Buena Vista Social Club is an ensemble of Cuban musicians established in 1996 to revive the music of pre-revolutionary Cuba. The project was organized by World Circuit executive Nick Gold, produced by American guitarist Ry Cooder and directed by Juan de Marcos Gonzalez. They named the group after the homonymous members' club in the Buenavista quarter of Havana, a popular music venue in the 1940s. To showcase the popular styles of the time, such as son, bolero and danzon, they recruited a dozen veteran musicians, many of whom had been retired for years.

The Buenavista Social Club was a members-only club originally located in Buenavista (literally good view), a quarter in the current neighbourhood of Playa (before 1976 part of Marianao), one of the 15 municipalities in Cuba's capital, Havana. The original club was founded in 1932 in a small wooden venue at calle Consulado y paisaje "A" (currently calle 29, n. 6007). In 1939, due to lack of space the club relocated to number 4610 on Avenue 31, between calles 46 and 48, in Almendares, Marianao. This location is recalled by Juan Cruz, former director of the Marianao Social Club and master of ceremonies at the Salon Rosado de la Tropical (other nightclubs in Havana). As seen in the Buena Vista Social Club documentary, when musicians Ry Cooder, Compay Segundo and a film crew attempted to identify the location of the club in the 1990s, local people could not agree on where it had stood. At the time, clubs in Cuba were segregated; there were sociedades del blancos (white societies), sociedades de negros (black societies), etc. The Buenavista Social Club operated as a black society, which was rooted in a cabildo. Cabildos were fraternities organized during the 19th century by African slaves. The existence of many other black societies such as Marianao Social Club, Union Fraternal, Club Atenas (whose members included doctors and engineers), and Buenavista Social Club, exemplified the remnants of institutionalized racial discrimination against Afro-Cubans. These societies operated as recreational centers were workers went to drink, play games, dance and listen to music. In the words of Ry Cooder, Society in Cuba and in the Caribbean including New Orleans, as far as I know, was organized around these fraternal social clubs. There were clubs of cigar wrappers, clubs for baseball players and they'd play sports and cards--whatever it is they did in their club--and they had mascots, like dogs. At the Buena Vista Social Club, musicians went there to hang out with each other, like they used to do at musicians' unions in the U.S., and they'd have dances and activities. As a music venue, the Buenavista Social Club experienced the peak of Havana's nightclub life, when charangas and conjuntos, played several sets every night, going from club to club over the course of a week. Often, bands would dedicate songs to the clubs were the played. In the case of the Buenavista Social Club, an eponymous danzon was composed by Israel Lopez "Cachao" in 1938, and performed with Arcano y sus Maravillas. In addition, Arsenio Rodriguez dedicated "Buenavista en guaguanco" to the same place. Together with Orquesta Melodias del 40, the Maravillas and Arsenio's conjunto were known as Los Tres Grandes (The Big Three), drawing the largest audiences wherever they played. These vibrant times in Havana were described by pianist Ruben Gonzalez, who played in Arsenio's conjunto, as "an era of real musical life in Cuba, when there was very little money to earn, but everyone played because they really wanted to". Answer this question using a quote from the following article:

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There were clubs of cigar wrappers, clubs for baseball players and they'd play sports and cards--whatever it is they did in their club--and they had mascots, like dogs.