I thought we could get a discussion going about the various interpretation of what people define as "Mambo." Is it a dance? Is it a rhythm? Is it a musical genre? It is a specific section within a song structure? Who invented Mambo? Was it Arsenio Rodriguez? Was it Israel Lopez "Cachao?" Was it Damaso Perez Prado? When did it all begin? Where did it all begin? Cuba? Mexico? New York? All of these questions are for you to decide on your own. Here is something that I found awhile back that describes a scenario that somewhat corroborates what Afro-Cuban Musicians now in their 80s and 90s and who reside in NYC have responded with when asked about the "Mambo" scene in Cuba during the early 1940s. There's this notion that "Mambo" as we know it today [The Big 3, The Palladium, Big Band Orchestras, Cuban Pete & Millie, Perez Prado Orchestra, etc.] was significantly taking place in Cuba and what took place in Mexico, New York and Puerto Rico was emulating that Cuban experience. Some of those in the know who were residing there and working in cabarets, hotels, clubs, etc. all express one commonality. The Big Band Mambo phenomenon and popularization of a dance associated with it took place outside of Cuba. Locations such as Mexico, New York, Puerto Rico. I recently posted this on my facebook page and I repost it here for your perusal. If anyone wants to add anything to the topic, this is the thread to do so. "The popularity of "Mambo" was first embraced, supported and developed in the exterior. As one legendary figure once told me about both the music and dance: "Mambo... was a N.Y. Thing." Obviously, from a musical or popular standpoint, it was also a 'Mexican thing' as Perez Prado first achieved international success with it before anyone else did while he resided in the republic of Mexico. While I am not betting all the marbles on this one sole article, it presents an interesting angle that has been conveyed by more than several people, but continuously contradicted by folks who are more enthusiasts than collectors or real researchers. And with no hard data to support their opinions other than nationalistic fervor. In any event, I thought this was an interesting description from someone who had experienced the musical culture first hand in Cuba and what the public response was like from their perspective of what would later be embraced internationally as "Mambo." *Article written by Sigman Byrd. September 28, 1953 for the Houston Press Daily."