leila belarbi noche con sabor a guaco brian michael

Transcription

Edition 48 / Dic 2014
NOCHE CON SABOR A GUACO
Caracas, Venezuela
LEILA BELARBI
de MEDI1 Radio, en Tánger, Marruecos
BRIAN MICHAEL
Atrévete
AN AUDIENCE WITH THE KING
By: Aurora Flores
www.salsamundi.com
@salsamundi
International Salsa Magazine
International Salsa Magazine / Oct 2014
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Noche con sabor
a Guaco y algo más
Directamente desde Maracaibo (Edo Zulia / Venezuela), pateando calles y tarimas desde 1964 con un sonido único en su estilo y con más de tres decenas de
producciones discográficas bajo el brazo. Así llegó la
banda venezolana Guaco a suelo caraqueño para presentar su nuevo show en vivo titulado: “Guaco Histórico 2”
Conocidos como “La Súper banda de Venezuela”, Guaco preparó un show de primer nivel, el cual se presentó en las principales ciudades venezolanas y dejó claro
(una vez más) el porqué de ese título. El turno de Caracas de recibir a Guaco fue el 8 de noviembre en los
espacios abiertos del Centro Comercial Ciudad Tamanaco.
Luis Fernando Borjas, Diego Rojas, el nuevo integrante
Elahim David y el líder de la banda Gustavo Aguado,
aparecieron en la tarima caraqueña unos diez minutos antes de las ocho de la noche en medio de una
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lluvia que no amilanó los ánimos de los “Guaqueros”,
como se le conoce a la fiel fanaticada de la agrupación.
El gran escenario recibiría a invitados especiales de la
talla de Nelson Arrieta, Jorge Luis Chacín, Jorge Glem,
Kiara Servando y Florentino y el salsero boricua Víctor
Manuelle.
Entre lluvia (que duró unos 20 minutos) y la buena
música con sonido inconfundible de Guaco, la noche
fue transcurriendo y el público coreando cada una de
las canciones. El repertorio incluyó temas como: “Así”,
“Sueño contigo”, “Amigos, viajes y placeres”, “Quiero decirte” y el nuevo éxito de los zulianos, “De vuelta a tu
corazón”.
El setlist fue bastante variado, pues incluyó canciones
muy conocidas y algunas otras extraídas de “Presente
continuo”, la más reciente placa discográfica de Guaco.
Kiara, Jorge Luis Chacín (Nominado al Latin Grammy
2014) y Nelson Arrieta pasaron por el escenario para
Por: Luis Cantillo / @elecantillo
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cantar junto a Guaco. Uno de los momentos más memorables del show, fue la actuación de los hermanos
Primera, Servando y Florentino, quienes llegaron a escena para tocar su archiconocida “Mi fan enamorada”,
además de “Las Caraqueñas” y “Un día más” junto a los
anfitriones de la noche.
Finalmente, el salsero de la juventud, Víctor Manuelle
apareció en tarima y regaló al público caraqueño sus
canciones “Si tú me besas”, “Dile a ella”, “Castígala” y “Ahí
es donde yo la gozo” junto a Guaco.
Sin duda alguna, “Guaco Histórico 2” igualó el éxito
de su primera edición. Con un show a casa llena, invitados de primera línea y la ejecución musical impecable
típica de los “maracuchos”, éste concierto quedará en
la lista de los mejores de la agrupación.
Los amigos de Emporio Group se anotaron otro éxito
al producir este evento en Caracas, Maracaibo y Valencia., dejando claro al público que ¡ahora es que queda
Guaco pa` rato!
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ENTREVISTA A
LEILA BELARBI
DE MEDI1 RADIO
en Tánger, Marruecos
Pocos son los que difunden la salsa y más específicamente la cultura latina en Marruecos.
No es que los marroquíes no quieran disfrutar
de la música y el baile latinos, sino que no son
muchos los promotores tanto para eventos en
festivales internacionales como para la difusión
de la música en los medios audiovisuales.
La mayor difusión de la cultura latina se hace a
través de los pocos festivales de bailes latinos
y de música que se realizan durante el año, y
con la emisión de Ritmo Latino, programa conducido por Leila Belarbi, y que se transmite por
Radio Medi1.
Leila es una joven mujer llena de energía y positivismo, apasionada por la música latina desde
su niñez y que lucha para destacarla en Marruecos, donde el universo cultural y musical ya es
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International Salsa Magazine / Dic 2014
muy rico y diverso y es parte fundamental de
la cultura popular en todos los estratos sociales
desde hace siglos o, mejor, desde siempre.
Marruecos se encuentra en el noroeste de África, y aquí el ritmo y la musicalidad son elementos naturales en el diario vivir, como en todo
este continente; desde el nacimiento hasta la
muerte, para celebrar los acontecimientos sociales o por simple diversión, acompañando lo
sagrado y lo profano.
Aquí en Marruecos, la música y la alegría se
encuentran por todas partes, a todas horas. Se
toca desde lo más tradicional hasta los estilos
e influencias más actuales; llevados por esta
espontaneidad típica africana que tienen los
marroquíes de bailar, cantar y gozar en cualquier momento. Este fenómeno se encuentra
Por: Franck Al Yamine Cohendet
en todas las etnias que constituyen al pueblo
marroquí como los árabes, los tribus bereberes,
amazigh (pronunciar amazir), tuareg, saharaui,
entre otras.
Seguimos hablando con Leila para conocerla
más...
Hola Leila, háblanos de ti, ¿quién eres tú?
¡Hola Franck! Bueno, pues soy una ciudadana del
mundo y una enamorada de la radio. Tengo 18 años
presentando programas musicales variados y ¡poquito a poco fui especializándome en música latina!
Cuéntanos tu experiencia personal con la cultura
latina, ¿cuándo comenzó?
A los 3 años me fui con mis padres a vivir a España.
Desde muy pequeña fui familiarizándome con la cultura latina porque estaba rodeada por artistas de flamenco y latinoamericanos, empezando por mi papá,
que me inició a este tipo de música poniendo discos
de salsa, popurrí, bolero y tango; ¡su músico favorito
es “El rey de las manos duras” Ray Barretto!
Esta bella cultura vino a mí de manera muy natural,
muy legítima y ¡cuánto más temprano mejor! Teníamos vecinos venezolanos y uno de ellos me enseñó
unos pasitos de salsa y también una receta de cocina
riquísima: “pollo al curry” que me gusta cocinar para
mi gente, recordando siempre aquellos lindos momentos con los vecinos... Además, España es un país
muy acogedor que cuenta con una comunidad latinoamericana muy importante; su cultura suena por
todo el país, ¡es un verdadero tesoro!
¿Qué es Ritmo Latino?
Ritmo Latino es un programa semanal que reúne a
todos los aficionados a la cultura latina de los cuatro
rincones del mundo. Estamos presentes en internet
y la gente puede escucharnos fácilmente ¡a pesar de
la distancia y los horarios! Emitimos todos los sábados a las 4pm GMT y regresamos en la noche a las
9pm GMT ¡para que la música latina suene aún más
fuerte en los corazones! Propongo una programación
siempre muy variada, compuesta de oldies, clásicos
de la salsa, merengue, bachata, vallenato, rancheras,
samba de Brasil. Para un público más joven, tenemos
un poco de reggeatón, salsatón, salsa-muffin, cumbia callejera, hip hop latino y house brasileño y latino
para los clubbers y, finalmente, world music con su
puntito latino.
Pero siempre estoy al acecho de cualquier novedad
latina; ¡aquí nos gusta el movimiento, el cambio, la
evolución y la fusión de géneros! Todas las generaciones son bienvenidas, incluso recibimos maquetas o
composiciones y canciones de artistas que se pueden
convertir en futuros hacedores de éxitos que hasta
pueden llegar a ganar el Grammy Latino ¡quién sabe!
Ritmo Latino: http://www.medi1.com/musique/noche/noche.php
¿Cuáles son tus otras actividades relacionadas
con la cultura latina dentro y fuera de Marruecos?
El baile, la cocina, los viajes (Risas). No, en serio, de
momento, somos un programa radial jovencito, que
le falta tiempo y fama para ser más conocido y fundirse mejor en el paisaje urbano marroquí y extranjero.
Pero confiamos en nuestra pasión por la cultura latina a través de Ritmo Latino y sabemos que las puertas se están abriendo para participar más a menudo
en eventos musicales relacionados con este estilo
de música. Lamentablemente, los eventos latinos no
abundan aquí en Marruecos...
¿Cómo se introdujo la cultura latina, y particularmente la salsa (música y baile), en Marruecos?
¿Cómo la han apreciado los marroquíes a través
del tiempo?
Para mí, el baile y la música latina, gracias a mis padres y amigos, siempre han sido mis pasatiempos favoritos, y más aún cuando vine a trabajar a Tánger,
una ciudad hispanohablante, cerca de España, donde
la música latina tiene un lugar privilegiado.
En los últimos años, desde finales de los 90 hasta hoy,
en Rabat y Casablanca me he dado cuenta que los
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INTERVIEW
bares, restaurantes y academias (de baile), organizan
fiestas latinas ¡con bailes y cocina típicos de Latinoamérica! Algunos de estos bares se han vuelto ¡100%
latinos!
Hay que tener en mente que los marroquíes, al tener
una cultura y costumbres festivas y alegres, encajan
muy fácilmente con la cultura latina, y está muy de
moda saber bailar salsa o ¡hablar español!
¿Cuáles son tus proyectos como promotora y
difusora de la salsa en Marruecos?
¡Sería fenomenal poder participar en eventos musicales latinos aquí o en el exterior! Poder recibir artistas
del mundo latino en nuestros estudios e intercambiar
conocimientos, música y ¡pasar un buen rato! Pero lo
más importante es que los marroquíes se enganchen
más a la música latina, que dejen de ser meros aficionados y se involucren más con esta linda cultura, y
pienso que Ritmo Latino puede llegar a ser un medio,
un puente, una plataforma para lograr este reto.
¿Cuáles son las raíces o elementos culturales similares y/o complementarios que unen y permiten
el intercambio entre la cultura latina y la cultura
árabe?
Las raíces son africanas... El enlace, el lazo que nos
une a la cultura hispánica y latina son, pienso yo, los
desplazamientos humanos, las conquistas y la diáspora africana cuya influencia fue llevada al continente americano y (la influencia americana) fue traída
más tarde al continente africano a través de los instrumentos, el canto, la gastronomía y el baile... Cuando escuchas algunas tribus bereberes o árabes cantar
y bailar, puedes notar algunas similitudes con las raíces africanas y, por lo tanto, ¡también con las latinas!
¿Cómo proyectas y ves el desarrollo de la cultura
latina en los próximos años aquí en Marruecos?
¿Expansivo, limitado o en picada?
¡Veo un desarrollo expansivo! Hay que ser positivo y
ver en grande, eso es cultura latina...
Transmitir alegría, positivismo, pasión, y para lograr
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esa expansión ¡debemos aumentar la difusión de la
música latina en los festivales!
Mawazine, por ejemplo, invitó a Ricky Martin hace
unos años, pero no es suficiente, Timitar podría agregar más música latina a su programación, sólo el Tanjazz y su prima huérfana Tanja Latina (R.I.P.), que ya no
existe por falta de recursos, ¡incluían regularmente
músicos latinos en su programa!
Sería bueno mostrar y difundir más programas sobre
la cultura latina en la televisión y en la radio, enseñar
el español en las escuelas y, de esta manera, cada festival atraerá a un motón de gente agradecida ¡porque
se identificará con el mensaje cultural!
No hay que olvidar que ¡el español es el segundo
idioma más hablado en el planeta! (Risas)
Nota: Mawazine, Timitar, Tanja Latina y Tanjazz son
festivales internacionales de música.
Si tuvieras una varita mágica, ¿qué le cambiarías
al mundo?
El racismo, la miseria para que la gente pueda circular
libremente y transmitir su herencia cultural, que es lo
que nos hace más ricos; (nos da) ¡la diversidad y la
tolerancia!
¿Tienes un mensaje particular que quieras compartir con los aficionados a la salsa y lectores de
International Salsa Magazine?
Desde luego, que escuchen el programa Ritmo Latino,
que sepan que hay alguien al otro lado del océano
que piensa en ellos y les dedica todo un programa, y
que no duden en ponerse en contacto con nosotros
para darnos información y colaborar. Y, especialmente a los artistas, que manden sus canciones, que aquí
tienen una familia ¡que los mima y escucha!
Para contactar a Leila Belarbi:
Email: [email protected]
Facebook: Belarbi Leila
Twitter: @goah777
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INTERVIEW
¡Muchas gracias
y siéntanse
orgullosos de la
cultura latina!
s
a
i
L
e
c
i
a
l
r
a
G
!
¡
Franck Al Yamine Cohendet / FAYCpercussion©
El Jadida - Maroc
Percusión y músicas tradicionales (culturas africana, afro-cubana, árabe e hispánica),
jazz y música moderna para producciones en vivo, en estudio o lecciones. Espectáculos,
conciertos, estudio, talleres, cursos y seminarios.
14
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Grand Opening Salsa Fridays in SF!
San Francisco’s Newest Salsa nightclub with LIVE
BANDS, Social dancing and Lessons, EVERY Friday!
8pm - 2am
GRAND OPENING! - FRIDAY, NOV. 14 with Live Music
by N’RUMBA!
HAPPY HOUR: 8-10pm with Drink Specials!
Salsa Lessons with Tomaj Trenda - 8:30-9:30!
Live Bands - 10pm - 1am!
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Learn More about Friday’s new Nightclub in San Francisco.
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Banda MS - El KOMANDER
Luis Coronel - Laberinto // San Jose
Joan Sebastian y Ramon Ayala
Sacramento
16
El Mexicano Presents Joan Sebastian
y Ramon Ayala // Fresno
Voz de Mando // Sunnyvale
Joan Sebastian - Tigres Del Norte
Ramon Ayala // San Jose
The Beauty of Latino
Culture is here!
www.latinlife.com
@latinlifeofcl
latinlifeofficial
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Here are some new Rumba Calzada
performances coming up for Winter
2014:
Check out some hot Latin Jazz and
Salsa this holiday season!
December 20, 2014
12 Days of Christmas
Robson Square
Vancouver , BC 6pm-9pm
free / open to public
Info:
www.robsonsquare.com/events/
December 31st, 2014
NYE @ Robson Square
Vancouver, BC 5pm-8pm
free / outdoors / open to public
Rumba Calzada 2014 Promo Video:
https://www.youtube.com/
watch?v=6h0oUxQpwik
Gracias!!!
www.rumbacalzada.com
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INTERVIEW
An Audience with
THE KING
By: Aurora Flores
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I was on my way to interview Tito Puente, the King of
Latin Music, and my first major assignment as a writer. I was excited, elated to have been picked for this
project, and nervous, very nervous. Absentmindedly,
I bit the last of what remained of my right thumbnail thinking of the many questions I had researched
over the past few days as the #1 train pulled into my
station. It was hard to see the stop from inside the
bubble-art, graffiti-covered car, “Taki 183” tagged all
over the windows. I already knew to get off three local stops after Seventy-Second Street. Climbing the
stairs at the Fiftieth Street exit, I pulled the yellow
piece of paper from my pocket: RMM Management,
1650 Broadway and Fifty-First.
I felt too good to push through all the pimps, dealers, hustlers, hookers and junkie thieves to get to
Forty-Second, even though I was early for the 9 pm
appointment. Besides, the beasts in blue were all
over the place after the Symbionese Liberation Army
kidnapped Patty Hearst. The cops seemed to be on a
mission to get rid of blacks and Puerto Ricans, especially after Governor Rockefeller imposed his draconian drug laws to toughen up his presidential profile.
Shit was really getting ugly here. The Serpico cops
were few and far between, and by the time the movie
had come out earlier that year, the four-year-old Knapp Commission the city set up against police corruption had already lost its steam.
My mouth was so dry I stopped first at the corner Nedick’s for an orange soda. Adjusting my pea coat and
turtleneck sweater in the nippy October air, I looked
through my pouch, checking for my tape recorder
and notes. I was really wanting an Orange Julius, but
While waiting on line for my soda, I could only hear
the TV on the counter behind the register, my vision
blocked by the huge Afro on the dude in front of me.
The volume was loud enough though to hear the latest on the Watergate trials. Nixon had resigned. Ford
was the new president. My orange soda arrived.
By: Ingrid Hernández / @ingridher
It was late for an interview I thought as I waited by
the counter, but I shouldn’t have been surprised, after
all, this is the entertainment industry. Isn’t that where
I wanted to be? I’d grown up listening to Tito Puente,
learning those mambo steps as I held onto my mother’s arms, my feet on her shoes, going through the
paces. I loved Latin music, but I loved me my R&B too.
I’d gone clubbing the night before and could still
hear Stevie Wonder’s “Don’t You Worry ‘Bout a Thing”
ringing from the dance floor. We’d slow danced grind
to the Stylistics’ “You Make Me Feel Brand New” followed by the syncopated drumming of Ray Barretto’s
“Indestructible.” Eddie Palmieri’s “Harlem River Drive”
drove us nuts while Kool and the Gang’s “Jungle Boogie” brought the wild out in us. DJs mixed R&B with
salsa then and all of those old school morenos knew
how to get down with the mambo. In fact, back in the
day, you weren’t hip in Harlem if you didn’t know how
to Latin. Hey, we lived together in the projects, went
to the same schools, played in the same playgrounds,
fought in the same wars, did time in the same jails.
We married and had babies together.
“Thems Mira, Miras,” they taunted us.
“Cocolos,” we countered, jumping like coconuts falling from trees.
Afterwards, we marched together for the same cause,
we danced together on the same floors. There were
no Cocolos or Mira, Miras there. It was who could
throw down the best, whether you were from Harlem, Little Italy or the Catskills.
Ellie was my college friend Karen Taylor’s mom and
one of those Harlemites who loved to Latin, especially in the ’50s and ‘60s, when everyone danced mambo.
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Every Wednesday, Friday and Saturday, Ellie went
from Birdland on Fifty-Second and Broadway, up the
block to the Palladium Ballroom on Fifty-Third.
“Child,” she said, emphasing the “i” and the “l”, “we
used to dance to Tito when he was a nobody.” She giggled like a little girl, her eyes twinkling.
“I won two dance contests, I did. One night at the Palladium, my friend Barbara had herself on a new strapless dress. We all kidded her ‘bout it. ‘Be careful you
don’t fall outta that dress Barbara,’ we all laughed.
“Tito and his band start playing; we start dancing. After three of those fast, heart attack mambos of his,
he announces a new number. We stay on that dance
floor. The drums were beating, the bass was thumping, the brass start roaring, and those handsome
men began singing: ‘Babarabatiri, ahi. Babarabatiri,
ahi.’
“We all swore they were singing, ‘Barbara showed her
tittie.’ Ya’see. Barbara showed her tittie. Ya’see.’
“When we all turned around, Barbara was on the dance floor, embarrassed, trying to hold up that strapless
bustier she knew all damn well was really too small
for her big ol’ titties. We had us some good times with
Tito Puente.”
Ellie went into her mambo steps as I laughed wildly.
I told her all about The Fania All-Stars, the Latino
counterpart to the Motown sound, and how they had
made major league headlines the year before in ‘73
when 40,000 fans stampeded the Yankee Stadium
field to get a closer look at their favorite bandleaders
performing alongside Africa’s Manu DiBango. The
film, Our Latin Thing had opened in major American
theaters the year before that, taking the music and
its artists around the world. The sold-out salsa shows
at the new Madison Square Garden featured wild
backstage parties, orgies and drugging, the envy of
the rockers. Mick Jagger, Steven Stills and even Andy
Warhol skulked backstage trying to hang with all the
gorgeous bad boys who sweated, sang and gyrated
to the polyrhythmic beats of African-fused music.
Hang on to your girls, break out the hooch, bring on
the blow (and these guys had the Colombian best),
the Fania All-Stars are coming through.
The music was pouring from the streets, cars, apartments and beaches. Carnegie Hall hosted Larry Harlow’s first Latin music opera Hommy in 1973, a historic concert made sweeter with a free copy of the Fania
album to all ticket holders of both sold out shows
that night. Based on The Who’s Tommy, Harlow’s version dazzled the filled to capacity crowd with original
Latin music, songs that rebooted Celia Cruz’s career
to a younger, hipper generation, who went to college
and were fighting for a cause.
I was glad to be taking a break from Lehman College. After two years on the dean’s list, a year on the
school paper The Meridian, and the showdowns I’d
had at President Leonard Lief’s office as part of the
campus Puerto Rican student movement, I needed to
take a breather to work, to experience the real world
outside school and the ‘hood. Besides, after storming
into the president’s office followed by 200 screaming
radicals, I’d almost been arrested. Breaking a hole
through the locked double doors with my combat
boots after occupying a couple of campus buildings
demanding black and Puerto Rican studies, I was
caught on video, and it wasn’t Candid Camera. There
I was crawling through the shattered glass, unlocking
the entrance for our sit-in when police arrived. I stood
my ground reciting my rights as I questioned why all
the recent “mystery” hangings of our brothers seemed to occur after “routine” arrests and detentions.
“Suicides,” coppers claimed. “That’s why we take their
belts and shoe laces.”
“Really?” I confronted him. “So what happened to Jazzy last month? We were all together at the precinct
when your guys picked us up at the Central Park protests. He was about to go to grad school. You separated him from us. You guys taunted him, berated him.
Told him the only school a black Dominican would
ever see was a penitentiary. Why was he found dead
the next morning hanging from his cell when he
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INTERVIEW
didn’t have a belt?”
It was time for my audience with the king.
I sipped my soda, at ease in my good fortune to be
here in Midtown instead of the Bronx campus. The
campus memories began to fade as I thought about
this interview with a major artist, a plum assignment
for a cub reporter. I looked up at the clock, right by
the grinning giant orange head of Nedick’s logo. I still
had time.
As soon as I knocked on the door, a deep, sandpaper sounding voice yelled out to come in. I stepped
through the threshold right foot first, as Mom always
told me to do if I wanted things to go well. I sat on the
leather sofa in the small, square waiting area. A reception desk, bookended by two doors, stood empty in
front of me. The right door was shut. The left was ajar.
The voice came at me once more.
I browsed through the Latin N.Y. magazine I’d spotted
at a newsstand while at lunch from my copy editing
job at Harcourt, Brace, Jovanovich. It was a hip publication, almost counter culture, written in English. I
didn’t read El Diario. And my editor at the publishing
firm told me I’d get nowhere in the literary world with
my “accent.” Never mind that his English inflection
was so strong, unless you were an Anglophile, you
could barely understand his bloody, haughty ass. I
called the magazine.
I had just started working as a volunteer at Latin N.Y.,
when I was assigned the Puente story. Pablo “Yoruba” Guzman, today a reporter for WCBS news, was its
editor and a former Young Lords and Black Panther
Party member. After our two-hour interview, where
he talked only about himself and Maoism, I began to
write for and edit the magazine.
Something new happened every day at that office.
Immediately I was thrown into a grassroots campaign
to create a separate category for Latin music in the
Grammys, something I didn’t know we didn’t have.
We walked on fresh ground, paving new paths as we
documented our reality, recorded our words, poems,
music, dance and art; we wrote our own original rules that bloomed from the seeds of our parents’ culture, budding in the heat of our urban reality. There
was more than a rose in Spanish Harlem; there was a
freaking Latin New York botanical garden complete
with weeds and all. Hip met with tradition here as we
managed to merge it all together in an honest, unpolished format as counter culture as the Village Voice
yet as traditional as abuelita’s pasteles. As part of the
already shorthanded editorial staff planning the next
issue, the Puente piece went to me.
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“Whadaya want?”
I got up and rapped gently on the left, partially unlocked door as it opened all the way revealing a fat,
squat, sweaty looking pig of a man plopped on a
desk; his stringy, greasy, black hair flopping over the
angry looking, greenish, ripe pimples scowling at me.
I stammered.
“I, I, I’m here from Latin N. Y. magazine, ah, to do an
interview on T-T-Tito Puente. This is Ralph Mercado’s
office, right? They told me to be here at 9 and…”
He scanned me up and down, from the frayed hems
of my bellbottom jeans, up to my opened pea coat
and turtleneck sweater to the part in my long, dark
hair wrapped with a leather headband.
“How old are you?” he demanded, interrupting me.
“You don’t even have tits.”
I felt like he had just ripped my clothes off. I sank into
my jacket, completely ignoring his remark, got back
my composure, and, as if I’d put him on rewind, began again.
“My name’s Aurora Flores. I’m here to do an interview
with Tito Puente for Latin New York magazine.”
He just glared at me as he chomped on his gum like a
cow chewing cud, giving me the once over.
“Wait outside.” He pointed to the lobby.
I went back to the sofa as he made an exit through a
side door in his office.
I was stunned. How dare he. And why didn’t I tell
him off? Did I really run out of words? Was I afraid?
I realized then that my knees had been shaking because they stopped. Maybe I should’ve put on some
makeup, but I hated that male chauvinist tool for the
subjugation of women. I didn’t even have lipstick on
me. Bad Latina. My Cosmo-reading sisters thought
using our looks to get ahead was a powerful tool,
especially in entertainment. But wasn’t I part of the
counterculture, a feminist who went to college to
build my brain, not my body?
Well, my brain knew there was some heavy, hardcore shit going on around here. I recalled those NOW
ladies saying women should be able to walk around
naked, without fear, in front of men; the same white
women who always got off the train on 96th street.
They never walked across 110th.
I was glad I had no make-up on, that I was all covered-up from head to toe. In the real world, Mom told
me, never eat a hamburger in front of a bunch of hungry dogs.
Suddenly, the same nasty dude opened the right
door and barked. “Okay. You can go in now.”
I walked through into a large, smoke-filled, office
with a big, square glass desk in front of wide windows overlooking mid-Manhattan. The venetian
blinds were up, exposing the many lights gleaming
from the surrounding buildings like stars against the
blue-black night. On one side of the room was a huge
potted palm tree surrounded by African masks. On
the opposite wall, an entertainment cabinet held a
state of the art Zenith stereo system, an 8-track tape
sticking out of the slot near the turntable. An Akai reel-to-reel tape deck stood sturdy on the shelf above
the record player, as big, black speakers, like bodyguards, strategically guarded each corner of the carpeted room. Latin and R&B records lined the cabinet’s
shelves. A long, tan, leather sofa sat in the center of
the room, a matching chair on its left.
Tito Puente sat on the far right of the couch next to
his agent, Ralph Mercado. Both of them wore suits,
but the king’s looked frumpy and he had a stain on
his tie. A glass cocktail table dotted with glasses, bottles, an ice bucket and other paraphernalia stood before them. They motioned to close the door behind
me and sit at their side.
Ralph Mercado spoke first, flashing a big Colgate smile.
“I see you met my partner Ray Avilés. Don’t mind him;
he’s had a long day. So you’re the new writer for Latin
N.Y. eh? How’s Izzy?”
The publisher, Izzy Sanabria, was getting ready to go
to Zaire, Africa with the Fania All-Stars for the Muhammad Ali vs. George Foreman “Rumble in the Jungle” fight. The All-Stars, along with Celia Cruz, would
share the stage at a major outdoor arena with James
Brown, The Pointer Sisters, Bill Withers, B.B. King and
Miriam Makeba.
A long, slender, copper-toned Latino with a nicely
cropped Afro, three-piece suit and tie, Ralph took a
drag of one of his equally long, brown cigarettes as
he poured a Remy Martin for Tito.
“Oh, he’s going to Africa with the Fania All-Stars, ya
know.” I was trying to be as casual and comfortable
as they were.
As I sat into the chair, I slipped my coat off tucking it
behind me, taking my notes and tape recorder out of
my pouch. As I placed everything on the table, I spotted the big round mirror with the mound of white
powder, little lines neatly cut across the snow mountain’s valley. A single-edged razor blade lay nearby.
My right knee started twitching again. Ralph turned
and looked at me, still smiling like a Cheshire cat.
“Would you like a drink?”
“Oh no, I don’t, ah, drink.”
Which was true; the most I’d had was a little Boone’s
25
INTERVIEW
Farm wine with weed, and that was in college. Some
of us had experimented with LSD, even mushrooms
and mescaline as we were so into Castaneda’s Teachings of Don Juan, but this—this was out of my league. Not that I was a prude or anything. I’d jumped
over the dopers sprawled out on their sides twitching
their junkie kick on the stairs of the project when the
elevators were out on my way to high school. From
the monkey bars in the projects I’d watch as the fine
boys with “D.A.” cuts or Afros strutted their stuff in
sharkskin pants, Alpaca knits and playboy shoes in
the vest pocket parks the summer before they were
drafted, only to return from ‘Nam, broken, doing the
dirty dope fiend dance of death defying gravity. No,
cocaine was not the drug of the proletariat. Cocaine
was for the bourgeoisie.
Here I was trying to be one.
I took an “all business” profile, put the tape recorder
on the table, and looked straight at Tito.
“Were you introduced to the Schillinger method of
arranging while at Julliard, after the war?”
Tito stops laughing and drinking. He looks at me.
“Yeah, how’d ya know that, kid?”
“I think I read that in DownBeat magazine. Tell me a
little about that. You studied under the G.I. Bill, right?”
“You mean you don’t want to know my birth date,
where I was born?”
“I already know all that. I didn’t want to waste your
time so I did research at the library. Forty-Second
Street. They got microfilm from way back.”
“Listen to this smart little girl.” He pops out his eyes
at Ralph who picks up the mirror. Tito sounds like James Cagney. Ralph looks like a Latino version of Soul
Train’s Don Cornelius; I’m thinking, this is a gangster
movie.
A tiny silver spoon flashes out from Ralph’s lapel poc26
ket. With his gold ringed pinkie up in the air, he gingerly digs into the mound and passes it over to Tito
who, faster than you can say mambo, noisily snorts
the whole thing up, along with the loose lines.
Both my knees begin to twitch now.
Ralph turns his body from Tito to me, the platinum
plate still in one hand, the spoon in the other. Sliding
around on the leather seat, he looks straight at me.
“You do this, right, college kid?”
It is more a challenge than a question. Was this some
kind of acid test for the cool I had to pass if I was
going to hang?
“Sure, all the time,” I answer, a big cheesy smile on my
face.
As he brings that crystal mirror under my nose, he
Tito stops laughing, picks himself up from the floor,
adjusts his suit jacket, and commands, “Leave her alone Ray; stop f***-yelling at her. She’s a good kid, can’t
you see that?”
Without missing a beat, he looks at me.
“You hungry, kid?”
I’m not feeling anything but panic. But I am cool.
I nod.
“Come on kid. Let’s go to the Asia. We can talk good
there without all these jokers.”
We walked to Fifty-Fourth and Eighth, to the Chinese
Cuban restaurant all the Latino artists hung out at, La
Asia Numero Uno.
picks out a plump spoonful, placing it right under my
left nostril. Not knowing what I’m doing, I snort out
instead of in, spraying the powder into the air, making myself sneeze, sending whatever was left on the
mirror onto the beige colored carpet.
Aida, the proprietor, was a thick, handsome Asian
woman who loved a good joke, in Spanish, English,
or Mandarin. She ran a strict restaurant alongside her
husband Juan and their children. Raised in Cuba’s
Chinatown after her family came over on the Coolie
trade, they fled to New York after Castro.
She brought out Tito’s order of steaming white rice
covered in picadillo, a flavorful Cuban stew of ground
meat, alongside some crispy, fried Chinese dumplings.
From the sofa, Ralph quickly rises to his feet only to
dive down on his knees in a futile effort to rescue the
already camouflaged snow from the carpeted floor.
Tito Puente laughs so hard he slides off the couch
onto the floor, buttocks first. Then the door busts
open and in storms the pit bull I’d met earlier, pointing at me, snarling, “I told you she’s a kid. She could
be a narc; a set up, what are you mother f***s’ doing?”
“Don’t fall asleep around this one,” she warned with
a wink as she motioned to Tito with her pouted lips.
Spit spews from his mouth, raining down on me. My
cheeks burn with fear and mortification. Hot tears
stain my face. I want the floor beneath that chair to
open up and swallow me into a deep, black hole;
take me from this place where I was now convinced I
would be beaten or killed.
“No, not really. I’ve smoked pot.”
“I’m sorry about all that sheet back there, kid.” Tito
emphasized the “shit.”
“This is a tough business but you already know that.
You don’t do any of that sheet do you?”
“That’s good. Stay clean, kid. How old are you anyway? Are you legal?”
“Yeah, I’m 21.”
27
INTERVIEW
“Well, be careful in this business. There’s a lot of ugly
sheet out there. You want to keep away, not get too
friendly with some of these bands you going to have
to interview.”
“Like who?”
“You can start with that Willie Colon band. They’re
into all that dope stuff. And his music will give you a
headache. His singer’s not bad though.” I smiled.
“What about the Harlow Orchestra? They’re always
tight.”
28
“You wanna keep away from Larry Harlow too. He’s
gotta great band, always in the pocket, but he’s a
swinger man, into all these orgies kid. He’s got women all over him all the time. Hey, a young kid like
you, you’ll get pregnant just standing next to him.” He
chuckled.
“So tell me about the Schillinger method.” I continued
trying to change the subject. “Glen Miller, Benny
Goodman, George Gershwin, all these prolific writers
churned out so much work in so little time with it. Is it
a shortcut for arrangers?”
He looked stunned.
“That’s right kid! It can help you write faster, more
creatively.”
“Where did you learn this?”
“The G.I. Bill paid for my classes at Julliard, at 135th
Street in Harlem. They was just startin’ out then.“
“Is that how you seamlessly fused Chinese scales into
Afro-Cuban music? I love the way you wrote ‘Hong
Kong Mambo’ and ‘Que Sera Mi China.’ From a musical
standpoint, it’s brilliant.”
“You play music, don’tcha’, kid? What do ya play?”
“I played double bass; studied with Frederick Zimmerman.”
“I knew it. You couldn’t notice all that if you didn’t
know music. Zimmerman’s a master, a great man”
“He’d play a lot of show tunes for me when I took his
lessons. By the way, I loved the way you Latinized those Broadway songs like from My Fair Lady. ‘I Could’ve
Danced All Night’ made me mambo all day.”
“Look at that. And here all these old fogies tell me the
young people today can’t appreciate my music. Listen to you.”
“Whose idea was it to do the Revolving Bandstand
recording? I mean, there’s no other record I know of
that has two big bands; Buddy Murrow’s on one side
and yours on the other. How did you guys pick the
music for that one?”
He looked at me with those bulging eyes and leaned
back on his chair.
“That was 1960, kid, over at Webster Hall. I did all the
arrangements for my big band then. Buddy had George Williams do the arrangements for his. We wanted
the two bands to blend rather than just play Latin
and then American dance music… and that’s what
we did. We were two separate big bands joined by
one musical heart; my bass player Ruben Rodriguez
and the only musician who played with both orchestras. Nothing like that’s ever been done since.”
“Now you must tell me about La Lupe. Everyone says
you two had a tempestuous affair on and off stage.
What do you say? I mean, you’re the King and she’s
the Queen right? What happened? When she hit with
‘Fever’ it was all over the place; I think it was bigger
than Peggy Lee’s version. You know, she was singing
‘Fever’ before she started with that song where you’re
throwing her out of the band. She says it over and
over, Tito Puente threw me out…‘me boto, me boto.’
What happened?”
He didn’t answer, instead, every time an artist walked
in, Tito made it his personal mission to introduce me,
to let them know I was the new writer on the scene
and I really did know music. We sat with Machito, ate
with Pacheco, and danced to Charlie Palmieri’s virtuosity on the piano. We closed the restaurant that night.
Days after the interview, he called me to go to one of
his concerts, leaving tickets for me at the door. He’d
invite me to dances or sometimes to lunch giving me
history on the Diaspora of the music or on a certain
group, or style. In those first few weeks after that interview, I was busy following him around.
I met Margie, the woman he lived with and later married, and the many more women he played with and
never married. He became my mentor, teaching me
about the good and the bad. And there was a lot of
bad.
One early evening he called and asked to meet him
downstairs. He was performing at La Casa Blanca nightclub on Fifty-Third Street. As I got into the stretch
limo that pulled up to One Hundred and Third Street
and Columbus, I spotted the other promoter in there
with him; two blondes in miniskirts and halter tops
adorned their sides. Tito made the introductions in
Spanish since this Cuban gentleman only spoke the
language of Cervantes. They already had an opened
bottle of Remy Martin and Champagne in an ice bucInternational Salsa Magazine / Oct 2014
29
INTERVIEW
ket, the back seat thick with cigarette smoke. Shot
glasses were everywhere. I was offered a drink. I kindly declined. They kept partying and after a few blocks, they broke out the blow. The snow they passed
around came wrapped in aluminum foil and looked
like a chunky meat pie, only filled with cocaine.
They all had their noses dusted when the Cuban
dude passed it over to me. I looked at him and said
no thank you, gracias, thinking that was OK until I saw
his face change. He opened his leather jacket and
from his left side pulled out a .357 Magnum. He placed it on the seat next to him, looked me straight in
the eye, and told me in a deep, heavy Spanish accent,
“We want participants, not witnesses.”
I wet my panties, and not in a good way. Tito, who sat
to my left, leaped up from his seat and, shielding me
with his right arm, told the guy “Nooo! She’s a good
kid. Pull out a joint or something, she’ll smoke that
sheet but don’t do this. She’s a college kid.”
We got to the club quickly after that. Tito’s table was
front and center by the stage at the edge of the dance floor. I’d already calmed down, even making jokes
about the “misunderstanding.” Tito was still teasing
me about that after his first set, when a buzz started
spreading from table to table like a tsunami.
“La Lupe’s in the house.”
The room was smoky, packed, and dark, as we both
looked up to see her angular figure shadowing the
entrance. As she inspected the room I began to make
out her trim, curly dark wig, knee-high patent leather
stiletto boots over skin-tight black leather pants, a
white bustier and an ostrich feather boa. She made a
beeline straight to Tito’s table.
You could cut the tension in the room with a switchblade. All eyes were on us. Annoyance was on Tito’s
face. He stood up as she reached us.
At 51, Tito’s Afro had already gone grey. He was shorter than her, causing Lupe to stoop slightly when she
kissed him. Or maybe it was her stiletto-heeled boots.
Whatever, he grabbed her arms right away and made
30
the introductions. She shot a look at me. Her cat eyes
narrowed. She’d just had the first of a few facelifts, leaving her with an ominous feline look. I’m not going to
lie, I was scared shit of her. I think I was more terrified
of her than the guy with the gun. She looked like she
could explode into a million pieces; her energy was
like a ticking time bomb. I remembered seeing her in
my youth at El Teatro Puerto Rico in the Bronx with
my parents. I was about ten. She got so caught up in
the song she kicked off her shoes straight into the audience. She jumped up and down, grabbing her dress
and her tits, pulling out her extensions, and throwing
them along with her rings at the public. It was like
watching a possession. She even bit herself, drawing
blood from her arm. Home girl scared the sheet out
of me.
She’d been a hit on the Dick Cavett Show but was
banned from television in Puerto Rico for pulling out
her bare breast during a live taping. She put the D in
Diva; before Madonna, before LaBelle or Lady Gaga,
we had La Lupe.
Now here she was, in living color, looking at me like I
was a rival, until she saw the tape recorder next to my
glass of water. Her face changed.
As soon as Tito let her arms go she reached over to
shake my hand. Her fire engine red nails came dangerously close to my face as she slowly lowered her
reach to mine and sat down. After a few moments
of conversation, she quickly let me know she wasn’t
impressed with my Spanish. She’d taught Spanish in
Cuba, she noted. Don’t let the act fool you, I interpreted her as saying. She didn’t stay too long. I think she
just wanted to mark her territory.
When we left, Tito made sure we took a cab and not
the limo back to the Harlem projects where I still lived with my mother. He talked about how important
it was to document this music and not let it die. He
could really wax poetic when he wanted to, when he
wasn’t around his boys, the liquor or the scene.
“We need more people like you to write about the
music. People that are from the culture, that know
what being poor is, that have gone to college and
have this music in their blood. You understand this
kid, you feel this, otherwise you would’ve run away
already. I’m tired of all these other people trying to
tell us who we are and what our music’s all ‘bout. It’s
about time one of our own tells the world about it,
someone who survived all this bullshit to write about
what really goes on here, what really happens when
we create and play this music that makes even the
spirits dance. Don’t give up on me. You’re tough and
you’re smart. Don’t let these f***** scare you; don’t let
them bully you. You’re the one kid.”
I gulped hard.
What started as an interview with a legendary musical icon from my childhood turned into a platonic
friendship that lasted until his passing in 2000. I wrote
many interviews and reviews on Tito for many other
publications in particular Billboard magazine where
I was the first female music correspondent covering
Latin Music and R&B at a time when clubs still had
signs displayed “Unescorted Women Not Allowed.”
in the mangled face of La Lupe. I heard it in the backrooms of clubs where women are considered part
of the perks: drinks, drugs and degradation, and not
the scene. I felt it in the stares from men who wondered why I didn’t wear a mini skirt, or hang out with
the bands at the bars. I heard it in the words of Celia
who despite being called Queen, was always heavily
escorted and guarded.
Regardless of the many interviews I’ve done with hideous men, (believe me there are many disguised in
the corporate, political, academic and business world
as well), I have found a few jewels of virtue and virtuosity exemplary of the title “salt of the earth” or
alma de Dios. Through Tito I learned at a very young
age how to take the desafinado of life and turn it into
a major chord. Most important, I found my own voice
in music and culture.
Source: Centro Voices
Tito’s tenacity kept me going fueled by tapes from
Cuba, books on the history of Puerto Rico, his collaborations with Rafael Cortijo, and stories on everyone especially the guests he’d bring to the apartment I
eventually moved into on the Upper West Side. When
I went into Madison Avenue Marketing & Public Relations it was Tito I’d count on to appear at an event
or gala function. And it was Tito who challenged Oscar the Grouch to dance over Sesame Street while my
consulting firm handled the race relations publicity
campaign for the Children’s Television Workshop. A
major league appearance among the toddler set, Tito
was a source of pride for my young son who earned
bragging rights in school after the King’s star rose
with the muppets.
Yes he was, the King of Latin Music, but he was one of
the most pervasive of writers, arrangers for this genre of music. His prodigious writing confirms this. His
ear for harmony and counterpoint, underscores this.
“Oye Como Va” validates this. But he had other lessons for me, whether he knew it or not.
Breaking through in a man’s world isn’t easy. I saw that
31
REVIEW
32
33
Atr
REVIEW
34
A
revete
Atrevete
ira
Watch the video / M
el video
ion
evete - Salsa Vers
Brian Michael - Atr
35
Open Monday to Friday from 12pm until late
Saturday & Bank Holiday Sunday from 4pm until late
36
57 Old Harcourt Street Railway Station,
Harcourt Street, Dublin 2 Tel: +353 1 478 2088
www.odeon.ie
37
REVIEW
THE 4TH AFROLATIN
DANCE FESTIVAL
IN EGYPT REVIEW
The 4th AfroLatin Dance Festival in Egypt took place in October and here is what Amr Kasseb,
the organizer, told us about it.
38
“
“
The event was so successful like never
before, people were so happy and the
feedback was so good, even more than
expected. We had about 150 people
from Egypt, France, Portugal, Belarus,
Lithuania, Finland, Germany, USA, Russia,
Spain, Japan, Angola, Romania, and Italy.
We had 17 instructors and 5 DJs from Angola, Portugal, Spain, Romania, UK, Netherlands, and France.
For people everything went smooth
and they spent 9 unforgettable days between Cairo, Hurghada, and Luxor. We
made sure to make them feel at home
and a part of the family, so as every year
after the festival most of the foreigners
get into the “I don’t wanna leave” syndrome to the extent that this year we
have a Spanish girl who decided to move
to Egypt and she’ll be here in 2 weeks.
As an organizer of course I had a lot of
problems, i.e., more paper work, flight
problems, teachers injured in class or
show, and many other things. But thank
God I fixed them all.
I have a mix of feelings, of course I’m
happy for this success and the feedback
that I’m getting from the teachers and attendees, but also this puts more load on
me as I have to do better next time. I also
lost about $7000.
“
As an instructor I’m happy, as I knew that
people learned good new things in my 3
workshops, also I received a good feedback from other few teachers.
We also have comments posted
on Facebook by attendees.
Gerry Weil en el Anfiteatro de El Hatillo
39
REVIEW
40
41
42www.congaroom.com
800 West Olympic Blvd. Los Angeles, CA 90015, USA
43
44
Visit www.tipdi.com/donate-or-sponsor.html
45
46
www.salsainhawaii.com/
47
www.ilbarriolatino.it
48
Barrio Latino
SALSALABAMA Huntsville
49
50
@lulalounge
Lula Lounge
www.lula.ca
51
DJ Dr.T
32108 Alvarado Blvd #169
Union City, California 94587,
USA
Time to drink
champagne and
Dance on the
table ! : )
USA
52
Stylish. Elegant.
Sexy. Fun !!!
THIS SATURDAY
NIGHT
USA
53
www.baliha.de/der-club/erlebnisbereiche.html
www.facebook.com/Baliha
54
thedancesocks.com
55
56
www.lacovacha.com
USA
57
1ST ANNUAL SALSA & BACHATA CONGRESS IN HAWAII
More instructors are on their way to Hawaii! The Mambo Invasion continues!!! Get your tickets at
www.SalsaInHawaii.com
First it was Daniel and Ahtoy of Baila Society and now we’ve got Angel Ortiz, Atsuko Murakami from
NY and Erik Rodriguez from Okinawa that will be joining us in February.
www.SalsaInHawaii.com is blowing up!!! People are buying tickets like crazy!!! Make sure you’re part
of what will be the biggest salsa event in the history of Hawaii! Don’t miss out!
In the spirit of teasing you with our slow release of names, we’d like to announce another one of our
exciting instructors. Tomaj Trenda from SF will be coming!
Country / City: USA / Hawaii
Date: Feb - Mar 2015
Web: www.SalsaInHawaii.com
58
www.bailaconsuzan.yolasite.com
59
The 11th Annual Portland Salsa Bachata Congress June 12th – 14th, 2015
OREGON, USA
Doors Open at 9PM – 5AM! All Ages Welcome!
Buy Your Full Pass Now to experience all the workshops, social dancing, performances and more!
City / Country: USA / Portland, Oregon
Date: 12 - 14 June
Venue: Sheraton Hotel
Web: http://www.geminivip.com/index.php/en/pschome2/tickets
Contact: Javier Solis 503.740.9100
60
NEW YORK CITY, USA
WWW.SOBS.COM
61
lamacumba.cz
62
www.lamacumba.cz
www.barrio-latino.com
Barrio Latino
63
DINNER
S P E C TA C
Mango’s Tropical Café, 900 Ocean Dr., Miami Beach. 305-673-4422,
Miami, Florida, USA
Facebook: MangosTropCafe
Twitter: @MangosTropCafe
Web: www.mangostropicalcafe.com/
64
R & SHOW
CULAR
65
Follow me @salsamundi
66
Share your experiences with other salseros around the world
and find current events worldwide
USA
www.allegroballroom.com
@allegroballroom
Allegro
Ballroom
67
68
1204 West Randolph - Chicago. IL 60607, USA
Phone: 312.666.9555 www.alhambrapalacerestaurant.com
69
sclub.com
www.nottinghillart
70
Notting Hill Arts Club
Return to dance classes SIEMBRA DANCE COMPANY
Country / City: France
Web: www.siembra.fr
71
WWW.RECORDREPORT.COM.VE
“DE VUELTA A TU CORAZON” / GUACO - GUACO
“TE ENCONTRARE” / RONALD BORJAS - GOCHO
“REGALO” / REY RUIZ - OYE
“SOLO POR TI” / NELSON ARRIETA - TUMBAO
“TODO ME RECUERDA A ELLA” / DIMENSION LATINA - OYE
“DARTE UN BESO” / MANUEL GUERRA - OTROS
“PERDONAME” / MICHEL PUCHE - ROJASP
“YO TE LO DIJE” / SALSERIN - OTROS
“PIENSA EN MI” / JONATHAN MOLY - OYE
“NIÑA HERMOSA” / JONATHAN MOLY - OYE
Click your favorite song and enjoy!
Dale click a tu canción preferida y disfruta!
72
@ArteMusa
Arte Musa
CLUB
NIGHT
www.clubmayan.com
1038 S Hill St, Los Angeles, CA 90015, EE.UU
Phone +1 213-7 46-4287
USA
ElRanchoToronto
@ElRanchoToronto
CANADA
@copacabananyc
copacabanany
USA
misalsa.humberto
Click here: International Salsa Magazine
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81
WEBSITES
BANDS
WEBSITES
www.lacatedraldelasalsa.com
www.lasalsera.com
www.clubsalsa.com.ar
www.danzasdelcaribe.com.ar
CHOCOMENTA
www.chocomenta.com
www.labomba.com.au
DANCE ACADEMIES
FLORIDITA / Cuban Dance Bar
www.Floridita.at
www.arte-danza.com.ar/
www.estudiocalas.com.ar/
BANDS
MARIANO AVILA
www.elrumbero.com.ar
NIGHTCLUBS (Buenos Aires)
AZUCAR ABASTO
www.azucarsalsa.com
AZUCAR BELGRANO
www.azucarbelgrado.com
RADIOS
ZONA RUMBERA FM LASER
89.5
www.zonarumbera.com.ar
82
NIGHTCLUBS (Vienna)
CLUB HABANA
www.ClubHabana.at
BANDS
WATUSSI
www.watussi.com.au
RADIOS
92.7 FRESH FM
www.fresh927.com.au
Casa de la Trova
Heredia 208, entre San Pedro
y San Felix
WEBSITES
WEBSITES
www.lasalsera.com
www.hksalsafestival.com
DANCE ACADEMIES
www.hotsalsadancezone.com/
www.torontodancesalsa.ca/
BANDS
MARLIN RAMAZZINI
www.marlinramazzini.com
BANDS
CHOCOMENTA
www.chocomenta.com
NIGHTCLUBS (Hon Kong)
HONG KONG’S NIGHTLIFE
GUIDE
www.hkclubbing.com
GRUPO JAZZ TUMBAO
www.jazztumbao.com
RUMBA CALZADA
www.rumbacalzada.com
NIGHTCLUBS (Toronto)
LAS BRISAS NIGHT CLUB
www.lasbrisasnightclub.com
NIGHTCLUBS (Ontario)
BABALUU SUPPERCLUB
www.babaluu.com
RADIOS
TROPICAL 100
www.tropical100.com
LA FIESTA LATINA FM
www.lafiestalatinafm.com
WEBSITES
www.salsaincuba.com
BANDS
JUAN FORMELL Y LOS VAN
VAN
www.vanvandeformell.com
NIGHTCLUBS (La Habana)
El Siglo de las Luces
Corona, Esquina a Enramadas
Patio de la Jutía Conga de la
UNEAC
Heredia 266, entre San Felix y
Carnicería
Patio de la Casona de ARTEX
Heredia 304, entre Calvario y
Carnicería
Casa de las Tradiciones
Rabi, entre Princesa y San Fernando
Pista Bailable del Cabaret Son
América
Avenida de las Américas s/n, Micro 9, Distrito José Martí
Sede del Folklórico IKA CHÉ
San Feliz, entre Enramadas y Carmen, frente a las Columnitas
Cabaret Ciroa
Avenida de Manduley y Calle 13,
Vista Alegre
Jardines del Caribe (Casa del
Caribe)
Calle 13, No. 206, Esq. a Calle 8,
Reparto Vista Alegre
Café Cantante del Teatro Heredia
Avenida de los Desfiles s/n, Esquina Avenida de las Américas,
Reparto Sueño
Patio de los Dos Abuelos
Pizarro 5, Plaza de Marte
(La Habana)
Salon Rosado de La Tropical
41 y 46, Playa
Palacio de la Salsa
Hotel Riviera, Vedado
Cafe Cantante
Plaza de la Revolucion
Turquino
Hotel Habana Libre, Vedado
Las Vegas
Infanta y 25, Vedado
El Morro
El Morro (cerca del tunel de Habana Vieja)
Bulerias
Calle L e/23 y 25, Vedado
Cabaret Nacional
Prado y San Rafael, Centro Habana
Casa de FEU
Universidad de La Habana, Vedado
830 Club
Malecon, Vedado (cercano al
tunel a Miramar)
DANCE ACADEMIES
WEBSITES
www.rinconsalsero.net
www.facebook.com/ages/SalsaEn-Linea-Cr/466687690055152
www.lasalsera.com
BANDS
SON DE TIKIZIA
www.reverbnation.com/sondetikizia
RADIOS
SALSOUL
www.salsoul.com
BANDS
LA CONTRA BANDA
www.lacontrabanda.free.fr
MAMBOMANIA
www.mambomania.free.f
ORQUESTA OCHO Y MEDIA
www.ochoblog.canalblog.com
RADIOS
NIGHTCLUBS (Paris)
REDIO FLORIDA
www.radioflorida.icrt.cu
BARRIO LATINO
www.barrio-latino.com
BUDDHA-BAR PARIS
Restaurant-Bar-Lounge
www.buddhabar.com/fr/
BANDS
ORQUESTA LA BOHEMIA
www.orqlabohemia.canalblog.com
SALSA Y AZUCAR
www.salsayazucar.de
LA 33
www.la33.com
LA COSMICA CHARANGA
www.myspace.com/cosmicacharanga
84
LA PACHANGA
www.lapachanga.fr
RADIOS
FUSION
www.radiofusionfm.com
MKM RADIO
www.mkmradio.com
CARAIBEAN RADIO
www.caraibeanradio.com
RTA RADIO TROPIKALAMBIANCE
www.tropikalambiance.net
WESTINZIK RADIO
www.westinzik.com
EKLA FM
www.eklafm.com
TROPIC 84
www.tropic84.fr
RMJ TROPICAL
www.rmjtropical.fr
RADIO GALAXXY
www.radiogalaxxy.fr
LATINA BEAT
www.radionomy.com
WEBSITES
www.ritmodesalsa.com
www.salsaholic.de
BANDS
MI SOLAR SALSA
www.misolar.de
CLARISSA Y FAMILIA LATINA
www.familialatina.de
SONIDO TRES
www.sonidotres.com
SALSA Y CONTROL NY
www.tropicalisima.fm
PANA JR SOUND
www.panajrsound.com
REGGAE NONSTOP
www.newfunkradio.com
LAUT FM 1
stream.laut.fm/1radiolatino
LAUT FM ONDA LATINA
stream.laut.fm/ondalatina
SONRICOSON
www.sonricoson.de
NIGHTCLUBS (Berlín)
SODA CLUB BERLIN
www.soda-berlin.de
MI SALSA
www.misalsa.de
HAVANNA
www.havanna-berlin.de
NIGHTCLUBS (Frankfurt)
LATIN PALACE, CHANGO
www.latinpalace-chango.de
RADIOS
MRFMUSIC
www.masreggaetonflow.com
85
WEBSITES
WEBSITES
WEBSITES
www.salsahonduras.com
www.salsahonduras.blogspot.com
www.salsaeverybody.com
www.salsaireland.com
DANCE ACADEMIES
www.bandalatina.it
www.salsaconexion.com
www.salsasicilia.it
BANDS
www.facebook.com/pages/Escuela-de-Baile-Ritmo-y-Sabor-Honduras/315042595187526
MARIANO AVILA
www.elrumbero.com.ar
NIGHTCLUBS (Dublín)
ODEON
http://odeon.ie/
RADIOS
PALSONERO
www.palsonero.com
BANDS
BATISTO COCO
www.batistococo.it
MALAJENTE
www.malajente.com
NIGHTCLUBS (Rome)
LA TROPICAL
www.LaTropical.it
BARRIO LATINO
www.IlBarrioLatino.it
BUENA VISTA
www.BuanaVista.it
RADIOS
RADIO MAMBO
www.mambo.it
RADIOMUSIC SALSA4T
www.radiosalsa4te.it
86
DANCE ACADEMIES
www.ritmostar.com
BANDS
COCODRILO VERDE
www.cocodriloverde.com
SON DE CUBA
www.salserosporexcelencia.
com/sondecuba.php
EL NUEVO TIMBALERO
www.timbalero.com.pe
ORQUESTA MIRAMAR
[email protected]
WEBSITES
www.salsamotion.nl
www.salsanet.nl
BANDS
RUMBATA
www.rumbata.com
RADIOS
LR RADIO
www.paralosrumberos.nl
NOS RADIO
www.nosradio.com
87
BANDS
BANDS
WEBSITES
SYNCONA
www.syncona.com
ORQUESTA DE LA LUZ
www.laluz.jp/en
www.jazzydanceco.com
www.salsazulyoro.com
DANCE ACADEMIES
www.assembledancestudio.com/
http://quiqueorduna.com/
RADIOS
www.salsamexico.com.mx
88
WEBSITES
WEBSITES
DANCE ACADEMIES
www.salsastudio.ch
www.salsadancers.ch
www.salsa.ch
www.aubrey.ch
www.alexandermartinez.com
www.atticindependent.ch
www.cubandances.ch
www.wheretodance.co.nz
www.quericodance.com
BANDS
PICASON
www.picason.ch
BATAMBO
www.batambosalsa.com
HAVANA DEL ALMA
www.havanadelalma.com
NAIGHT CLUBS (Zurich)
SALSARICA The Salsa Dance
Factory
www.salsarica.ch
CLUB X-TRA
www.x-tra.ch
RADIOS
RADIO MAMBO
www.mambo.it
RADIOMUSIC SALSA4T
www.radiosalsa4te.it
89
NIGHTCLUBS (Moscow)
WEBSITES
WEBSITES
PANCHO VILLA
www.PanchoVilla.ru
LUMBIA THE SALSA CLUB
www.xenbar.com
www.salsatore.com
www.salsorro.com
www.antillasalsa.com
DANCE ACADEMIES
SALSATORE.COM
(Almería,Andalucía)
www.arte-danza.com.ar
www.estudiocalas.com.ar
BALLROOM
Sala Calíope
www.salacaliope.com
(Aguadulce, Almería)
NIGHTCLUBS (Madrid)
CATS
www.CatsMadrid.com
www.xenbar.com
RADIOS
RADIO GLADYS PALMERA
www.gladyspalmera.com
PICADILLO
www.picadillo.info
RADIO TROPICAL BILBAO
www.radiotropical.fm
LAST FM
www.lastfm.es
LATINO FM 99.5
www.latinofm.es
90
RADIOS
WEBSITES
WEBSITES
POWER CARIB FM
www.powerfm.hu
www.quepasa.co.za
www.salsacapetown.com
www.mundolatinodance.com
SALSARADIO.HU
www.salsaradio.hu
NIGHTCLUBS (Istambul)
DANSORIUM Club de Baile
www.dansorium.com.tr
MACKOLIC COMPLEX
www.mackolikcomplex.com
RADIOS
RADYO 5
www.radyo5.com.tr
91
BANDS
BANDS
BANDS
JOSE TORRES Y SALSA TROPICAL
www.torres.com.pl
AFRICANDO
www.myspace.com/africandoallstars
DISLOCADOS
www.myspace.com/dislocados
92
WEBSITES
WEBSITES
www.londonsalsascene.co.uk
www.redhotred.co.uk
www.MamboCity.co.uk
www.salsacd.com
www.salsafeeltheheat.com
www.northernsalsa.com
www.salsabythebay.com
www.salsatlanta.com
www.salsabortropical.com
www.stuckonsalsa.com
www.descarga.com
www.SalsaFreak.com
www.sobs.com
www.3rdstreetdance.com
www.bailaduro.com
www.yasalsa.com
www.salsapittsburgh.com
www.dtsalsa.com
www.salsacolumbus.com
www.discoamerica.com
www.sultrysalsa.com
www.peoplewhodance.net
www.salsahuntsville.com
www.salsatlanta10.com
www.chicagosalsa.com
www.indysalsa.com
www.salsaboston.com
www.hardsalsa.com
BANDS
LA PACHANGA
www.lapachanga.co.uk
COCO XPRESS
www.cocoxpress.co.uk
SALSA CELTICA
www.salsaceltica.com
RADIOS
SOUNDCLICK
www.soundclick.com
REMOTE DJ
www.remotedj.com
DANCE ACADEMIES
www.dancesport.com/
prat dance academy
arthur murray international
salsa lovers, miami
+13052207115
salsa mia, miami +13059873033
afro-cuban folkloric dance company, NY
el taller latinoamericano, NY
+12126966608
mtw studio, NY +12122538718
BANDS
SPANISH HARLEM ORCHESTRA
www.spanishharlemorchestra.com
CHINO ESPINOZA
www.duenosdelson.com
www.facebook.com/chinoespinozasalsa
BIO RITMO
www.bioritmo.com
www.myspace.com/bioritmo
ROGER DANILO PÁIZ
www.daniloyuniversal.com
SON Y CLAVE
www.myspace.com/sonyclave
SF JAZZ BAND
[email protected]
ORQUESTA YARE
www.orquestayare.com
ORQUESTA D’SOUL
www.odslive.com
STEVE GUASH
www.salsaneo.com
ORQUESTA ALTO MAIZ
www.facebook.com/pages/
Orquesta-de-Jazz-y-Salsa-AltoMaiz/67843261941
SON Y NO SON
www.myspace.com/sonynoson
93
ORQUESTA LA MODERNA TRADICIÓN
www.danzon.com
ORQUESTA TABACO Y RON
www.tabacoyron.com
LOUIE ROMERO Y SU GRUPO MAZACOTE
www.mazacote.com
ORQUESTA BORINQUEN
www.borinquensalsa.com
NAIGHT CLUBS (Miami)
LA COVACHA
www.LaCovacha.com
NIGHTCLUBS (New York)
SOB´s
http://sobs.com
NIGHTCLUBS (Chicago)
ARAGON ENTERTAINMENT CENTER
http://aragon.com/3.0/
MOJITOS
http://mojitosboston.com
VINCENT’S Nightclub
www.vincentsnightclub.com
NAIGHT CLUBS (San Francisco)
HAVANA CLUB
www.havanaclubsalsa.com
ROCCAPULCO
www.roccapulco.com
SALSA BOSTON
http://salsaboston.com
NAIGHT CLUBS (Los Ángeles)
HABANA VILLAGE
www.habanavillage.com
EL FLORIDITA
www.elfloridita.com
RADIOS
WMNF 88.5 FM TAMPA,
FLORIDA
www.wmnf.org
WDNA FM 88.9
SOUTH FLORIDA
www.wdna.org
LIVE 365 NYC
www.live365.com
RADIO EL SOL, HOUSTON –
TEXAS
www.radioelsol.com
HD LODEAQUI.NET RADIO
www.lodeaqui.net
FIESTA LATINA HD RADIO
NEW YORK LONG ISLAND
www.elsalvadorforever.com
PANDASHOWRADIO.COM
www.pandashowradio.com
VALLENATO INTERNACIONAL 100% DESDE MIAMI
www.vallenatointernacional.com
THE MAYAN
www.clubmayan.com
SALSA Y CONTROL
www.salsaycontrol.com
STEVEN STEAK & SEAFOOD HOUSE
www.stevenssteakhouse.com
[email protected]
PANDORA
www.pandora.com
LA X2 LIVE – SALSA P´AL
QUE SABE
www.salsapalquesabe.com
LA BRISA RADIO ONLINE OKLAHOMA
www.brisatropical.com
IMPACTO LATINO RADIO
www.impactolatinoradio.
com
LA X ESTEREO NEW YORK
www.laxestereo.com
TOMA RADIO
www.tomaradio.com
CONGA ROOM
http://congaroom.com/nightlife
RADIO.REGGAE.COM.PA
94
radio.reggae.com.pa
TROPICALISIMA.FM SALSA
www.tropicalisima.fm
CYBER FM LATINO
www.cyberfm.com/
cmps_index.php
DJ MAMBOLOGO
www.golpeybembe.com
WEBSITES
hemia
www.salsamundi.com
www.academiaog.com
www.salsabravave.blogspot.com
www.venezuelasalsaopen.com
ALFREDO NARANJO
Y SU GUAJEO
www.alfredonaranjo.com
DANCE ACADEMIES
DJ KIKES
www.shoutcast.com
Musa Academia de Danza
Facebook: Arte Musa
@ArteMusa
SONEROS TV
www.sonerostv.com
Academia OG
Telf: +58 414-247.7803
SABOR Y RUMBA
www.saboryrumba.com
NUESTRA SALSA
www.nuestrasalsa.com
MNS
www.shoutcast.com
Centro Integral de Danza
Telf: +58 412-972.7841
Imagen Latina
Telf: +58 414-284.6220
Timba y Son
Telf: +58 212-286.9440
Sede en Centro Plaza
+58 212-264.0728
La Castellana
Caribe y Punto
Telf: +58 416-209.7190
Fusión Salsera
Telf: +58 414-325.0096
BAILATINO
https://es-la.facebook.com/BAILATINOVENEZUELA
NIGHTCLUBS (Caracas)
EL MANI ES ASI
www.elmaniesasi.com
DISCOVERY BAR
@DiscoveryBar
CHAPIS CLUB
@ChapisClub
RADIOS
LA EMISORA FIESTA
FM CENTER 106.5
http://www.fiestafmcenter.com/
TV
Programa de TV:
El Tour de la Salsa en Canal i
www.canal-i.com/sitio/
pdetail/el-tour-de-la-salsa/
BANDS
ADOLESCENT’S ORQUESTA
www.adolescentesorquesta.com
LA SÉPTIMA BOHEMIA
www.facebook.com/LaSéptimaBoInternational Salsa Magazine / Oct 2014
95
96
97
98
99
100 International Salsa Magazine / Oct 2014
International Salsa Magazine / Oct 2014 101
sb
a
s
l
a
s
s
s
e
t
i
d
s
n
b
e
a
b w
International Salsa Magazine
@salsamundi
I Love
SALSA
Music
www.salsamundi.com

leila belarbi noche con sabor a guaco brian michael

Transcription

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