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by Rosa Marquetti (Author)
DESCUBRE LOS OR?GENES DE LA REINA DE LA SALSA
A casi cien a?os de su nacimiento, el mito de Celia Cruz no se desvanece. A partir de una exhaustiva investigaci?n, Rosa Marquetti recupera su legado, los inicios y desarrollo de la carrera de la m?s universal de las cantantes cubanas.
Celia en Cuba (1925-1962) no es una novela, un libro de an?cdotas o un ensayo: es todo eso y mucho m?s. Mediante una apasionante y precisa narraci?n, con testimonios de primera mano, la autora recrea el mundo habanero donde se desarroll? la carrera de Celia Cruz: los clubes, teatros,
programas de televisi?n y de radio, y las grabaciones discogr?ficas donde brill? desde el inicio. Era el mundo del Tropicana, el Montmartre, el Sans Souci, la cadena de televisi?n CMQ, Radio Progreso, el Teatro Blanquita y de la llegada de los grandes hoteles gestionados por la mafia de Estados Unidos. La autora sit?a a Celia Cruz en ese convulso panorama, iluminando la compleja relaci?n de la artista cubana con el clima social de esa ?poca y el comienzo de la pol?tica imperante en su pa?s a partir de 1959.
ENGLISH DESCRIPTIONDISCOVER THE ORIGINS OF "THE QUEEN OF SALSA"
Almost a
hundred years after her birth, the myth of Celia Cruz does not fade away. From
an exhaustive investigation, Rosa Marquetti recovers the legacy, the beginnings
and development of the career of the most universal of Cuban singers.
Celia in Cuba (1925-1962) is not a novel, a book of anecdotes or an essay: it is all that and
much more. Through an exciting and precise narration, with first-hand
testimonies, the author recreates the Havana world where Celia Cruz's career
developed: the clubs, theaters, television studios and radio booths, and the
recordings where she sparkles from the beginning. It was the world of
the Tropicana, the Montmartre, the Sans Souci, the CMQ television network,
Radio Progreso, the Blanquita Theater and the arrival of the large
hotels managed by the United States mafia. The author places Celia Cruz in this
convulsive panorama, highlighting the complex relationship of the Cuban artist
with the social climate of that time and the beginning of the prevailing politics
in her country from 1959 onwards.
