title: Pregón
text: # Pregón
  
  Music of Cuba :
  
  General topics :
  
  Related articles :
  
  Genres :
  
  Afro
  
  Afro-Cuban jazz
  
  Bakosó
  
  Bolero (filin)
  
  Canción
  
  Chachachá
  
  Charanga
  
  Conga
  
  Contradanza (habanera)
  
  Criolla
  
  Cubatón
  
  Danzón
  
  Descarga
  
  Guajira
  
  Guaracha
  
  Hip hop
  
  Mambo
  
  Mozambique
  
  Nueva trova
  
  Pachanga
  
  Pilón
  
  Pregón
  
  Punto guajiro
  
  Rock
  
  Rumba (guaguancó, columbia, yambú, batá-rumba, guarapachangueo)
  
  Son (montuno)
  
  Songo
  
  Timba
  
  Trova :
  
  Specific forms :
  
  Media and performance :
  
  Nationalistic and patriotic songs :
  
  Regional music :
  
  Anguilla
  
  Antigua and Barbuda
  
  Aruba and the Dutch Antilles
  
  Bahamas
  
  Barbados
  
  Bermuda
  
  Bonaire
  
  Cayman Islands
  
  Curaçao
  
  Dominica
  
  Dominican Republic
  
  Grenada
  
  Guadeloupe
  
  Guyana
  
  Haiti
  
  Jamaica
  
  Louisiana
  
  Martinique
  
  Montserrat
  
  Puerto Rico
  
  St Kitts and Nevis
  
  St Lucia
  
  St Vincent and Grenadines
  
  Suriname
  
  Trinidad and Tobago
  
  Turks and Caicos
  
  Virgin Islands
  
  Venezuela :
  
  vte :
  
  Pregón, a Spanish word meaning announcement or street-seller's cry, has a particular meaning in both Cuban music and Latin American music in general. It can be translated as a song based on a street-seller's cry or a street-seller's song ("canto de los vendedores ambulantes").
  
  ## Background
  
  Oral proclamations made in the street were an important form of mass communication throughout Europe and the Americas until the late 19th-century when other forms of communication emerged to replace the town criers. In Spain and Latin-America, those who read these proclamations were known as pregoneros and their speech as a pregón.
  
  Over time, the official town crier, who read public announcements sanctioned by governments, disappeared, but the street cries associated with itinerant vendors continued into the 20th-century, and can still be heard in commercial marketplaces and fairs. Street vendors and their cries were known in medieval Europe. The numbers of street vendors working in urban areas increased markedly from the 17th century. These criers or street vendors filled the streets of many European cities including Paris, Bologna, Naples and Cologne. As the streets filled with hawkers, costermongers and other types of the itinerant vendor, competition between them intensified. In an effort to stand out, street vendors began to develop distinctive, melodic cries, which became a standard feature of street life. Each trade developed its own unique type of street cry; a distinctive set of words or a unique tune.
  
  ## Description
  
  The use of street cries as a basis for song is particularly notable in South America and the Caribbean, where the crier is known as a pregonero. In Spain, the pregón may include flamenco or gyspy-inspired rhythms while in Latin-American pregón is noted for its incorporation of African rhythms such as bolero, clave, habanera and rumba. For example, the traditional pregón from Havana "Castillo mangüé" is often played as a yambú, a type of rumba.
  
  In Cuba, ethnologist Miguel Barnet noted that cross-fertilization was common as hawkers also often based their pregones on rural tunes or popular genres such as son and guaracha. The Cuban music historian Cristóbal Díaz Ayala has compiled a list of nearly five hundred examples of popular tunes based on hawker songs ‒ most from Cuba, but also from other Latin American countries such as Mexico, Chile, Colombia, Panama, Venezuela, Peru, Argentina, the Dominican Republic, and Puerto Rico.
  
  One of the best-known examples of a pregón is the song entitled El Manisero ("The Peanut Vendor" in English) which was written by Cuban musician and composer Moisés Simons and first recorded by Rita Montaner in 1928. The 1930 version recorded by Don Azpiazú in New York City with Antonio Machín on vocals became a worldwide hit starting a rhumba craze that swept throughout North America and much of Europe in the 1930s. The Peanut Vendor had a second life as a hit piece when Stan Kenton recorded it as an instrumental in 1947. The song, Yes! We Have No Bananas first published in 1923, was inspired by the idiom of a Long Island fruitseller.
  
  Other well-known pregones and their writers include the following:
  
  * Frutas del Caney ("Fruits from El Caney") by Félix B. Cagnet – Cuba
  * El yerberito ("The herb vendor") by Benny Moré – Cuba
  * Rica pulpa by Eliseo Grenet – Cuba
  * El afilador ("The knife grinder") by Agustín Magaldi – Argentina
  * El botellero ("The bottle-man") by Gilberto Valdés – Cuba
  * El carbonero ("The charcoal seller") by Iván Fernandez – Cuba)
  * El frutero ("The fruit vendor") by Cruz Felipe Iriarte – Venezuela
  * El limpiabotas ("The shoeshine boy") by Los Cuates Castilla – Mexico
  * El pregón de las flores ("The flower seller's cry") by Ernesto Lecuona – Cuba
  * La violetera ("The girl who sells violets") by Eduardo Montesinos López, 1958 – Spain
  * Se va el dulcerito ("The sweet seller is leaving") by Rosendo Ruiz – Cuba
  * Claveles de Galipán ("Carnations of Galipan") by Francisco de Paula Aguirre – Venezuela
  * El mielero ("The honey vendor") by Billo Frómeta – Dominican Republic
  * El aguacate guarenero ("The guarener avocado") by Benito Canónigo – Venezuela
  * Pastelero ("The pastry seller") by Guaco – Venezuela
  * Yo vendo unos ojos negros ("Some black eyed (peas) for sale") – Chile (pre-1910, unknown composer; arranged by Pablo Ara Lucena)
  * El mercado de Los Buchones ("Los Buchones market") by Astolfo Romero- Venezuela
  