His background as a medical student who turned to music out of dissatisfaction with his life possibilities reflects the frustration of an entire generation of Afro-Cubans.
As the life of ordinary Cubans receded to 4th World levels, the stars of salsa projected a representation of success and sophistication, an image of escapism and self-empowerment, which, in the context of the decline of the economic role of the state, acquired obvious political meanings.
According to Manolín, “people started associating money with me.” Manolín, Paulito FG, and bands like La Charanga Habanera and Bamboleo became symbols of the new market-adjusted pop artist, articulating into a modern, cosmopolitan image the desires and aspirations of their young black barrio audiences (Vaughan 2012: Kindle 1964).Manolín's music was as different from Charanga Habanera as Charanga Habanera was from NG La Banda.
Manolín's unprecedented earning power had an seismic impact on the timba scene, causing a level of excitement among musicians that had not been seen since the 1950s, if ever.
As of 2013, Manolín has moved back to Cuba, and has been touring the island with Pachito Alonso y su Kini-Kini.