"I think in New York we had respect and we would pretty much fill up the places where we went, but I never got the sense that we really were Number 1 here in New York among the Latin crowds"
About this Quote
There is a particular New York humility baked into Ruben Blades's phrasing: the band could draw, could pack rooms, could command respect, and still feel like they weren't "Number 1". It's an artist doing the math in public and refusing the easy mythology of stardom. In a city that turns every scene into a leaderboard, Blades is pointing to a different metric: not ticket sales, but ownership of the crowd's heart.
The wording matters. "Respect" is earned, almost civic. "Fill up the places" is logistical, a concrete proof that the music landed. Then comes the pivot: "I never got the sense". That softens the claim while sharpening its sting. The subtext is about New York's Latin audiences as a dense, competitive ecosystem - Puerto Rican salsa, Dominican merengue, Cuban son, Colombian and Panamanian identities, radio gatekeeping, club politics. You can be successful and still not be canonized, because the canon is negotiated nightly: by DJs, promoters, barrio loyalties, and which sound feels like home.
Blades is also quietly describing what it means to be a transnational Latin artist in the capital of Latin diaspora. New York doesn't just consume music; it adjudicates authenticity. Being "pretty much" welcomed is not the same as being crowned. The line reads like a refusal to overclaim, but it also hints at the bruises of that marketplace: you can give the city your best and still end up as a respected outsider rather than the reigning voice.
The wording matters. "Respect" is earned, almost civic. "Fill up the places" is logistical, a concrete proof that the music landed. Then comes the pivot: "I never got the sense". That softens the claim while sharpening its sting. The subtext is about New York's Latin audiences as a dense, competitive ecosystem - Puerto Rican salsa, Dominican merengue, Cuban son, Colombian and Panamanian identities, radio gatekeeping, club politics. You can be successful and still not be canonized, because the canon is negotiated nightly: by DJs, promoters, barrio loyalties, and which sound feels like home.
Blades is also quietly describing what it means to be a transnational Latin artist in the capital of Latin diaspora. New York doesn't just consume music; it adjudicates authenticity. Being "pretty much" welcomed is not the same as being crowned. The line reads like a refusal to overclaim, but it also hints at the bruises of that marketplace: you can give the city your best and still end up as a respected outsider rather than the reigning voice.
Quote Details
| Topic | Music |
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