On October 21, 2025, the world celebrated the centennial of Cecilia Caridad Cruz Alfonso, known as “La Guarachera de Cuba,” the “Salsa Queen” or simply Celia Cruz. Born in Havana, Cuba, in 1925, Cruz was the eldest of four children of Simón Cruz and Catalina Alfonso Ramos.
Celia Cruz was born singing. From a young age, she demonstrated virtuosity, winning multiple singing radio contests and talent shows, and performing in at radio programs, cabarets, and with various groups. After establishing herself as a respected artist in Havana, she joined the famed cabaret ensemble Las Mulatas de Fuego (“The Fiery Mulattas”), achieving international success with tours to Mexico and Venezuela.
Cruz reached global fame in 1950 when she became the lead vocalist of the legendary Cuban band La Sonora Matancera. Founded in 1924 in Matanzas, La Sonora Matancera was one of the most important Cuban bands of its time. Cruz replaced Puerto Rican lead singer, Myrta Sylva, and became the band’s iconic face and first Afro-Cuban singer to lead it during its golden years.
After the Cuban Revolution in 1960, Cruz and La Sonora Matancera left the island for a residency at La Terraza nightclub in Mexico City. They never returned to Cuba. In 1961, Cruz performed at the Los Angeles Palladium, marking her first visit to the United States. She later settled permanently in New York City.
One of the most beloved Cuban folk songs in Cruz’s repertoire was “Guantanamera,” meaning “woman from Guantánamo,” with lyrics by Cuban poet José Martí and music by Cuban musician and songwriter José Fernández Díaz. Popularized in the United States by the American folk musician Pete Seeger and The Sandpipers, “Guantanamera” became one of Cruz’s staple songs, reflecting her love and longing for her native Cuba. Although the exact date of her first performance is unclear, the earliest known recording of Cruz singing “Guantanamera” is from 1967 in Mexico.
As “Guantanamera” gained global popularity, many artists created their own arrangements. Machito and His Afro-Cubans Band also performed a celebrated version. Their score arranged by Ruben Rivera is part of the collection at the Music Division of the Library of Congress.
Holograph piano score for “Guantanamera” Box-Folder 5/13,
Music of Machito and His Afro-Cubans
Another popular Cuban folk staple of Cruz’s repertoire was “El Manisero” (“The Peanut Vendor”), written by Moisés Simón Rodríguez in 1930. “El Manisero” holds a prominent place in American culture. Recorded by Rita Montaner in 1927 and Don Azpiazú and his Havana Casino Orchestra in 1930, “El Manisero” initiated the rumba craze in the United States. It was recorded by major American artists, including Judy Garland, Louise Armstrong and Stan Kenton. “El Manisero” was also featured in many American films, including “Cuban Love Song” (1931), “Duck Soup” (1933) and “Only Angels have Wings (1939), among others. Due to its significance, it was added to the National Recording Registry in 2005.
Holograph first trumpet score of “El Manicero” Box-Folder 5/13,
Music of Machito and His Afro-Cubans, Music Division.
In 1965, Cruz left La Sonora Matancera to begin her solo career. She began an influential partnership with Tito Puente, establishing herself in the Latin music scene. Together they recorded eight albums and toured globally. Her husband, Pedro Knight, continued working as a trumpet player with “La Sonora Matancera” until 1966, when he decided to leave the band to become Cruz’s manager. The two were inseparable.
In 1974, Cruz collaborated with Dominican flutist, bandleader and music empresario Jhony Pacheco to record “Quimbará,” a hit from the album “Celia and Johny” that catapulted her to global sensation and gave her the title of the “Queen of Salsa.” Written by Puerto Rican Junior Cepeda, “Quimbará,” was a marriage of the Puerto Rican and Cuban cultures. Despite its impact, there is no literal meaning to the word “Quimbará,” it is just a game of text and interplaying with the song’s driving percussion, creating an unforgettable vocal and rhythmic experience.
The album “Celia and Johny” became a landmark for Latin music. It was inducted into the National Recording Registry 2014, preserving its musical and cultural significance. In 2020, Rolling Stone magazine included it in its list of the 500 Greatest Albums of All Time. This album became a landmark in the history of what is now known as the “Golden Age of Salsa.” Despite its relevance, the album did not receive a Grammy, as no Latin or tropical categories existed at the time. The Latin Grammy was not established until 2000.
Celia Cruz was a musician ahead of her time. From her humble beginnings in Havana to her rise with “La Sonora Matancera,” her global success with Fania and later her solo career, she navigated an industry dominated by men with grace, pride and unmistakable brilliance. With her famous “Azúcar” (“sugar”), her sophisticated fashion, her charisma and immense talent, she gifted generations of Latinos, particularly Afro-Latinas, a space, a shared musical identity and a sense of success.
Gracias Celia!
Alexis Rodíguez-Duarte, photographer (2003).
Fashion designer Narciso Rodríguez with Celia Cruz at his atelier on a Friday before the Grammy Awards, New York City, from the series Cuba Out of Cuba.
The Annenberg Space for Photography collection of exhibition prints, Library of Congress, Prints & Photographs Division, LC-DIG-ppmsca-73606