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Part 1 From whence comes the music: the roots, John Storm Roberts; whatmakes rhumba?, William Gottlieb; the form and formation of the rumba in Cuba,Larry Crook; ponce, the danza and the national question - notes toward asociology of Puerto Rican music, A.G. Quintero-Rivera; bumbum and thebeginnings of "La Plena", Juan Flores; popular music in Puerto Rico - towardan anthropology of salsa, Jorge Duany. Part 2 Sketches of pioneers andplayers: founding fathers and changes in Cuban music called Salsa, Vernon W.Boggs; latin ladies and Afro-hispanic music - on the periphery but notforgotten, Vernon W. Boggs. Part 3 Popularization of Afro-Cuban music in NewYork: the Palladium Ballroom and other venues - showcases for Latin music inN.Y.C., Vernon W. Boggs; Dick "Ricardo" Sugar - salsero de salseros, VernonW. Boggs; Ernie Ensley, Palladium mambero, Vernon W. Boggs; symphony Sid D.J.- according to Jack Hooke, Vernon W. Boggs; salsa meets jazz at the villagegate, Vernon W. Boggs; visions and views of a salsa promster, Izzy "Mr Salsa"Sanbria - popularizing music, Vernon W. Boggs; Al Santiago - alegresuperstar, Vernon W. Boggs; the cheetah - a pictorial essay, Vernon W. Boggs;Johnny "Mr Boogaloo Blues" Colon, Vernon W. Boggs; a "Bottom Man" speaks out- Andy Gonzalex, bassist, Larry Birnbaum; back-to-Africa the "Reverse"transculturation of salsa/Cuban popular music, Al Angeloro; salsiologicalissues today; secrets of salsa rhythm - piano with hot sauce, Robert L.Doerschuk; papo pepin - Mr Tumbao, Vernon W. Boggs; the profile of a Bronzsalsero - salsa's still alive, Vernon W. Boggs and Rolf Meyersohn; salsamusic - the latent function of slavery and racialism, Vernon W. Boggs;epilogue - the author as salsero; the odyssey of desperately seeking Claye -researching Afro-hispanic music, Vernon W. Boggs. Appendix: musical score -gonna salsalido, David Zinn.