Havana You Don't Know: Urban Music and the Late Socialist City 178

    4. Cuban Hip Hop All Stars: Transnationalism and the Politics of Representation 244

    Conclusion. The Rise and Fall of Havana Hip Hop 334

    Notes 365

    Bibliography 383

    Index 401

  • “[A] lively, personal examination of Havana’s street music, dance, and politics. . . . In tracing the history of rap and reggaetón, Baker makes a major contribution to the understanding of Cuban popular music and the global commercial success of rap music. Highly recommended.”

    Buena Vista in the Club is an essential addition to the growing scholarship on global hip hop. Baker adds to this scholarship in two significant ways. First, unlike his predecessors, he refuses to isolate the study of rap from reggaetón, preferring instead to analyze the interplay between the two genres. Second, he takes reflexivity to a new level by revealing the ways in which the works of foreign journalists and scholars have shaped the representation of Cuban rap and facilitated its success.”

    Buena Vista in the Club is an excellent contribution to the fields of Cuban cultural studies, hip hop studies, and world music studies. Baker opens up new areas for further inquiry into the role of the foreign scholar, bodily discourse within popular forms, and close readings of Cuba’s principal hip hop group today, Los Aldeanos.”

    Buena Vista is Baker’s second book on music in Latin America and is a valuable contribution to Duke University Press’s Refiguring American Music series. This series, edited by Ronald Radano and Josh Kun, questions and confronts the dominant narratives framing the study of American music. In meeting the broad aims of the series, Baker throws a wide net that encompasses hip hop and reggaetón, as well as frameworks of race, politics, economies, globalisation and urban studies. It speaks greatly of Baker that this book maintains a sense of immediacy and detail as these broad strands are woven together. Baker’s contribution will undoubtedly lead to further debate on Cuban hip hop. . . .”

    “In Buena Vista in the Club, University of London Music Professor Geoffrey Baker examines the rise and fall of Cuban hip-hop.... This retrospective looks at the evolution of the Cuban hip-hop industry and how it has affected Cuban society, politics, and Havana’s relationship with the New York music industry.”

    “The major strength of Buena Vista in the Club lies in its description of the complicated informal markets and underground venues where hip hop and reggaetón have proliferated, as well as in its self-reflexive analysis of the field of Cuban hip hop studies. . . . Baker’s book is the culmination of seven years of research on the Cuban urban music scene. It gives a critical analysis of Cuban hip hop and offers a perspective on hip hop as a transnational movement, paying attention to the singularities and commonalities of the global phenomenon.”

    “The text is both extremely readable, for its accessible language, and academically rigorous, for the bibliographic references…. [T]he book is a thorough study of the politics of style in hip hop and reggaetón in Cuba. Baker demonstrates a deep knowledge of the discourses surrounding the representation of the Cuban rap scene produced by academia and the media.”

    “Overall, this is a valuable contribution to the literature on Cuban music, and a rare treatment of the flows regarding social space and capital in Havana. The text seems geared toward readers in the fields of ethnomusicology, sociology, and history, though anthropology and political science might benefit as well.”

    “[T]he book represents a seminal contribution to hip-hop and Cuban musical studies; I recommend it highly.”

    Reviews

  • “[A] lively, personal examination of Havana’s street music, dance, and politics. . . . In tracing the history of rap and reggaetón, Baker makes a major contribution to the understanding of Cuban popular music and the global commercial success of rap music. Highly recommended.”

    Buena Vista in the Club is an essential addition to the growing scholarship on global hip hop. Baker adds to this scholarship in two significant ways. First, unlike his predecessors, he refuses to isolate the study of rap from reggaetón, preferring instead to analyze the interplay between the two genres. Second, he takes reflexivity to a new level by revealing the ways in which the works of foreign journalists and scholars have shaped the representation of Cuban rap and facilitated its success.”

    Buena Vista in the Club is an excellent contribution to the fields of Cuban cultural studies, hip hop studies, and world music studies. Baker opens up new areas for further inquiry into the role of the foreign scholar, bodily discourse within popular forms, and close readings of Cuba’s principal hip hop group today, Los Aldeanos.”

    Buena Vista is Baker’s second book on music in Latin America and is a valuable contribution to Duke University Press’s Refiguring American Music series. This series, edited by Ronald Radano and Josh Kun, questions and confronts the dominant narratives framing the study of American music. In meeting the broad aims of the series, Baker throws a wide net that encompasses hip hop and reggaetón, as well as frameworks of race, politics, economies, globalisation and urban studies. It speaks greatly of Baker that this book maintains a sense of immediacy and detail as these broad strands are woven together. Baker’s contribution will undoubtedly lead to further debate on Cuban hip hop. . . .”

    “In Buena Vista in the Club, University of London Music Professor Geoffrey Baker examines the rise and fall of Cuban hip-hop.... This retrospective looks at the evolution of the Cuban hip-hop industry and how it has affected Cuban society, politics, and Havana’s relationship with the New York music industry.”

    “The major strength of Buena Vista in the Club lies in its description of the complicated informal markets and underground venues where hip hop and reggaetón have proliferated, as well as in its self-reflexive analysis of the field of Cuban hip hop studies. . . . Baker’s book is the culmination of seven years of research on the Cuban urban music scene. It gives a critical analysis of Cuban hip hop and offers a perspective on hip hop as a transnational movement, paying attention to the singularities and commonalities of the global phenomenon.”

    “The text is both extremely readable, for its accessible language, and academically rigorous, for the bibliographic references…. [T]he book is a thorough study of the politics of style in hip hop and reggaetón in Cuba. Baker demonstrates a deep knowledge of the discourses surrounding the representation of the Cuban rap scene produced by academia and the media.”

    “Overall, this is a valuable contribution to the literature on Cuban music, and a rare treatment of the flows regarding social space and capital in Havana. The text seems geared toward readers in the fields of ethnomusicology, sociology, and history, though anthropology and political science might benefit as well.”

    “[T]he book represents a seminal contribution to hip-hop and Cuban musical studies; I recommend it highly.”

  • “A careful, incisive examination of the cultural politics and history of hip-hop in Havana—including its contentious relationship to reggaeton’s insurgent populism, blatant commercialism, and avoidance of explicit politics—Buena Vista in the Club gives readers a lucid tour of the complex spatial and ideological ground occupied by rap in Cuba. Foregrounding the interplay between state institutions, local artists, and foreign intellectuals, Geoffrey Baker provides a necessary and nuanced account of the myriad negotiations involved in ‘nationalizing’ hip-hop in a place with such a fraught but close relationship to the United States. This book offers a crucial historiographical contribution to studies of hip-hop’s global resonance and local meanings.” — Wayne Marshall, co-editor of, Reggaeton

    “This masterful portrait of the rap and reggaetón scenes in modern Cuba surpasses existing work in its level of insight, depth, and contemporaneity. Geoffrey Baker offers a thoroughly original street-level ethnography of the local rap scene and illuminates the often contradictory workings of the various bureaucratic institutions involved in popular music. He also develops a significant critique of foreign portrayals of contemporary Cuban music culture and of the local/global dynamics of ‘imitating’ foreign rap (or another genre) as opposed to ‘nationalizing’ it with sprinkles of local musical flavor.” — Peter Manuel, author of, Caribbean Currents: Caribbean Music from Rumba to Reggae

  • Permission to Photocopy (coursepacks)

    If you are requesting permission to photocopy material for classroom use, please contact the Copyright Clearance Center at copyright.com;

    If the Copyright Clearance Center cannot grant permission, you may request permission from our Copyrights & Permissions Manager (use Contact Information listed below).

    Permission to Reprint

    If you are requesting permission to reprint DUP material (journal or book selection) in another book or in any other format, contact our Copyrights & Permissions Manager (use Contact Information listed below).

    Images/Art

    Many images/art used in material copyrighted by Duke University Press are controlled, not by the Press, but by the owner of the image. Please check the credit line adjacent to the illustration, as well as the front and back matter of the book for a list of credits. You must obtain permission directly from the owner of the image. Occasionally, Duke University Press controls the rights to maps or other drawings. Please direct permission requests for these images to permissions@dukeupress.edu.
    For book covers to accompany reviews, please contact the publicity department.

    Subsidiary Rights/Foreign Translations

    If you're interested in a Duke University Press book for subsidiary rights/translations, please contact permissions@dukeupress.edu. Include the book title/author, rights sought, and estimated print run.

    Disability Requests

    Instructions for requesting an electronic text on behalf of a student with disabilities are available here.

    Rights & Permissions Contact Information

    Email: permissions@dukeupress.edu
    Email contact for coursepacks: asstpermissions@dukeupress.edu
    Fax: 919-688-4574
    Mail:
    Duke University Press
    Rights and Permissions
    905 W. Main Street
    Suite 18B
    Durham, NC 27701

    For all requests please include:
    1. Author's name. If book has an editor that is different from the article author, include editor's name also.
    2. Title of the journal article or book chapter and title of journal or title of book
    3. Page numbers (if excerpting, provide specifics)
    For coursepacks, please also note: The number of copies requested, the school and professor requesting
    For reprints and subsidiary rights, please also note: Your volume title, publication date, publisher, print run, page count, rights sought
  • Description

    In Buena Vista in the Club, Geoffrey Baker traces the trajectory of the Havana hip hop scene from the late 1980s to the present and analyzes its partial eclipse by reggaetón. While Cuban officials initially rejected rap as “the music of the enemy,” leading figures in the hip hop scene soon convinced certain cultural institutions to accept and then promote rap as part of Cuba’s national culture. Culminating in the creation of the state-run Cuban Rap Agency, this process of “nationalization” drew on the shared ideological roots of hip hop and the Cuban nation and the historical connections between Cubans and African Americans. At the same time, young Havana rappers used hip hop, the music of urban inequality par excellence, to critique the rapid changes occurring in Havana since the early 1990s, when the Soviet Union fell, its subsidy of Cuba ceased, and a tourism-based economy emerged. Baker considers the explosion of reggaetón in the early 2000s as a reflection of the “new materialism” that accompanied the influx of foreign consumer goods and cultural priorities into “sociocapitalist” Havana. Exploring the transnational dimensions of Cuba’s urban music, he examines how foreigners supported and documented Havana’s growing hip hop scene starting in the late 1990s and represented it in print and on film and CD. He argues that the discursive framing of Cuban rap played a crucial part in its success.

    About The Author(s)

    Geoffrey Baker is Senior Lecturer in the Department of Music at Royal Holloway, University of London. He is the author of Imposing Harmony: Music and Society in Colonial Cuzco, also published by Duke University Press.

Fall 2018
Explore More
Share

Create a reading list or add to an existing list. Sign-in or register now to continue.


Contact Us

  • Duke University Press
  • 905 W. Main St. Ste 18-B
  • Durham, NC 27701
  • U.S. phone (toll-free): 888-651-0122
  • International: 1-919-688-5134
  • orders@dukeupress.edu