Ficha migratoria con fotografía de frente y costado, con su firma. De la cantante de “Azucar” a los 22 años, expedida por el Consulado de México en la H. Autograph of Celia Cruz Alfonso. Signed Migration Sheet: ” Celia Cruz Alfonso “. In iron gall ink. 5.5 x 8.5 14 x 21cm. 15 de Julio de 1948. TARJETA DE IDENTIFICACION EXPEDIDA POR. MEDIA FILIACION DEL INTERESADO. El Consulado General de México en la H, C. ESTATURA ­­ 1.62 Mtrs. A CELIA CRUZ Y ALFONSO. CUYO RETRATO Y FIRMA CONSTAN EN SEGUIDA. Fotografía de frente y costado. (“SELLO” CONSULADO GENERAL DE MEXICO). AÑO EN QUE NACIO. PROFESION, OFICIO U OCUPACION. OTROS IDIOMAS QUE HABLA. FIRMA DEL CONSUL Y SELLO FECHADOR. NOMBRE Y DOMICILIO DE SU PARIENTE MAS CERCANO. Simon Cruz, Flores # 511. ANEXO A LA TARJETA F. 5 # 219330, EXPEDIDA POR EL CONSULADO GRAL. DE MEXICO EN LA H. A FAVOR DE LA SRTA. CELIA CARIDAD CRUZ Y ALFONSO. Admitida en calidad de NO INMIGRANTE POR SEIS MESES, en los términos del Art. De la Ley Gral. De Población vigente y de conformidad con el correográma # 20194 del 16 de Junio. Expediente 4/351.5.48/1867, para el exclusivo objeto de venir a prestar sus servicios artísticos. A las Empresas del Teatro “Follies Bergere” y al centro nocturno “Waikiki”. De México en la H. Oficial # 4293419, por concepto de Impuesto. De México en La H. Puerto Central Aéreo en México, D. A 15 de Julio de 1948. EL AGENTE DE MIGRACION. ANNEX TO CARD F. 5 # 219330, ISSUED BY THE GRAL CONSULATE. FROM MEXICO IN H. IN FAVOR OF LA SRTA. CELIA CARIDAD CRUZ Y ALFONSO, OF NATIONALITY C. Admitted as a NON-IMMIGRANT FOR SIX MONTHS. Under the terms of Art. Of the General Law of Population in force and in accordance with the corregraph # 20194 of June 16. File 4 / 351.5.48 / 1867, for the exclusive purpose of coming to provide artistic services to. The Companies of the “Follies Bergere” Theater and the “Waikiki” Night Center. Consulate of Mexico in H, C, according to Official Rec. The General Consulate from Mexico in H, C. Central Air Port in Mexico, D. First Migratory document of Celia Cruz to leave. Usted esta Protegido al hacer su compra en el Pago con Pay Pal. Además de que cuenta con 60 días en caso de devolución, tiempo suficiente. Para realizar un certificado de autenticidad con la empresa que usted guste en USA. Tal vez después del primer Pasaporte de Celia Cruz en 1947 cuando salió por primera vez de su país. De “La Reyna de la Salsa” no deje pasar la Oportunidad de hacerse de este Documento. Úrsula Hilaria Celia de la Caridad Cruz Alfonso (October 21, 1925 – July 16, 2003), known simply and professionally as Celia Cruz, was a singer and the most popular Latin artist of the 20th century. Cruz was renowned internationally as the “Queen of Salsa”, La Guarachera de C. “, as well as “The Queen of Latin Music. Throughout her career, Celia Cruz interpreted and internationally popularized tropical rhythms such as Son, Guaguancó, Rumba, Guaracha and Bolero. However, the genre that led to stardom was Salsa. In the 1960s, after the triumph of the C. Revolution, Cruz left her native country, becoming one of the symbols and spokespersons of the C. Cruz continued her career, first in Mexico, and then in the United States, the country that she took as her definitive residence. In the 1970s she was fully incorporated into the Salsa genre, especially after her musical association with other artists of the genre within the Fania All-Stars. During the last years of her career, Cruz had already become a myth of Latin American music. Her constant evolution in the world of music, helped her to remain in force practically until her death and to conquer new generations of followers. Her career formed an invaluable legacy and inescapable reference for future generations who discover in her a powerful and prolific source of inspiration. Some of the songs performed by her are part of the cultural heritage of Latin America. Among the most famous are Quimbara, Burundanga, La Vida Es Un Carnaval and La negra tiene tumbao, among many others. Her musical legacy is made up of a total of 37 studio albums, in addition to many other special recordings, records in live or associations with other singers. In her career she was awarded numerous prizes, recognitions and distinctions, including two Grammy Awards and three Latin Grammy Awards. In addition to her prolific career in music, Cruz also made some punctual interventions as an actress in movies and telenovelas. Celia Cruz also made famous the expression ¡Azúcar! Which she adopted and it remained in the collective memory as her identifying phrase, which she shouted as a carnival ad inciting fun. With a unique style and an iconic image of unsurpassed attractiveness thanks to a charismatic and musical talent that is difficult to replicate, Celia Cruz is considered an authentic symbol of Latin culture worldwide. Úrsula Hilaria Celia de la Caridad Cruz Alfonso was born in the Santos Suárez neighborhood of. Her father, Simón Cruz, was a railway stoker, and her mother, Catalina Alfonso Ramos, a housewife. Cruz shared her childhood with her three siblings: Dolores, Gladys and Bárbaro and numerous cousins. Her chores included lullabies for the little ones. So she began to sing. Her father wanted her to be a school teacher, and not without regret she tried to satisfy him and studied teaching. When she was about to finish the career and left to enter the National Conservatory of Music. She later sang in the orchestras Gloria Matancera and Sonora Caracas. Celia Cruz in the 1950s with the members of the Sonora Matancera in. In 1948, Roderico Rodney Neyra founded the group of dancers and singers Las Mulatas de Fuego. Cruz was hired with this group as a singer, reaching great success and making presentations in Mexico and Venezuela. With the Mulatas de Fuego, Cruz recorded some songs. Shortly thereafter, Cruz began to sing on musical programs at Radio Cadena Suaritos, along with a group that performed Yoruba choruses and rhythms and recorded a song with the singer Obdulio Morales. The songs she recorded at that moment would be incorporated later to one of the first compilations of her work in LP format. In 1950, Cruz met the businessman Rafael Sotolongo who sought her out because he wanted her to sing with the Sonora Matancera, at that time the most popular and successful music group in. Her income was approved by the director of the group, Rogelio Martínez. Upon hearing of this interview, the managers of the radio where she worked were arbitrarily dismissed. In her first rehearsal with Sonora Matancera, Cruz met her future husband Pedro Knight, who was the band’s second trumpeter. Cruz debuted with the group on August 3, 1950. Initially Cruz was not received with enthusiasm by the public, but Rogelio Martínez had faith in her. On December 15, 1950, Cruz recorded her first songs with the group, which were a resounding success. Her “musical marriage” with the Sonora Matancera lasted fifteen years. That’s where the successes of Burundanga, El Yerberito Moderno, Tu voz, Pa’la pigeon and many others come from. In total Celia recorded 188 songs with the Matancera. With the group, Celia also made short musical interventions in Mexican and C. On July 15, 1960, when the Cuban Revolution led by F. Began, a contract for the Sonora Matancera in Mexico arose. Cruz never imagined that she would ever step on C. Regime looked with bad eyes that the group will accept offers to work abroad, specifically in the United States. Thus, the Castro regime arbitrarily forbade her to return to C. When she completed a month of stay in Mexico, she received the news of the death of her father Simón Cruz. In 1961, Cruz and the Sonora left for the United States for a contract. Celia began performing solo performances without the orchestra. She performed at a recital at the Hollywood Palladium in Los Angeles. In 1962, before the refusal of the government of her country to allow her to return to C. Soil, Celia acquired a house in New York. Although she tried to return to Cuba to see her mother sick, the C. Government forbade her to return. A fatal day for Celia arrived on April 7 of that year. When she was preparing to act, she received the news of the death of her mother Catalina Alfonso, who had been struggling with terminal bladder cancer. In that same year, on July 14, Cruz was married in civil ceremony with Pedro Knight after a romance of several years. Cruz and the Sonora Matancera made their first tour outside the American continent, visiting Europe and Japan, where they performed with Tito Puente. In 1965, Cruz would culminate a vertiginous fifteen years with the Sonora Matancera. Cruz began a solo career and her husband Pedro Knight decided to leave his position at Sonora Matancera to become her representative, arranger and personal director. In parallel, Cruz had adopted the American nationality. In 1966, Cruz was contacted by Tito Puente to perform with his orchestra. Cruz and Puente started an association that released five albums. She also recorded albums with the Orquesta de Memo Salamanca, Juan Bruno Tarraza and Lino Frías under the TICO Records label. From this time one of her great successes was revealed: Bemba Colorá. Eventually Cruz joined Vaya Records. A musical change made her enter into Salsa music. In 1973, Cruz teamed up with the pianist and exclusive artist of the Fania Records label Larry Harlow and led an Afro-C. Music concert at Carnegie Hall in New York. There Cruz interpreted Divine Grace, her first song of the Salsa genre and the door to this new rhythm. The album resulting from this meeting was produced by the now defunct Jerry Masucci, who is considered one of the creators of the Salsa genre along with the Dominican musician Johnny Pacheco. Later, she participated in a legendary concert recorded live at Yankee Stadium with The Fania All-Stars, a group composed of leaders of Latino groups that recorded for the Fania label. Salsa music and The Fania All-Stars. Celia Cruz performing in Paris at the Olympia in 1980. Cruz signed a contract with the record company of Masucci, VAYA (Subsidiary of Fania). In 1974 she released the album Celia & Johnny, with Johnny Pacheco, who was a great success. Cruz integrated fully with the Fania All-Stars orchestra, which was a combination of the musicians of each orchestra that played for the musical label Fania (like Johnny Pacheco, Héctor Lavoe, Willie Colón and others) With the Fania All-Stars, Cruz had the opportunity to visit the United Kingdom, France and Zaire. In 1977, Cruz recorded her first record with the backing of the trombonist and salsa orchestrator Willie Colón, a fusion that would be repeated with great success in 1981 and in 1987. In 1982, Celia was reunited with the Sonora Matancera, and recorded the album Feliz Encuentro. In that year the singer received the first tribute of her career at Madison Square Garden in New York. In 1987, Cruz performed a concert in Santa Cruz de Tenerife. That concert was recognized by the publisher of the Guinness Book of Records as the largest outdoor free entry. 250,000 people attended the concert. In 1989, she won her first Grammy Award for the album Ritmo en el corazón. She was also invited to celebrate the 65th anniversary of the Sonora Matancera in Central Park in New York. The decline of Salsa success gradually brought the end of Celia’s musical association with the Fania All Stars. In 1990 Cruz managed to return to C. She was invited to make a presentation at the US base in Guantanamo. When she came out of this presentation she took in a bag a few grams of earth from C. The same one she asked to be placed in her coffin when she died. Although she had previously made musical presentations in Mexican and C. Films, in 1992 Celia debuted as an actress in the American film Mambo Kings, along with Armand Assante and Antonio Banderas. A year later she made her debut as a television actress in the Mexican telenovela Valentina, along with Verónica Castro for the Televisa network. In 1995, Celia has a special participation in the American film The Perez Family, along with Alfred Molina and Angelica Huston. In 1997 she starred again for Televisa the Mexican telenovela El alma no tiene color, a remake of the classic Mexican film Angelitos negros, and where Cruz plays the role of a black woman who gives birth to a white daughter. On October 25 of that year the city of San Francisco officially declared that date as “Celia Cruz Day”. In 1998 she released the album Mi vida es cantar, from which one of her most successful themes is revealed: La Vida Es Un Carnaval. In 1999, she performed with Luciano Pavarotti for the Pavarotti and Friends concert. In 2000, Cruz released a new album under the auspices of Sony Music: Celia Cruz and Friends: A Night of Salsa, where she recorded again with Tito Puente, who died a little later. Thanks to this album, Cruz was awarded with her first Latin Grammy. In 2001, the album Siempre Viviré makes her the creditor of her second Latin Grammy. In that same year, she performed with Marc Anthony in a tribute to Aretha Franklin for VH1. In 2002, Cruz released the album, La Negra Tiene Tumbao, where she ventured into modern variants of Caribbean rhythms, influenced by rap and hip hop. For this record she obtains her third Latin Grammy and her second American Grammy. Dexter Lehtinen, Celia Cruz, Alonso R. Ros-Lehtinen, and Pedro Knight in May 1992. Celia Cruz’s mausoleum in Woodlawn Cemetery, The Bronx, New York. During a presentation in Mexico, Cruz suffered a health mishap. As a result of this, it was discovered that she suffered from glioma, (a very aggressive brain tumor), and underwent an operation to remove it at the end of that year, to then try to resume her artistic career. She recorded her last album, entitled Regalo del Alma. In March 2003, it was offered a tribute by the US Hispanic network Telemundo, which involved figures such as Gloria Estefan, Marc Anthony, La India, Gloria Gaynor and Patti LaBelle among others. This was her last public appearance. On the afternoon of July 16, 2003, Celia Cruz died at her home in Fort Lee, New Jersey, at the age of 77. At her express wish, her mortal remains were first transferred to Miami for two days to receive the homage of her C. Exile admirers, returning and finally resting in the Woodlawn Cemetery in The Bronx, New York. An epilogue in her autobiography notes that, in accordance with her wishes, C. Soil which she had saved from a visit to Guantánamo Bay was used in her entombment.