As far back as the early 1960s, a radio program that was broadcast out of Venezuela was using the term "Salsa" as an adverb. LA HORA DE LA SALSA. The disc jockey featured, in particular, the bands based in the U.S. They dominated his playlist: Tito Rodriguez, Machito, Charlie Palmieri, Ricardo Ray etc. That show was heard in the markets of Colombia, Peru, Panama, and Costa Rica. A minority within Latin America knew this term and used it because musicians are who used the term "Salsa" in the context of music. Just as they used the term "Sabor" or phrases like "Un sonido con Timba...".
Words like Timba, Pachanga, and Salsa had been floating around for years, well before industries adopted them and began to use them in the context of a musical genre or dance form.
Salsa, or the music FANIA promoted, was predominantly uptempo Cuban Popular Music being interpreted by a new generation of musicians in the 2nd half of the 20th century. A marketing term which allowed for the veterans of the industry to be able to reinvent themselves to a new audience who emerged during the era and were then discovering the richness of Afro Cuban dance culture under a cultural symbol they could embrace as non-Cubans.
A World "Salsa Explosion" does not take place in a discoteque off 8th Avenue in NYC. If that were true, such explosions would be taking place everyday. This brand of music had exploded well before 1971. The popularity of this music can be traced back to the dawn of the recording industry becoming a money making endeavor. The late 1920s and early 1930s.
"Our Latin Thing" is a promotional vehicle for a record label. It's no different from the owner of the Palladium ballroom marketing his business as the "Birthplace of the Mambo."
None of it is true. It's entertainment. It allows to both maintain industry and create sub-cottage industries from all of the false notions (Book publications, a lecture circuit, and film making, like this one). Because that's what people respond to. Entertainment. Not education.