(ETOWNSALSA note: Sorry for the delay, enjoy the vids by www.nuevotec.com)
Orlando, Florida--(HISPANIC PR WIRE) —August 15, 2007—The Salsa Seven Inc., producer of the World Salsa Championship for ESPN TV network, announced today the selection of the city of Orlando and the magical world of Walt Disney World as the venue for the 2007 version of the event, which will take place Dec. 12-16.
After its resounding success in 2006 in Las Vegas, the World Salsa Championship —a huge international competition in which participating dancers put their artistic skills to the test under the group and individual categories (New York and Los Angeles style) and the group/cabaret category, as they seek to win a $20,000 cash award in each division— will take place at the popular Walt Disney World complex’s Coronado Springs Resort, which will give the gathering particular significance.
“We are very excited about going to Orlando this year. Orlando has earned a reputation as a city that loves salsa, and in Disney, we have found a perfect partner. Disney witnessed the quality of our event last year, and immediately extended a cordial invitation for us to hold the event in one of its most prestigious tourist resorts, the Coronado Springs Resort,” said Albert Torres, a member of Salsa Seven and a renowned producer of salsa events throughout the world.
“This partnership between Salsa Seven and Walt Disney World is expected to be successful and to produce an extraordinary multicultural experience,” added Betty Martínez Lowery, Disney’s minority business development manager. “We are proud to be the venue for this competition, in which dance experts from throughout the world gather in our theme parks to decide who the planet’s best dancers are.”
During the Third Annual World Salsa Championship in 2007, in which dancers from more than 40 countries will participate, representatives from Australia, Colombia, Mexico, United States, Puerto Rico and Venezuela will defend their titles in their respective divisions. The four-day event is expected to bring together winning couples and groups from different salsa competitions throughout the world. In addition, competitors and the general public will enjoy daily seminars/workshops and shows led by the genre’s most prominent artists like El Gran Combo that will be performing on Thursday December 13,right after the competition.
For the third consecutive year, the Third Annual World Salsa Championship will be broadcast by ESPN International and Transworld International, under the direction of noted producer Rob Beiner, winner of 12 EMMY awards. Beiner has produced or directed more than 2,000 live, cable or pay-per-view sports and entertainment broadcasts in leading television networks, such as ABC Sports, CBS, NBC Sports, USA Network and ESPN. His successful career as producer and director includes broadcasts of seven Olympic Games, important boxing championships such as the Mike Tyson-Evander Holyfield match, NCAA basketball and football games, Comedy Central and the Kentucky Derby.
Holding the Third Annual World Salsa Championship in Orlando also offers the possibility of linking the popular vacation destination to an unprecedented salsa event, a well-known musical and dancing genre. And to make it possible for members of the public interested in enjoying the magical world of Disney to also attend the unsurpassed competition among salseros, event producers have created attractive, all-inclusive travel packages that include accommodations at Disney’s Coronado Springs Resort and admission to the competition every night, with live music on the facility’s giant dance floor.
Here are the Final Results
On 1
1st Abel Pena & Zulmara Torres (USA/Mexico)
2nd Roberto Arenas Jr & Marie Josee Strazzero (Chile & Canada)
3rd David Nieto & Charlene Rose(USA & Canada)
On 2
1st Oliver Pineda & Luda Kroiter (Chile & Australia)(view Oliver interview for videos)
2nd Jhesus Aponte & Marielys Molina (Puerto Rico & New York)
2nd Pioneros del Ritmo (Columbia)
3rd Aces del Ritmo (Columbia)
Semi Final Scores
Semi Final Results On 1
Isidro Corona & Sheila Cepeda 88.3 Roberto Arenas Jr & Marie Josee Strazzero 85.11
David Nieto & Charlene Rose 82.31
Johnatan Platero & Sophia Cepeda 82.32 Ibicocay Regueira & Marina Prada 82.07 Abel Pena & Zulmara Torres 81.6
Ricardo Tellez & Tianne Frias 81.25
Sergio Jasso & Gabriela Equiz 81.25 Kikis Kakoullis & Elina Kostova 81.02
Tetsu Kasahra & Emi Uno 80.98
Semi Final Results On 2
Oliver Pineda & Luda Kroiter 89.3 Luis Aguilar & Anna Katsevman 85.811 Mario Alabi & Emily Alabi 84.5 Raul Santiago & Sergia Anderson 82.944 John Narvaez & Liz Rojas 81.577 Juan Pablo Diaz & Cristina Verdu 79.056 Alfredo Torres & Petya Mukaova 78.933
Anichi Bauer & Anne Boehm 78.544
Jhesus Aponte & Marielys Molina 78.01
Alberto Muriel & Ingrid Rivera 78.111
Semi Final Results Cabaret
John Gerner & Judy Aguilar 92.588 Nilson Castro & Deisy Rolden 84.933 Gerson Rivas & Emilse Montero 83.633 Christian Montenegro & Adrian Torres 83.444
Pablo Baez & Diana Montoya 82.3 John Rodriguez & Johana Vazquez 81.411
Kelvin Hernandez & Lielott Maldonado 81.1
Jonier Torres & Dayian Molina 82.811 Jose Serrano & Charlotte Serrano 79.15
Semi Final Results Team
Swing Latino 96.233
Pioneros del Ritmo 89.377
Aces del Ritmo 88.922 Son De Cali 88.077 Fusion Salsera 84.6
Dancesport All Stars 84.011
Modus Vivendi 82.988
Sabor Latino 82.366
Salsa Heat 80.477 Korean All Stars 79.211
It's a real great pleasure to introduce to you Oliver Pineda, director of the "Latin Motion Dance Academy" from Australia, many time salsa champion, very good Timbales player, and a "very high level" Dance Instructor.
(You'll see why as you read this interview!)
Oliver... Thank you so much for your wonderful insight and great knowledge in this salsa business of teaching, performing and sharing your thoughts on your successful career.
You and Luda are a great inspiration to us all!
JJ: First of all, let me ask you: How did you get started teaching? And Did you ever have a mentor that sort of really got you involved with it?
I started teaching Salsa 12 years ago, first with private lessons and then moved onto classes. At first I was teaching part time for some of the other schools around but then after formally establishing my own business ‘Latin Motion Dance Academy’ 5 years ago, teaching classes became a full time job for me. As far as a mentor is concerned, when I started dancing 14 years ago there was a man by the name of ‘Jose Prates’ who they used to call ‘The God Father of Salsa’. You could say he was the equivalent of Eddie Torres to New York but in Australia. He was like a mentor to me... May he rest in peace.
JJ: Do you believe that a really good dancer doesn’t necessarily make for a really good teacher?
OL: Absolutely! A good dancer does NOT by any means mean a good teacher by any stretch of the imagination. This is a common myth which has proven to be untrue time after time and is a frustration that many people encounter. Dancing requires the skill of execution whilst teaching requires other skills such as communication, patience and the understanding of what one is doing! Not many dancers have both qualities. A good teacher is somebody who has depth of knowledge and understands technique and how to deal with people. Some teachers teach by feeling whilst others teach by structure. Just as some students learn by feeling and others learn more by mechanics. This comes down to preference and whatever works for them. However it all boils down to the fact that Salsa has no ‘book of rules’ you could say, so everyone has their own version on what and how to do things. A good Ballroom teacher for example may not necessarily need to be a National Champion to teach but all they need to know is the ‘book of rules’. However in Salsa it’s different. People only want to learn from someone who they admire and want to dance like because they believe that that dancer can teach them what they do. Only then to realize that that dancer has actually no idea what it is they do, let alone how to teach it (as it’s so sub conscious to them that they just feel it). That is why I believe that the best way of teaching and learning is to have all the steps broken down and understood first, then only after repetition can it become natural and relaxed to the point where it becomes sub conscious. When you learn things mechanically you will always be able to repeat it and therefore teach it. When you learn things by feeling you often will find it difficult to exactly pin point what it is you are doing. Students beware, make sure that what teachers say they are doing, they are actually doing! You can often fall into the trap of ‘do what I say, not what I do’.
JJ: What’s the hardest thing to teach a beginner student?
OL: I find it quite challenging to teach beginners timing. I find that students often have it or they don’t, they can either hear it or they can’t. Students often approach me in between my classes and ask me ‘how do I hear the beat?’ as if there is a magic word that will all of a sudden make it click for them. Unfortunately there isn’t. Timing requires the understanding of rhythm which requires the understanding of music. This is a whole different ball game. A lot of teachers say, ‘listen to the clave’ or ‘feel the music’ but if a student does not know what the clave is or cannot feel the music for the life of them that advice does not really help them. Body Movement is another one. To get someone to move their body in a different way to what they have been moving for the last 20-30 years is quite difficult. It is not impossible but requires special attention. Private lessons or one on one session’s are really good for things like this. I often hold Body Movement and music workshops as I know that’s what people want. With time and the right guidance, anything can be achieved.
JJ: What advice can you give a beginner teacher?
OL: Fun! Fun is one of the most important aspects for teachers teaching beginners. Fun can sometimes make the difference between a student coming back or not. Confidence and professionalism are also vital qualities of a teacher. Students like to feel confident in their teacher and in what they are learning. After a hard day at work, a student wants to be able to simply relax, let go and trust that they are in the teachers control for that hour. They trust that they are in good hands so things like presentation, how you speak, what you wear and how you look can all add to your students feeling confident in you and relaxed enough to have fun.
JJ: How do you create a good student? And what I mean by that is, I’ve been told that when someone gets a student and you want to be able to maintain them, you want them to stay interested; so what is it that teachers can do or should do to create someone who’s a student that will learn well and get them to stay consistent? Are there any tricks or certain things that we should know?
OL: A ‘good’ student is not necessarily the ‘best’ student. Feedback and encouragement are important aspects for teachers to give their students as well as setting up challenges for the students that are not too insurmountable. Students like to feel that they are learning and progressing, so progressive learning is also a very good method of making them want to come back. Feeling like they are learning something new every week and then joining that to their already existent repertoire makes them feel like not missing a week. Dance with the students as well. A teacher can make a students day by sparing a few minutes to dance with them. This single act can make the difference between a student giving up or reaching their goals. And remember everybody’s name! Students feel good when you remember who they are and refer to them by their name. It shows a certain amount of respect.
JJ: Can you give any advice on the best way to teach a group class?
OL: I always start my classes with a Shine warm up. As well as the students learning new shines every week, it gives the class a different element. Once partnered up I get the students to form a circle with the instructors in the centre of the circle. I find this works for me. It ensures every one has equal view of the instructors. Rotations are also very important. It gives everyone the chance to dance with one another and ensures that any partnerless people do not miss out. Also, separating the leaders from the followers and teaching their respective steps separately before partnering them up ensures that they are learning from the ground up which is the right way to learn. This also makes the class a little more interesting instead of them staying in the same position for the whole class.
JJ: How important do you think it is to count as a student? Then as a teacher?
OL: For students at a beginner level it is very important to count. Counting assists with timing. Counting also gives clear indication as to where ones foot is supposed to be stepping on which beat. It is a tool by which dancers use at any level. The difference is that counting for more experienced dancers should eventually become second nature and should be like an internal metronome which you do not necessarily need to say out loud. All your dancing steps should be done simultaneously with the counts for the counts to have full effect. As a teacher, counting has become sub conscious regardless of what level it is. When the music plays in my classes, I generally only count for beginners but when I am breaking down steps, turns or shines, counting is essential regardless of what level I am working with. Counting meaning timing is the one thing that keeps you and your partner in sync with one another.
JJ: What are some pointers on how to be a successful dance team and can you give us the positive side as well as the negative side?
OL: Behind every successful dance team is great team spirit and a strong team leader. Team spirit is a great thing because it makes people feel like they’re not on their own and gives them the opportunity to get out there when they ordinarily wouldn’t. The negatives to having a team; A team is only as strong as its weakest link so the more people you work with the harder it gets… but the bigger the reward in the end!
JJ: There are a lot of salsa congresses these days, can you give some advice how one could get involved with performing or teaching at these events?
OL: Most Congresses only accept performances by video submittance first. As far as teaching is concerned, Congresses are a business and organizers of the Congress will always book instructors that have a name and are guaranteed to pull in the people. So in order to teach at a Congress you have to have a name. You develop your name by working hard on your dancing, making a presence on the dance floor and attending as many of these events as possible to create a bit of a following. Promoters may then approach you and ask you to teach at their Congress, however some times it does not hurt to ask. Also, being humble is very important. Many promoters eventually get feed up of dancers who do not dance with anyone because they think are too good for them. This is not beneficial for a promoter to have such dancers at their events so being humble and down to earth definitely works. Always remember, cream rises to the top no matter what.
JJ: Being someone who travels a lot to other congresses you see a lot of other teachers teach. Is there any advice you can give or anything that you would like to see teachers do that you don’t see often?
OL: I see so many good dancers not pay enough attention to technique and the finer details of the dance such as leading, following and styling. Teachers tend to think they can get away with just teaching turns, turns, and turns and students will come back… Well, the funny thing is they do! Because that’s what they’re used too, however I get the most positive feedback in my classes when I work more on quality not quantity. It’s not what you do, it’s how you do it’ so teaching students how you can make such simple turns look so effective I think is the way to go. It also changes the way students dance as most students do not pay enough attention to the music and therefore just turn, turn and turn. ‘Sabor’ is the key and until teachers start to teach 'Sabor' they will never unleash the true potential of their students. Good luck teachers as ‘Sabor’ is not that easy to teach J
JJ: A lot of dance teachers are coming up with there own dance groups these days … I’ve heard some teachers feel it’s now necessary to have a dance group in order to be seen and get students… do you feel this is true or at least necessary?
OL: No not necessarily. It depends on the market you are trying to target. For example, some people rely on the already existing market for students while others go out and create a new market of people. Marketing at the end of the day is what works. Whether it’s performing, giving out promotional material, advertising or doing free classes it’s whatever works for you. Having said that though, my ‘Rising Stars’ which are my highest level advanced student team have been great for my personal exposure and for my school. So all in all, having a dance group is a great way to get yourself out there and get yourself known, however it is not the only way.
JJ: I have placed this question in many places about an official certification for salsa. Many respond that we should not have certifications and syllabus as it would ruin salsa and its street style or some even say adding structure would eliminate the freedom and spontaneity of the dance. What do you think? And do you think it’s necessary to have certified instructors in salsa?
OL: Yes! I do. The problem with Salsa today is that because there is no governing body as such, any one is free to teach. That is fine in a way because it opens the market more for all of us to benefit from however people who don’t know any different often get fooled into learning what they think is Salsa but is actually Flamenco with fruit on their head! Maybe not so much in other countries but this particularly affects the Australian public as dance is just not in their culture. I think that there should be rules and guidelines to a particular extent. For example, a Cross Body Lead should be a text book thing however what you do to embellish the Cross Body Lead is entirely up to ones self and its style. That is the difference between Fundamentals and embellishments or turn patterns. Turn patterns are made up of fundamentals repeating themselves such as Inline turns, 1 ½ Left or Right turns. Fundamentals should be universal and any one wishing to teach them should be accredited. Having said that, there are a lot of different styles of Salsa so the fundamentals would obviously have to differ slightly but there are still fundamentals. And as I said before, as long as the fundamentals are the same, the way you embellish it is up to you. Therefore this should not stop the flow of creativity and spontaneity; in fact it should enhance it.
JJ: You recently won the World Salsa Championships in Las Vegas (CONGRADS!) Could you tell us how you prepared for such and event and offer some points as to how to be a winner?
OL: Luda and I have been dancing together for 10 years now so our preparation would be different to someone who has been dancing together for say only 1 year. Our rehearsals get slightly more frequent as we get closer to the event but we always make sure we do not leave things till the last minute. The end result is that you want to feel as relaxed as possible both with each other and the choreography. The spot light is like a microscope so any hesitations, uncomfortable ness or unconfidence will show under the spot light. Therefore it is important to be at ‘one’ with yourself, the choreography and your partner so much so that it is like second nature. It is hard to say HOW to be a winner. A winner is not someone who necessarily wins but someone who accomplishes what they set out to accomplish… whatever that may be. To win competitions especially high level ones, it helps to have the X factor; Compatible in all aspects technical, mental and physical.
JJ: Last but not least…Are there any sayings that you have, that you always say to your students? Is there a motto that you’ve run through? I have a little column, and it has “Advice from the Legends,” just little blurbs that someone can read and say, “Oh yeah, that’s a typical Oliver saying.” Is there anything that you have?
OL:‘It’s not what you do; it’s how you do it’
And
‘Be yourself; there are enough other people’
Thanx Oliver!
Your information and knowledge is top notch!
Thank you! Thank you! Thank you!
Pictures by www.samssnapshots.com
Bio...
Oliver Pineda - International Artist
Artistic Director
Choreographer
Performer
Lead Instructor
Co-founder of Latin Motion
Oliver Pineda is Australia’s only 2 time World Salsa Champion having recently competed and won the
2005 1st Annual World Salsa Championships in Nevada, Las Vegas.
Born in Australia of Chilean descent, this young man is one of Sydney's most undisputed talents. His unique style of dance and clear precise teaching methods make him one of Australia's most admired and sought after dancers and instructors.
Although passionate about Salsa and Mambo, Oliver's dance experience also extends to Rueda, Merengue, Lambada, Samba, Cumbia, Cha Cha, Rumba, Afro Cuban Rumba, Jive and Paso Doble as well as Modern dances such as the Waltz , Slow Foxtrot, Quick Step and Jazz. In addition to his dancing expertise, he is also a well known percussionist playing in some of Sydney’s top Salsa bands, mastering the timbales, congas and bongo amongst other percussive instruments. His early performance experience within the Brazilian culture has enabled him to handle the snare drum, zurdo, pandero and the hepinique.
His black belt achievements as a Martial Artist has also equipped him with an understanding of the basics of Capoeira.
Oliver is also proud to have represented Australia at several Championships of Dancesport at national and international level. With 7 years training in Dancesport, Oliver chooses instead to pursue the music and dance of his Latin American roots. Oliver has worked with the well known Australian film director Baz Luhrman assisting with Latin choreography for the recent film 'Moulin Rouge'.
It was Oliver and his partner who were captured on international television screens, leading the "Americas" segment out onto the field in the Olympic Opening Ceremonies Sydney 2000.
It was also Oliver who was given the honor of being Australia’s first Male dancer ever to be featured on the cover of Australia’s VIVA Magazine ‘The Only Australian Lifestyle Magazine about the Latino World’in it’s December issue 2004.
After winning the title of IDO World Salsa Champion 2001 with his partner Luda Kroitor, and being the first Australian International Representatives, Oliver decided to take himself and his company, Latin Motion
to the international circuit.
He danced in and was the choreographer for the routines performed at the Annual West Coast Salsa Congress in Los Angeles, in 2002, 2003, 2004 and 2005 as well as the Zurich Salsa Congress 2003. He added the role of Instructor to his international performance accomplishments at the Paris Salsa Congress 2003, UK Salsa Congress 2004, New Orleans Salsa Congress 2005 and the Annual West Coast Salsa Congress in LA 2005 . Furthermore, in 2005, Oliver has also been invited to perform and teach in Puerto Rico, New York, Dubai, Greece, UK, New Zealand, Japan and Las Vegas.
Oliver also heads the highest caliber student performance group in Australia, the ‘Latin Motion Rising Stars’ who till today are proud to be the only Australian Student performance group ever to perform at an international Salsa Congress, the LA Salsa Congress 2004 and again in 2005. The Rising Stars have performed at the Sydney Salsa Congress 2005 and have also been invited to perform at the UK Salsa Congress this year.
Oliver is Latin Motion’s artistic director and is proud to be the choreographer, lead dancer and trainer for the Latin Motion team which has now represented Australia overseas over 10 times in 2 years. He was a founding member of the original 'Rueda Dance Group' introducing Rueda to Sydney in 1999 and was one of the instigators of Linear Style Salsa in 2000. Oliver now turns his attention to Mambo ‘On 2’ and is proud to be one of the pioneers of this style in Australia.
Personal website: www.latinmotion.com.au
Latin Motion Dance Academy (02) 9557-7751 mamboli@latinmotion.com.au
(note: videos by nuevotec.com , alberttorresevents.com, espn.com and youtube.com)
Although many may argue that Colombian style salsa is missing many elements of the other more popular world salsa styles such as Cuban, Puerto Rican, New York, and Los Angeles styles, it still has a new dimension in footwork that is unsurpassed by any other style. Swing Latino from Cali Colombia have demonstrated this over the past few years in the World Salsa Championships placing always in the top 3 rankings every year. Of course they are more well known for 2 divisions, CABARET (all out lifts, tricks, crazy category really) and the TEAM DIVISION.
According to the director for SWING LATINO, Luis Eduardo Hernandez states that members practice 2hrs everyday, 7 days a week! Now thats dedication. He has shown the path for not only his students to salsa domination but has shown the world how beautiful the Colombian style can be as demonstrated in some of the following videos.
This is a compilation of videos over the past years of SWING LATINO. ENJOY!!
Tuesday, 18 September 2007
Review by Latin Lady DJ Margarita
New Swing Sextet - Back on the Street
Label: Emusica / FANIA
Release Date: November 11, 2007
"Back On The Streets", how appropriately these gentlemen named the project that would re-introduce "New Swing Sextet" to this generation of Salseros!
I feel privileged to present to our readers a bit of history about this amazing group of "seasoned" and extremely talented musicians, who previously had their fans and audiences "dancin' in the streets", approximately 28 years ago, before retiring from professional performances in 1979, for the first time!
George Rodriguez and New Swing Sextet were pretty much done with performing and were basically leading "normal" lives with families, raising children and running their own businesses, when George received the call from a good friend pleading with him to help him out by playing at an event. The reply was a polite, "thanks, but no thanks, we're not together anymore..."
Fortunately, for us, this persistent friend continued to "work" the remainder of the band members who collectively agreed and before long the band was indeed performing at this particular event, from which opportunities, offers and invitations followed for additional work. The rest as we say, is history. The group reunited, and began performing again.
If you've ever been influenced by or simply been attracted to the magic of "vibes" such as in renditions by Lionel Hampton or Cal Tjader (who truly made an impression in my own discovery of Latin Jazz), then I guarantee that you're going to love "Back On the Streets" and New Swing Sextet.
Listening to the tracks over and over I was reminded of the many times that we as parents tell our children to walk and not run, to stop, look and listen. Those lessons also contained inner lessons that taught me to slow down, to stop and "smell the roses", enjoy life, grasp the beauty as it passes you by, don't miss a minute of it, because once it's gone, that's it! Time, the one thing we can never, ever get back.
Hving learned to appreciate those lessons, I want to share that this is one album that you will most definitely NOT want to rush through. This one is one bad ass mother of a recording that hits the very core of the heart and what most Salsa aficionados will call "home." Whether it's because it takes them back to the streets of NYC, or simply back to an era where although life was tough, it was simple too.
It was a time where music was an integral part of growing up and music appreciation was taught right down the street on 110th. Where everyone knew everyone else and where you went to school with Tito, Johnny or Alfredo. "Back On The Streets" isn't just a recording, this is a journey of cherished memories of happy yesterdays filled with friends, family, laughter and dancing. It's also a statement proclaiming "We're Back!"
This is the kind of music that goe directly to your heart and soul because it's played from that very place. Can you feel it? I can. I'm there, front stage, starry eyed and open-mouthed in awe of being in the presence of such talented artists. All I can do is swing my head to and fro, close my eyes and my body sways to the rhythm of clave. Each track has it's own heartbeat. What a wonderful way to express all that is good in life.
Those vibes lift me to yet another level of bliss, taking it slow, savoring each and every melodic stroke, noting added sensuality & quality that vibes brings to salsa, latin jazz or any other genre for that matter. That it is SALSA for me, is just an added plus. Personally, the vibes touches yet another part of that inner musician that yearns in my own soul to come forth.
It is not only the beauty of music that fills me emotionally, but the beauty and the love that went into the creation of the music, that same love and passion resonate in every note played. You'll hear it and you'll feel it. "Back On The Streets" is truly an exceptional piece of work of which New Swing Sextet should feel immensely proud of.
Yes, I'm biased. But the above comments come from the heart of this musician, who turned out to be a Lady Dj! If it is true that "the Artist creates the music and the Dj delivers the message" then it is with an immense sense of pride and I so willingly accept the responsibility of getting this message to the masses!
I love this CD and I knw without a shadow of a doubt that it's going to be very successful!
Track titles include:
Buenas Noches Che Che
Bobo Eres Tu
El Ratón (one of my favorite tracks)
Sarandonga
El Balcón Aquel
The Monster
Amor Jibaro
Ay Cariño
El Bongo
Flight
El Tiroteo
Monta Mi Caballito
Be sure to listen closely to track 3 "El Ratón" which truly is one of my favorites, and which features George Rodriguez's own son "Alejandro" who contributes to this number with a bit of "rap" adding a unique quality to this already popular and renown piece of music. I think you'll be pleasantly surprised.
The album in it's entirety is superb and I highly recommend that everyone add it to their personal and/or professional music collection!
Bravo New Swing Sextet!! Here's hoping that your second retirement is a long way off!
Congratulations and welcome again to being.... "Back On The Streets".
Visit New Swing Sextet's page on MySpace (http://www.myspace.com/newswingsextet ), where you can listen to 2 of the tracks featured on the upcoming new release; Buenas Noches Che Che & Bongo. Remember to come back and visit their page for news on where to purchase the cd.
Here is a list of songs being played at social nights here in Edmonton. All of these musicians are from either New York or Puerto Rican descent. Some singers are not descendants from here such as Ruben Blades(Panamanian) Justo Betancourt (Cuban) and Celia Cruz (Cuban) but their musicians ARE and hence have more of that mambo on2 feel to them that I LOVE SO MUCH. Some songs need to be slowed down and if you CAN, GREAT! At least for the dancers. Otherwise , great to listen to. Oh and for actually purchasing a current album, PLEASE GET the soundtrack for El Cantante (Marc Anthony singing classics originally sung and made popular by the late Hector Lavoe).
About getting these songs, without breaking any laws, you can find these songs through www.descarga.com or if you have an ITunes account. You can also go to the Faniarecords.com website to purchase singles. ENJOY!!
Ray Barretto - La Familia
Ray Barretto - Indestructible
Tommy Olivencia - Palante Otra Vez
Pete "El Conde" Rodriguez - 3 and 1 (slow it down)
Willie Rosario - Arrepentios Pecadores (slow it down)
Bobby Valentín - Cuando Te Vea
Impacto Crea - Que Es Lo Que Pasa (Cheo Feliciano)
Impacto Crea - El Errante
Orchestra Harlow - Yambu Pa' Gozar
Impacto Crea - Despierte Ya
Orchestra Harlow - Silencio
Orchestra Harlow - La Oportunidad
Bobby Valentín - Jurame
El Gran Combo - Ojos Chinos (Salsa Remix Classics Revisited Album)
El Gran Combo - Se Me Fue (Salsa Remix Classics Revisited Album)
El Gran Combo - Me Libere (Salsa Remix Classics Revisited Album)
Jimmy Sabater - Malambo (make sure to slow down sounds great)
Conjunto Borincuba - Guaguancon De Corazon (slow it down)
Azabache - Batman and Spiderman (slow it down)
Fania Allstars - Bamboleo
Ocho y Mas - Plantacion Adentro
Ocho y Mas - Toro Mata
Ocho y Mas - Vamos A Reir Un Poco
Ocho y Mas - Esa Prieta
Ray Barretto - Vale Mas Un Guaguanco
Roberto Roena - En Mis Rosales
Jennifer Lopez & Marc Anthony - No Me Ames (salsa)
Roberto Roena - Avisale a Mi Contrario
Sonora Poncena - Yambeque
Ruben Blades - Pedro Navaja
Justo Betancourt - No estás en nada
Bobby Valentin - Ven Rumbero
Here are some classics from "The Singer of Singers" or El Cantante de los Cantantes, HECTOR LAVOE! First is a classic from Fania in Zaire , then another one at the famous Cheetah Club in New York, and thirdly Hectors final concert that he dismisses himself from his public. Below are some translations to the lyrics for El Cantante as well. Enjoy!
Hector Lavoe - Mi Gente
NOTE: 1974 performance in front of 80,000 fans in Zaire, in conjunction with the "Rumble in the Jungle," the famous boxing match between Mohammed Ali and George Foreman. Featured legendary musicians such as Ray Barretto, Santos Colon, Cheo Feliciano, Larry Harlow, Pupi Lagarretta, Hector Lavoe, Nicky Marrero, Ismael Miranda, Ismael Quintana, Roberto Roena, Jorge Santana, Yomo Toro, and Bobby Valentinö.
Hector Lavoe - Aires de Navidad
NOTE: On August 26, 1971, the Fania artists congregated at El Cheetah nightclub in midtown Manhattan for a concert and dance which resulted in the movie “Our Latin Thing.” In the movie, salsa is never mentioned. The movie premiered July 19, 1972 at the Line 2 theatre at 48th and 7th Avenue, NYC. It received favorable reviews from the Daily News and the New York Times. But nowhere in the review was salsa mentioned.
Hector Lavoe - El Cantante
NOTE: Hector personally announces his last performance as he is not returning and that he is going to die. He wants to thank everyone his public.
Spanish Lyrics:
Yo, soy el cantante
Que hoy han venido a escuchar
Lo mejor, del repertorio
A ustedes voy a brindar
Y canto a la vida
De risas y penas
De Momentos malos
Y de cosas buenas
Vinieron a divertirse
Y pagaron en la puerta
No hay tiempo para tristezas
Vamos cantante comienza!
Eh le leee! le lee!
Me paran, siempre en la calle
Mucha gente que comenta
"Oye Hector! tu estas hecho,
Siempre con hembras y en fiestas!"
Y nadie pregunta
Si sufro si lloro
Si tengo una pena
Que hiere muy hondo
Yo soy el cantante
Por que lo mio es cantar
Y el publico paga
Para poderme escuchar
Yo, soy el cantante
Muy popular donde quiera
Pero cuando el show se acaba
Soy otro humano cualquiera
Y sigo mi vida
Con risas y penas
Con ratos amargos
Y con cosas buenas
Yo soy el cantante
Y me negocio es cantar
Y a los que me siguen
Mi cancion voy a brindar
Hoy te dedico, mis mejores pregones! (3x)
Son mejor que los de ayer, comparenme criticones!
Hoy te dedico, mis mejores pregones!
Si no me quieren en vida, cuando muera no me lloren!
Hoy te dedico, mis mejores pregones!
Yo te canto de la vida, olvida tus penas y tus dolores!
Hoy te dedico, mis mejores pregones!
Baila si quieres bailar, canta si quieres cantar mamá!
Hoy te dedico, mis mejores pregones!
Yo soy el cantante, vamo' a celebrar, no quiero tristezas lo mios es cantar, cantar!
Hoy te dedico, mis mejores pregones!
El pregon de la montaña, esa si que eres canciones!
Hoy te dedico, mis mejores pregones!
Oh le lo la laaa, a la laa laaa ! Escucha mi pregón que diceeee!
Lo le lo la le lo la le la laaa laaaa!
ENGLISH TRANSLATION - partial
I, am the singer
that you have come to listen to today
only the best of my repertoire
will i bring to you
and i sing of life
of laughter and of sorrow
of low moments
and of good ones
you came to have a good time
and you paid at the door
theres no time for sadness
lets go singer, begin
they stop me in the streets
many people comment
HEY HECTOR! you are always surrounded by women and festive
and no one asks
if i suffer or cry
if i have sorrows
that hurt real deep
i am the singer
because whats mine is to sing
and the public pays
to listen to me sing
i am the singer
very popular where it be
but when the show ends
im just any other person
i continue my life
with laughter and sorrows
with moments bitter
and other moments great
i am the singer
and my business is to sing
and those who follow
my sing I am going to salut
Ok so this post is not intended to argue against the negative feedback surrounding "El Cantante." The purpose is to inform others that they can watch the movie and actually take some positive things away from it. I would hope that people don't JUST listen to the negatives and see the movie for themselves and formulate their OWN opinions.
When was the last time someone saw a great movie and posted something about it? Not too often... but of course when something 'sucks' everyone has their opinion.
I totally respect the comments of Willie Colon and Milton Cardona (posted below) and agree with what they said. But the reality is, unless Willie Colon or Milton Cardona were producing the movie, they don't have much say about the content they provided. It is unfortunate their input wasn't used as much as they (and many others) would have hoped. In fact! There is another Hector Lavoe movie being produced (for these reasons) and that is great! People took action on what they didn't like and they are trying to do Hector a little more justice.
*
Did the movie OVER-emphasize Hector Lavoe's Drug Addiction? YES
*
Could the movie have highlighted more of Lavoe's positive contributions? YES
*
Was the movie inaccurate in some aspects? YES
*
Did the movie have a lot of J-Lo? YES
Let's get that out of the way... There were plenty of areas in the movie that needed improvement. Moving on....
First is the drug use... I would venture to say that about 80-90% of salsa fans at most have read a bio or two on hector from somewhere online. Most bios may have a sentence or two about his drug use and that's it. That's a good thing because we want to hear about the positives. At the same time, it leaves the majority not knowing that Hector was heavily addicted to drugs. When these people see the movie, it comes as a 'shock' that he was "SUCH" a drug addict. Through interviews and research, many will tell you that what was seen in the movie was in fact the truth.
So... was it true, yes.... Should they have emphasized it as much, probably not....
Let's think about this for a minute... As soon as word got out that Marc and J-LO were doing the movie, there was immediate criticism... Interestingly, I didn't hear about or see a movie from those who criticized, made about Hector. I am talking about musicians with money and influence with the potential to make a movie of this magnitude... Nope no movie from them, but plenty of criticism. Brings us back to "want something done, do it yourself"... Cliche yes but it's the reality.
Going back to Marc and J-Lo... who I am not big fans of; but think about the impact this movie has. An ALMOST ALL latino cast, latino director, and Latino producers. Wait, let me think back to another recent movie with the same credits.... hmmmmmm... kinda hard to think of one....
Is it a negative portrayal of latinos? ABSOLUTELY... I don't disagree one bit. But ultimately, Hector Lavoe's name as a "SALSA SUPERSTAR" will be known through anglo suburbs and households. Can't say that was the case before this movie. In addition, I can't tell you how many non-spanish speaking supporters of Lavoe loved the translation within the songs during the movie. A famous quote that I have heard following the movie "I always sang the lyrics but didn't know what he was saying or what he was singing about."
Again, was is the movie somewhat inaccurate, YES..... BUT.... there was plenty of accurate information for anyone wanting to learn more about Hector Lavoe and these individuals should really go see this movie... add it to everything else you learn from youtube.com and any other interview/bio you've read. Just more info to keep you better informed.
Aside from the historical and controversial aspects, I thought the movie looked good. This wasn't a low budget independent film with a chippy chop editing job. It was quality and I wouldn't expect anything less than with J-Lo producing it.
So in conclusion... see the movie for yourself. Don't let the negative feedback disuade you from seeing a decent movie, especially if you are salsa/Lavoe fan.
Will I buy the DVD? Damm right, cause who knows when the next time a latino decides to step up and make a movie about one of our great legends?
Chris Soto
LaVoz Magazine - Executive Editor
http://www.myspace.com/themamboproject
The Creators of El Cantante missed an opportunity to do something of relevance for our community. The real story was about Hector fighting the obstacles of a non-supportive industry that took advantage of entertainers with his charisma and talent. Instead they did another movie about two Puerto Rican junkies.
The impact of drugs in the entertainment industry is nothing new; look at Britney Spears, Lindsay Lohan and Whitney Houston today. I think Hector deserves the recognition the movie pretended to give him.
However, as someone who advised the producers, it's painfully obvious that they didn't understand what made him so important. It was the music. It was his talent. They didn't understand or respect the true importance of this music to people around the world.
It's difficult to comprehend how two individuals who are in the music business like Marc and Jennifer are not aware of the damage and the consequences of promoting only the negative side of our Latin music culture.
I was disappointed that there wasn't a minimal effort to correct what I felt were serious chronological and factual errors. Similarly, the wrong story was told in The Capeman with disastrous economic consequences.
After the premier of El Cantante in Puerto Rico there was several statements of protest by people who had supported and participated in the project until they saw it. Their complaints were not about sour grapes or J-lo and Marc bashing but from a sense of betrayal and disappoinment. We are all invested in the world that this movie represents.
For many of us the hope of our story finally being told sank into the horizon with the final version of this film.
MORE TO COME....
Víctor Manuelle, Herman Oliveras, Puerto Rico Big Band, Luisito Carrión, Rigo Y Su Obra Maestra, Hector Lavoe Memories, Mark Quiñones Y Ocho Mas, Son de Madre, NG2, La Mulenze, Sammy Garcia Y El Sabor De Puerto Rico
The Spanish Harlem Orchestra
United We Swing
CD (Six Degrees 1134), Released May 15, 2007;
Editor's Pick:
The highly anticipated new Spanish Harlem Orchestra release is here, and it's a salsa blitzkrieg. Featuring the talent of Oscar Hernandez, Gil Lopez, Johnny Ortiz, Ray De La Paz and many others. This is the real deal, folks — the fire that burns in the heart of Latin dance music. Get it *now*. With special guest Paul Simon who sings on the last track.
Complete review to follow shortly.
Very Highly Recommended. (BP, 2007-05-11)
Song titles include:
SHO Intro (Oscar Hernandez) 3:53
Llego La Orquesta (Gil Lopez) 6:02
En El Tiempo Del Palladium (Gil Lopez) 5:43
Se Formó La Rumba (Willie Torres) 5:33
Sacala Bailar (Oscar Hernandez) 6:11
Ahora Si (Georgio Montessino) 5:26
Que Bonito (Marco Bermudez) 5:23
Salsa Pa'l Bailador (Ray De La Paz) 4:36
Mujer Divina (Nick Jimenez) 5:30
Soy Candela (Johnny Ortiz) 5:17
Plena Con Sabor (Oscar Hernandez) 4:36
Danzon For My Father (Oscar Hernandez) 6:06
Late In The Evening / Tarde En La Noche (Paul Simon) 4:12
Musicians include:
Oscar Hernandez Leader, piano, musical director
Ray De La Paz Vocals
Wille Torres Vocals, maracas, güiro
Marco Bermudez Vocals
John Walsh Trumpet
Pete Nater Trumpet
Jimmy Bosch Trombone
Dan Reagan Trombone
Mitch Frohman Baritone sax, flute
Luisito Quintero Timbales
George Delgado Congas
Jorge Gonzalez Bongos
Héctor "Maximo" Rodriguez Bass
Héctor Colón Trumpet
Paul Simon Vocals on "Late in The Evening / Tarde en La Noche"
Category: Salsa/Son => Salsa
Shipping Value: 1
ORDER TL-22411.10 CD $15.98
MPAA Rating: R for drug use, pervasive language and some sexuality.
El Cantante
Yo! The most dangerous and displaced Dominican in Hollywood EL MAYIMBE here!
FELIZ DIA DE LOS TRES REYES! (Happy Three Kings Day!)
Three Kings Day is celebrated on January 6th, twelve days after Christmas.
It is often viewed as the last day of the Christmas season (the end of the 12
days of Christmas). January 6 is called Epiphany and is traditionally the day
in which the Magi arrived bearing gifts for the Christ child. Even to this day
in Hispanic countries throughout the world, January 6 is the day that children
receive their Christmas gifts, in commemoration of the Magi's visit. For centuries
Puerto Rican children have celebrated Los Reyes in the same manner as their
grandparents did when they were children.
Today being a day heavily celebrated by Puerto Ricans, what better gift than
to give my fellow Boricuas, Latinos, and Salsa lovers around the world an advanced
look and a script review for the upcoming bio pic of Ponce, PR’s favorite
son, El Cantante de Los Cantantes, folk hero Héctor Lavoe!
EL CANTANTE
B y Leon Ichaso
9/28/05 draft
107 pages
Come on now folks. A Latino film currently shooting, written by, directed by
and starring Latinos?! You know we was gonna get our hands on this script! Hello!
That is what Latinoreview.com is all about, the Latin perspective on films.
So what is the verdict? Is it whack? Is it good?
Well, IT’S A FUCKING GREAT SCRIPT!
I loved it! El Cantante is easily one of my anticipated top 5 films to watch
in 2006.
Let me explain – and please hear me out.
Like
a lot of folks, I liked Jennifer Lopez back in the days when she was simply
an actress – when she rocked the roles in MI FAMILIA, SELENA, MONEY TRAIN,
and OUT OF SIGHT. I liked her before the megalomania and the tabloid fodder
life style kicked in. For the longest, and I agree with her critics, she has
been playing it fairly safe in these whack romantic comedies – roles that
could be phoned in. She hasn’t really stretched as an actress since OUT
OF SIGHT and taken a role the she really has to go all out and act her ass off
(no pun intended). Another thing I found annoying that she was trying really
damn hard to pass for a blanquita and play all these white roles and bleaching
her hair blond and such. Sorry nena, motherfuckers weren’t buying it.
But I always held out hope that maybe one day she would go back to her Nuyorican
roots and rock a role big time and play a hardcore Latina character that would
best showcase her acting ability.
Folks, let me tell you, the role of Héctor Lavoe’s Nuyorican wife,
NILDA ROMAN PEREZ, better known as PUCHI is that role. My prayers have been
answered. The role of Puchi is very hardcore that requires an actress with some
chops to pull it off. You will see Jennifer in a light never seen before. If
she pulls it off as written, we are talking acting awards again. Puchi is the
role she was born to play. The character of Puchi is a very tragic figure. Puchi
was thrust into the spotlight at a very young age and did everything in her
power to hold it down, for herself, for her son Tito, and for the love of her
life, El Cantante, Héctor Lavoe – whose life was spiraling out
of control as we get to see.
The same critics who have been yearning for Jennifer to stretch are the same
critics who probably won’t even give this movie even a chance because
she is starring opposite her husband, the very talented Marc Anthony who plays
the title character of Héctor Lavoe. The buzz that I am reading online
from the jodido gossip mongers are quite disturbing and completely unfair and
unfounded. A lot of it was quite racist too. It’s bullshit. That is why
I tracked this script down. I wanted to see this for myself.
I’m telling all my fellow Latinos out there to completely ignore the
white media and go support this film when it comes out. You see, Kellvin or
I go to critic’s screenings of films all the time and he or I are usually
the only people of ethnicity at these things. Most of your critics are crusty
old ass white folks who don’t know jack about Salsa, Latin music, Latin
culture and as Willie Colon says in the film, “Our Latin Thing.”
Para el carajo con eso coño! The Héctor Lavoe story is an important
story and it has got a talented writer/director Leon Ichaso running the show.
Latino Films at the studio level, at least those films made for U.S. Hispanic
audiences are far and few between and come around only a handful of times every
couple of years. Don’t get me wrong, I love foreign Latino films, but
myself like a majority of Latinos born here in the states yearn to see our movies
homegrown. The Héctor Lavoe story is one of those kinds of movies. The
idiots at Voy Pictures and especially Panamax Films sadly don’t get it
- the minute the entire movie has to be subtitled, you lost us. For example,
I absolutely loved Cronicas, an excellent film, but because it was subtitled,
Latinos in America avoided it like the plague hence why it only made 300k at
the box office.
My readers, especially my Latino readers from around the globe know I don’t
fuck around. Take it from us, if a Latino script is whack, like Panamax’s
upcoming REGGAETON
by Agustin, then we will tell you the shit is whack. If a Latino script is dope,
we will sing it’s praises and bring it to your attention and promote the
shit out of it.
El Cantante deserves a fair shot. I am going to be the first motherfucker excitedly
on line to pay $10 to see this so as Public Enemy once sang, don’t believe
the hype - at least the negative hype from the tabloids, about Jennifer acting
in a movie with Marc Anthony. Ignore all that shit and go see and support this
film.
So who was Héctor Lavoe? Known worldwide as “El Cantante,”
(The Singer) in the music business many refer to him as “Salsa’s
Bad Boy” but everyone acknowledges him as the Legendary Héctor
Lavoe. And without a doubt, he is one of Salsa’s most popular superstars.
Many people consider him to be the greatest Puerto Rican singer of our time.
For en excellent and detailed biography, check out Izzy Sanbria’s excellent
write up go “HERE”
The story in El Cantante is told from Puchi’s point of view. The script
takes place in 2002 and opens in her tenement apartment in the Bronx as she
listens to Héctor on the cassette deck. She leaves the apartment and
goes to where the old Fania Records headquarters was for an interview. The first
set pictures from Hollywood
Tuna shows an older Puchi in front of an electronics store, right
before she enters Fania Records as she looks across at Madison Square Garden
and reminisces. It is Puchi’s birthday and she takes the interviewer through
voiceover and flashback to her days with Héctor. Let’s take a peek.
PUCHI He didn’t know how much he had…never
believed how much people loved him.
He had it all…and he had me…for more
than twenty years. Was it love? What is?
One thing I know; it was special…and when
you looked at us, you saw something…so maybe
it was. I thought so. I did. Our life was like a dream.
The next scene takes us back and shows us how Puchi held it down. We flashback
to her getting dolled up for a night on the town in her bedroom from the time
her and Héctor lived on 55th street. She leaves the bedroom grabbing
a man’s white suit as she enters the living room and leaves with COOKIE,
one of Héctor’s assistants for an ugly mission. She tells her son
TITO on the way out that she expects him home when she returns. Puchi and Cookie
leave the high-rise apartment building and enter a waiting limo. The limo takes
them down to another world full of junkies and predators on the trash-ridden
streets of Losiada on 9th street and Avenue C. The limo stops in front of a
squatter’s tenement building. The lookout guy let’s Puchi in.
PUCHI Love is never perfect when it is real love…
we were meant for each other for better
or worse. We both knew that…and I don’t mean
it like today’s soulmate type of shit…nah.
It was old fashioned love. It was good,
it was bad, it was beautiful.
Puchi
passes a line of junkies and another lookout guy and makes it all the way up
to the shooting gallery on the 2nd floor. Three unshaven, stoned men, dressed
in dirty sweat suits, sit on a couch, one wearing sunglasses. The table in front
of them is covered in drug gear. Puchi struts in. Everyone freezes except the
guy wearing the sunglasses, who waves…and smiles, unable to to disguise
the absurdity of playing dead with so much to live for. It’s Héctor.
Just a tad surprised.
The limo flies uptown. Puchi and Cookie get to work on Héctor like a
make over Pit crew. Off comes the stinky running jacket. Out comes an electric
shaver, hairbrush, toothbrush.
Meanwhile, at a backstage office JERRY MASUCCI is once again pissed at Héctor
and points his finger at RALPH MERCADO who informs Jerry that Elvis is in the
building.
In an arena hallway, people rush down a long corridor. The intro to the title
of the film and Lavoe’s famous song penned by Ruben Blades, El Cantante,
kicks in and is heard from the stage as our man Héctor walks down the
corridor, everyone slapping him on the back, like a boxer going into the ring.
Héctor enters the stage at Madison Square Garden, as casual as stepping
into his living room. As he turns, he sees what awaits him: 20,000 fans cheering.
They stand up for him as he shuffles to center stage.
MAN
(singing) Yo soy, Hector Lavoe and…
(with a grin) I’m here!
Thunderous APPLAUSE follows. The BAND goes into second gear as he continues
to sing. Hector made it. He takes a glance off stage, to the wings, he sees
Puchi. He smiles at her. The world is his…tonight. He kicks off the first
verse of: “El Cantante.”
HECTOR SINGING “Yo, soy el cantante…”
The faces in the audience: sheer adulation. Héctor spreads his arms
to his thousands of adoring fans. The Puerto Rican flag spreads out in the balcony.
The crowd cheers as the flag dances…a subtle but defining political party,
live from New York City.
PUCHI The more he grew as an artist, the
deeper he sank as a person, as a
human being…but they loved him.
All his faults and trouble…only
made him more like one of them.
And that is just the first seven pages! Boricuas young and old are gonna lose
their mind when this movie opens. What this script does is take you back to
the bygone era when salsa was king in New York City during the 60s and 70s.
When there were Latin nightclubs on every street corner and when the Fania All
Stars were just that – the All Stars.
The
script covers all the bases of Héctor’s life both good and bad.
Those salsa fans whom already know the Héctor Lavoe story will be familiar
with it. It’s all here - his conflict with his father when Héctor
sang in his father’s band and Papi didn’t want Héctor to
go to New York because he already lost a son - Héctor’s early days
when he crashed in his sister’s PRISICILLA’s pad - when Héctor
first met a wooed Puchi - Priscilla’s grilling of Puchi is here too. That
ethnic rivalry that exists between Puerto Ricans born on the island and Puerto
Ricans born in New York City is in there – especially in those two excellent
scenes between Priscilla and Puchi early and later in the script. Héctor’s
early performances are here. Of course his legendary meeting of JOHNNY PACHECO
and introduction and teaming up with the badass WILLIE COLON who is here in
his full New York Latin street swagger (just like yours truly). John Ortiz is
a highly underrated talented performer so I know he is gonna rock the role of
Colon. The signing of Héctor by Jerry Masucci to the Fania Records label
and changing of his Héctor’s last name is in there - a very politically
incorrect but necessary scene. Hector’s glory days with Willie to their
eventual departing and of course Héctor’s drug use as it slowly
destroyed him and those who loved him the most. The horrible tragedies that
haunted Héctor later in life is also here.
The script has it all, drama, music, Latin culture, habichuelas – chocks
full of it too, and lots of sex – Puchi and Héctor go at it a lot
here. Hopefully the chemistry between these two will rival that of Mr. and Mrs.
Smith. I’ll take Jennifer over Angelina Jolie any day of the week.
In closing, El Cantante is both a Greek tragedy and a love story. Oh, and the
songs are here too and integrated into the script. All of Hector’s greatest
jams are here, just to name a few, from El Cantante, Que Lio, El Todo Poderoso
(now that’s a salsa jam!), and a heart-braking Todo Tiene Su Final as
it ends the film. The ending with Todo Tiene Su Final is reminiscent of Martin
Scorsese’s use of The Animals House of the Rising Sun with the ending
of Casino.
So go check out this film when it hits the screen. For the Latinos, it is required
viewing. Like we said, if a Latin script is dope, we will tell you it’s
dope. This script wasn’t given to me and I am not doing a producer a favor
by plugging this. I have never done that. I don’t get one red cent from
plugging this script. I simply hunted the script down and took a look at it
for myself out of genuine curiosity. Leave everything at the door that the tabloids
say about Marc and Jennifer and go into this movie with an open mind - I think
you will be genuinely surprised. The production is halfway through shooting.
Best of luck to Leon Ichaso and the filmmakers. I am excitedly waiting to see
the final product. Look for my review of the final film here at Latinoreview
later in the year.
For all who don't know this little guy,his is Alex Lebron at 3 years of age demonstrating with his father some of the different latin rhythms such as bomba, plena, guaguanco (my favorite on this video). WOW! If you ever need some inspiration, this kid is AMAZING! He doesnt even know he's as good as he is.
Enjoy the clips!!
here is him in concert with a couple other child prodigies. Little Alex is in the middle of course at the age of 4!!
It's a real great pleasure to introduce to you Oliver Pineda, director of the "Latin Motion Dance Academy" from Australia, many time salsa champion, very good Timbales player, and a "very high level" Dance Instructor.
Here is a list of songs being played at social nights here in Edmonton. All of these musicians are from either New York or Puerto Rican descent. Some singers are not descendants from here such as Ruben Blades(Panamanian) Justo Betancourt (Cuban) and Celia Cruz (Cuban) but their musicians ARE and hence have more of that mambo on2 feel to them that I LOVE SO MUCH. Some songs need to be slowed down and if you CAN, GREAT! At least for the dancers. Otherwise , great to listen to. Oh and for actually purchasing a current album, PLEASE GET the soundtrack for El Cantante (Marc Anthony singing classics originally sung and made popular by the late Hector Lavoe).
Ok so this post is not intended to argue against the negative feedback surrounding "El Cantante." The purpose is to inform others that they can watch the movie and actually take some positive things away from it. I would hope that people don't JUST listen to the negatives and see the movie for themselves and formulate their OWN opinions.
Here is the lineup of bands and artists in Puerto Rico for the 2007 World Salsa Congress:
The Spanish Harlem Orchestra
Like
a lot of folks, I liked Jennifer Lopez back in the days when she was simply
an actress – when she rocked the roles in MI FAMILIA, SELENA, MONEY TRAIN,
and OUT OF SIGHT. I liked her before the megalomania and the tabloid fodder
life style kicked in. For the longest, and I agree with her critics, she has
been playing it fairly safe in these whack romantic comedies – roles that
could be phoned in. She hasn’t really stretched as an actress since OUT
OF SIGHT and taken a role the she really has to go all out and act her ass off
(no pun intended). Another thing I found annoying that she was trying really
damn hard to pass for a blanquita and play all these white roles and bleaching
her hair blond and such. Sorry nena, motherfuckers weren’t buying it.
But I always held out hope that maybe one day she would go back to her Nuyorican
roots and rock a role big time and play a hardcore Latina character that would
best showcase her acting ability.
Puchi
passes a line of junkies and another lookout guy and makes it all the way up
to the shooting gallery on the 2nd floor. Three unshaven, stoned men, dressed
in dirty sweat suits, sit on a couch, one wearing sunglasses. The table in front
of them is covered in drug gear. Puchi struts in. Everyone freezes except the
guy wearing the sunglasses, who waves…and smiles, unable to to disguise
the absurdity of playing dead with so much to live for. It’s Héctor.
Just a tad surprised.
The
script covers all the bases of Héctor’s life both good and bad.
Those salsa fans whom already know the Héctor Lavoe story will be familiar
with it. It’s all here - his conflict with his father when Héctor
sang in his father’s band and Papi didn’t want Héctor to
go to New York because he already lost a son - Héctor’s early days
when he crashed in his sister’s PRISICILLA’s pad - when Héctor
first met a wooed Puchi - Priscilla’s grilling of Puchi is here too. That
ethnic rivalry that exists between Puerto Ricans born on the island and Puerto
Ricans born in New York City is in there – especially in those two excellent
scenes between Priscilla and Puchi early and later in the script. Héctor’s
early performances are here. Of course his legendary meeting of JOHNNY PACHECO
and introduction and teaming up with the badass WILLIE COLON who is here in
his full New York Latin street swagger (just like yours truly). John Ortiz is
a highly underrated talented performer so I know he is gonna rock the role of
Colon. The signing of Héctor by Jerry Masucci to the Fania Records label
and changing of his Héctor’s last name is in there - a very politically
incorrect but necessary scene. Hector’s glory days with Willie to their
eventual departing and of course Héctor’s drug use as it slowly
destroyed him and those who loved him the most. The horrible tragedies that
haunted Héctor later in life is also here.
For all who don't know this little guy,his is Alex Lebron at 3 years of age demonstrating with his father some of the different latin rhythms such as bomba, plena, guaguanco (my favorite on this video). WOW! If you ever need some inspiration, this kid is AMAZING! He doesnt even know he's as good as he is.
Enjoy the clips!!