The success of both the album and film sparked a revival of international interest in traditional Cuban music and Latin American music in general. Some of the Cuban performers later released well-received solo albums and recorded collaborations with international stars from different musical genres. The “Buena Vista Social Club” name became an umbrella term to describe these performances and releases, and has been likened to a brand label that encapsulates Cuba’s “musical golden age” between the 1930s and 1950s. The new success was fleeting for the most recognizable artists in the ensemble: Compay Segundo, Rubén González, and Ibrahim Ferrer, who died at the ages of ninety-five, eighty-four, and seventy-eight respectively; Segundo and González in 2003, then Ferrer in 2005.
Several surviving members of the Buena Vista Social Club, such as trumpeter Manuel “Guajiro” Mirabal, laúd player Barbarito Torres and trombonist and conductor Jesus “Aguaje” Ramos currently tour worldwide, to popular acclaim, with new members such as the singer Carlos Calunga, virtuoso pianist Rolando Luna[1][2] and occasionally the solo singer Omara Portuondo, as part of a 13-member band called Orquesta Buena Vista Social Club.
bleatmop
Mystro
Dead Wild Roses 
2 comments
June 30, 2016 at 9:50 pm
tnt666
Except that in this decade, SJWs have declared that it is appalling if any “white” person makes ANY revenue off another culture. So if this album was released today, you can bet there would be accusations of “cultural appropriation” by a couple of promoters… I miss the early 80s, when were actually allowed to appreciate other people’s culture… just simply.
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July 2, 2016 at 10:40 am
The Arbourist
@TNT666
They must be living in a constant state of agitation. Colonialism and war living off of the spoils of other cultures is what white people have been about for quite awhile.
Recognizing this fact versus creating more ineffectual smoke and heat about it distinguishes the po-mo crowd from those who get stuff done.
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