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When, in 1961, West Side Story hit the screens after conquering Broadway, it was the entire Puerto Rican community of New York, ostracized and deprived of the American dream, that feverishly gained visibility. From Spanish Harlem to the Bronx, where poverty, drugs and gangs are rampant, Latino music and dance will then carry the identity revolution, the barrio setting itself on fire and undulating to Afro-Caribbean rhythms, led by "the king of timbales" Tito Puente. Soon mixed with soul, jazz and blues of the black neighbors, who share suffering and stigma of racism, the genres multiply: mambo, rumba, cha-cha-cha, merengue, boogaloo. All the Hispanics of Central and South America joined the movement.

Marguerite Desnoyers wonders why her husband Marcel goes traveling so often: for business as he claims? Or to cheat on her, as she suspected? She gradually becomes convince that he has mistresses, then decides to return the favor. On a dark night, she gives herself to a total stranger. Nine months later she gives birth to...a Black baby. Marcel, her husband, goes traveling so often. For business, as he claims? Or to cheat on her, as she suspects - With the passing of time, Marguerite is persuaded that Marcel has mistresses and she decides to return the favor. On a dark night, she gives herself to a total stranger. Nine months later, she gives birth to a - Black baby.

Tommy Vance and Mike Read have a nostalgic countdown of what was big in 1982.