.gmochkofsky writes about the life and legacy of Héctor (Tito) Matos, a masterful percussionist and towering cultural figure in Puerto Rico.
In just a few years, Puerto Ricans have gone through a devastating debt crisis, a catastrophic hurricane, a string of earthquakes, a series of angry protests against political corruption and government ineptitude, and mass outmigration. On January 18th, another sadness was added to this list, when Héctor Matos, a master percussionist and beloved performer of the musical genre known asThousands of people poured their sorrow into their social-media feeds.
, a Dominican musician and novelist who lived in Puerto Rico before moving to Washington Heights last year, explained, “has a very urban, joyful character. Its origins are not religious, so it was never celebrated in hiding. Its stage is the streets.” Butgradually gained respectability among the upper classes, and, by the nineteen-fifties, an upscale version was even performed in ballrooms. By the time Matos was born, in 1968, it was a dominant musical style on the island.
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