The book was published in 2020 - does the author mention why he described only until 1990? Many of the younger readers would have been interested in that. He didn't want to bother with Marc Anthony and Romeo Santos?
The book was published in print in 2021. It was completed in 2019 and delayed for release due to the global pandemic. In 2020 the manuscript was submitted to the usual academic platforms (Project MUSE, Oxford, SCRIBD, etc).
Actually reading the book itself will guide the reader to comprehending why the focus of the study begins in 1940 and ends in the 1980s.
The book itself is about how New York city played a pivotal role in bringing together musicians of various ethnicities to spearhead the mass consumption of Cuban based music [aka "Latin Music"] and fueled other industries from within (percussion making, music instruction, arrangements, etc) throughout the brunt of the 20th century (1940s-1990).
The chapters revolve around Latin Music Education in New York; Latin Music Instrument Makers in New York; Sonny Bravo, Típica 73 and the New York Sound; Jews and Latin Music in New York; The Panamanian community and their respective roles in fueling the sound of "Latin Music;" The “invasion” of the Cuban Marielito’s in the 80s, and Puerto Rican Engagement with Jazz and its Effects on Latin Music.
Neither Marc Anthony, nor Romeo Santos pioneered anything musically, nor personally developed anything that became a widely used device in the music the way a bass player like Bobby Rodriguez did. Nor are they influenced by jazz harmony, arranging, improvisation, or any of its musical aesthetics to broaden their sound.
Nor do they teach how to sing. It's actually
other musicians who produce their music. It's
those persons who warrant study. As this publication's intent was to cast a spotlight on those who have
escaped recognition [ie. Panamanians, Marielitos, Elio Osácar Sr, Percussion artesans like
Kali Rivera of JCR Percussion].
There is plenty of literature on Marc Anthony and Romeo Santos, ie
"Decoding Despacito: An Oral History of Latin Music" by Leila Cobo; Three biographies on Marc Anthony, along with his self-help "34 Things to lead to success" book; Biographies in English and Spanish on Romeo Santos. Including a a children's coloring book.
Furthermore, in my personal opinion, based on observations from working at two universities, and seeing what gets transmitted by a younger generation on social media, the term "Younger readers" is a misnomer nowadays. The youth today simply does not read. Nor do they have the analytical inclination to do so. Including and, especially, the consumers of Marc Anthony and Romeo Santos. Whom I am 103.99999% positive do not own any of the literature revolved around Marc or Romeo. They're waiting for the movie.
The book only spans 50 years due to space. The publisher granted "X" amount of words. The author went way over what was initially the limit. I had been pushing the author to go further back, pre-1940 to the 1910s (because that story hasn't been accurately told) and for a chapter on the early Dominican musical community in , which I had a good chunk of research on and is another community that has escaped recognition in the popular narrative of "Latin Music" in NYC. Romeo Santos would've certainly been name dropped in such a chapter, highlighting his record breaking sell out of multiple Yankee stadium concerts (which were truly sold out and not promoted as such, like the Fania All Stars 1973 concert). But indie publishers have a budget. They can only print so much. Thus the public that still reads in the 21st century (and doesn't want to just watch their interests) gets the book published that they get.
