[Congressional Record Volume 149, Number 113 (Monday, July 28, 2003)]
[Senate]
[Pages S10070-S10071]
From the Congressional Record Online through the Government Publishing Office [www.gpo.gov]

      By Mr. CORZINE (for himself, Mr. Lautenberg, Mr. Schumer, and 
        Mrs. Clinton):
  S. 1477. A bill to posthumously award a Congressional gold medal to 
Celia Cruz; to the Committee on Banking, Housing, and Urban Affairs.
  Mr. CORZINE. Mr. President, I rise to honor the magnificent life, and 
the legacy, of Celia Cruz, and to introduce legislation to award her 
posthumously our Nation's highest civilian award, the Congressional 
Gold Medal. This award would be an appropriate tribute to Ms. Cruz's 
life, given her innumerable accomplishments in the world of 
entertainment, her work as an ambassador of Latino culture, and her 
many contributions to American society.
  Celia de la Caridad Cruz Alonso was born on October 21 during the 
1920's. She died on July 17, 2003, at her home in Fort Lee, NJ.
  Over a prolific 50-year career as an entertainer, Celia Cruz, the 
``Queen of Salsa,'' recorded more than 50 albums. Each was a showcase 
of her talent, flair, and the passion she brought to her work. Her 
collaborative efforts ranged from work with legendary salsa artist Tito 
Puente, pop star David Byrne, and hip-hop producer Wyclef Jean. Through 
those cross-cultural efforts, Cruz's music reached over four 
generations of fans, and helped break down ethnic and cultural 
barriers.
  Celia Cruz's gifts as an entertainer were recognized throughout the 
world, and she won hundreds of awards, most notably a 1990 Grammy Award 
and Billboard Magazine's ``Lifetime Achievement Award'' in 1995. In 
1994, Ms. Cruz was recognized by President Clinton with a National 
Endowment of the Arts award.
  While best known for her work as an entertainer, Celia Cruz was much 
more than a singer to her fans, especially to Latinos in America. She 
touched the lives of millions. The outpouring of sorrow that 
accompanied the news of her passing underscores that point. More than 
100,000 people turned out to pay their respect, and honor the memory of 
Celia Cruz at her wake in Miami, FL. More than 75,000 people lined the 
streets of Manhattan--some crying, many singing and fondly recalling 
Ms. Cruz's life--as her funeral procession made its way from the St. 
Patrick's Cathedral.
  The enormous outpouring of support that accompanied news of the death 
of Celia Cruz provides some indication about the special nature of this 
amazing woman. Her story is that of a girl from meager means in Havana, 
Cuba who eventually grew up to become a ``queen.''
  Celia Cruz was one of 14 children raised in Havana's Santa Suarez 
district. As a child, she could be heard by neighbors as she sung her 
siblings to sleep. She received her first award in a competition on the 
talent show La Hora Del Te on Radio Garcia Serra, in which she won 
first prize.
  Her first break came in 1950 when she took over as the lead singer 
with Cuba's Sonora Matancera. Cruz's first recording was a 78 rpm 
single released with Sonora Matancera in January 1951, entitled ``Cao 
Cao Mani Picao''.
  On July 15, 1960, Cruz and members of her band fled Cuba for the 
United States, to escape the regime of Fidel Castro. They were able to 
get out by convincing Castro's officials that the group was simply 
going on another tour abroad. Enraged by the singer's choice to pursue 
freedom, Castro never forgave Cruz for this and refused to let Celia 
return to Cuba--even as her mother was sick and when her father passed 
away.
  In the 60's, Celia Cruz and Pedro Knight, her husband and a member of 
the band, decided to make America their permanent home and Celia Cruz 
became a citizen of the United States.
  During that time, Celia Cruz transformed from a gifted, charismatic 
Cuban-American singer to a woman who would become the ``Queen of 
Salsa.''
  In 1966, she teamed up with the legendary Tito Puente and together 
they released eight albums. Although her classic style, the origins of 
salsa, did not immediately appeal to Latin youth during the 1960's, 
Celia Cruz returned with a vengeance after a stint in the Operetta 
``Hommy,'' in the early 1970's.
  By 1973, Latin pride had begun to take hold in American cities with 
large Latino communities--particularly in New York, New Jersey and 
Florida.
  In New York, Latin musicians had begun to mix classical musical 
styles from Puerto Rico, such as Bomba and Plena, with classical 
musical styles from Cuba, such as Mambo and Son, combining them with 
the trombone for a more urban sound. This combination created what is 
now known as salsa--and Celia Cruz was a pioneer of the genre.
  Ms. Cruz signed with Fania Records, one of the major salsa record 
labels of the time, and in the summer of '74 released Celia & Johnny, 
the first in a series of collaborations with Johnny Pacheco. Building 
upon the success of these albums, Cruz then recorded albums with other 
top leaders on the Fania roster, like Willie Colon, Papo Lucca and Ray 
Barretto, whose bands each had their own trademark sound. She toured 
with the Fania until 1988.
  While Latin music has historically been predominately dominated by 
male artists the talent of Celia Cruz could not be ignored. Her 
flamboyant clothing, charismatic presence, proud
voice and her trademark ``Azuuuuuuuuuuuuucar!'' tag line became 
legendary.
  In addition to her lucrative recording career, Cruz also had roles in 
several American films such as Salsa, the Mambo Kings and the Perez 
Family. She was a true pioneer.
  As I mentioned earlier, Celia Cruz received hundreds of awards as a 
result of her contributions to music, most notable the Grammy Award and 
the National Endowment of the Arts Award from President Clinton. Her 
contributions to society and her contributions to Latino culture have 
also been well recognized. Among those the Presidential Medal in Arts 
from the Republic of Colombia and the Hispanic Heritage Award's 
Lifetime Achievement Award.
  Other notable recognitions bestowed upon Ms. Cruz include an honorary 
Doctorate of Music from Yale, a star on Hollywood's ``Walk of Fame,'' 
and the keys to the cities of Union City, NJ; Miami, FL; Dallas, TX; 
and New York City.
  Those recognitions are all noteworthy, and the life of Celia Cruz 
warrants each and every one of them. But of the hundreds of awards won 
by Celia Cruz, there is one award that she did not receive, but most 
certainly deserves the Congressional Gold Medal.
  This award is considered our Nation's highest civilian honor, and has 
been

[[Page S10071]]

awarded to a rare and esteemed group of individuals. Notable recipients 
include George Washington, Sir Winston Churchill, Bob Hope, Robert 
Frost, Joe Louis, Mother Teresa, and most recently Tony Blair.
  The standards for considering legislation authorizing Congressional 
Gold Medal state that, among other things, ``the recipient shall have 
performed an achievement that has an impact on American history and 
culture that is likely to be recognized as a major achievement in the 
recipient's field long after that achievement.''
  Celia Cruz, music pioneer and the acknowledged ``Queen of Salsa,'' 
certainly fits the criteria to receive the Congressional Gold Medal. 
Celia Cruz, ambassador of Latin culture, impassioned voice of freedom, 
and American is what the Congressional Gold Medal is about.
  This award would properly honor the legacy, and the life, of Celia 
Cruz. I urge my colleagues to support this important legislation, and 
ask unanimous consent that the text of the legislation be printed in 
the Record.
  There being no objection, the bill was ordered to be printed in the 
Record, as follows:
       Be it enacted by the Senate and House of Representatives of 
     the United States of America in Congress assembled,

     SECTION 1. SHORT TITLE.

       This Act may be cited as the ``Congressional Tribute to 
     Celia Cruz Act''.

     SEC. 2. FINDINGS.

       Congress finds that--
       (1) Celia de la Caridad Cruz Alonso was raised as one of 14 
     children in the Santa Suarez district of Havana, Cuba;
       (2) in 1960, Cruz and members of her band fled Cuba for the 
     United States to escape the oppressive regime of Fidel 
     Castro;
       (3) Celia Cruz and Pedro Knight, her husband of 40 years, 
     chose to make America their permanent home, where she became 
     a naturalized American citizen;
       (4) while best known for her work as an entertainer, Celia 
     Cruz influenced the lives of millions of people as an 
     ambassador of Latino culture and a powerful voice of freedom;
       (5) over a prolific 50-year career as an entertainer, Celia 
     Cruz became know as the ``Queen of Salsa'';
       (6) she recorded over 50 albums, and her collaborative 
     efforts with other performers helped break down ethnic and 
     cultural barriers;
       (7) the musical talent of Celia Cruz earned her hundreds of 
     awards worldwide, most notably a 1990 Grammy Award and 
     Billboard Magazine's ``Lifetime Achievement Award'' in 1995;
       (8) in 1994, Cruz was recognized by President Clinton with 
     the National Endowment of the Arts Award;
       (9) on July 17, 2003, ``Celia Cruz'', as she was more 
     commonly known, passed away at her Fort Lee, New Jersey home 
     after battling brain cancer; and
       (10) Celia Cruz was much more than just a singer to 
     millions of fans worldwide, especially to Latinos in America, 
     and her contributions to music, Latino culture, and American 
     society make her most deserving of America's highest civilian 
     award, the Congressional Gold Medal.

     SEC. 3. CONGRESSIONAL GOLD MEDAL.

       (a) Presentation Authorized.--The Speaker of the House of 
     Representatives and the President pro tempore of the Senate 
     shall make appropriate arrangements for the posthumous 
     presentation, on behalf of Congress, of a gold medal of 
     appropriate design in commemoration of Celia Cruz, in 
     recognition of her enduring contributions to music, Latino 
     culture, and American society.
       (b) Design and Striking.--For purposes of the presentation 
     referred to in subsection (a), the Secretary of the Treasury 
     (referred to in this Act as the ``Secretary'') shall strike a 
     gold medal with suitable emblems, devices, and inscriptions, 
     to be determined by the Secretary.

     SEC. 4. DUPLICATE MEDALS.

       The Secretary may strike and sell duplicates in bronze of 
     the gold medal struck pursuant to section 2 under such 
     regulations as the Secretary may prescribe, at a price 
     sufficient to cover the cost thereof, including labor, 
     materials, dies, use of machinery, and overhead expenses, and 
     the cost of the gold medal.

     SEC. 5. STATUS OF MEDALS.

       (a) National Medals.--The medals struck pursuant to this 
     Act are national medals for purposes of chapter 51 of title 
     31, United States Code.
       (b) Numismatic Items.--For purposes of section 5134 of 
     title 31, United States Code, all medals struck under this 
     Act shall be considered to be numismatic items.

     SEC. 6. AUTHORITY TO USE FUND AMOUNTS; PROCEEDS OF SALE.

       (a) Authority to use Fund Amounts.--There is authorized to 
     be charged against the United States Mint Public Enterprise 
     Fund, such amounts as may be necessary to pay for the costs 
     of the medals struck pursuant to this Act.
       (b) Proceeds of Sale.--Amounts received from the sale of 
     duplicate bronze medals authorized under section 3 shall be 
     deposited into the United States Mint Public Enterprise Fund.

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