; Whereas Cuban immigration to the United States, spurred by communism as a result of the Cuban Revolution and the Castro dictatorship, has fostered cultural exchanges that contributed to the development of new musical genres, most prominently in Florida; Whereas, in the aftermath of the Spanish-American War, Puerto Rico became a United States territory, granting its people citizenship and fostering a unique cultural exchange between Puerto Ricans and individuals in the mainland United States, which culminated in a significant migration wave of Puerto Ricans to cities like New York in the mid-20th century; Whereas the establishment of Spanish-language newspapers, such as La Prensa in New York City in 1913, contributed to the dissemination of Latin music and culture among tens of thousands of Puerto Ricans and immigrants from Latin America and the Caribbean who migrated to New York City; Whereas a convergence of Puerto Rican, Cuban, and other Caribbean immigrants, particularly in New York City, infused music in the United States with Afro-Cuban rhythms and jazz improvisation and gave rise to the vibrant musical genre of salsa in the United States, which left a lasting mark on the cultural landscape of the United States; Whereas the introduction of Afro-Cuban music, including the rumba by Don Azpiazu’s Havana Casino Orchestra in the 1930s, sparked a Latin music craze in the United States with hits like “Peanut Vendor” by Moises Simons becoming national sensations; Whereas, by the close of the 1940s, Latin music had firmly established its presence in the United States, influencing various genres and becoming an integral part of the musical heritage of the United States; Whereas Tito Puente, a Puerto Rican musical luminary known as both the King of Mambo and the King of Latin Music , left an indelible mark on the world of Latin music through his groundbreaking compositions, including the iconic Oye Como Va , famously popularized by Carlos Santana