During the 1950s, after the international dance craze for cha cha chá had passed,
A. New York Latin bandleaders adopted and adapted it, blending it with elements of big band mambo.
B. the dance was abandoned.
C. bossa-cha cha, a synthesis of cha cha chá and Brazilian bossa nova, became the basis of a new international dance phenomenon.
D. Enrique Jorrin became the violinist for Tito Puente's band in New York.
Answer: A
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