[ Current
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WE ARE MOVING! Jan 2023 by ETOWN SALSA - 11/4/2022
JULY EVENTS & SOCIALS update
JUNE EVENTS & SOCIALS update
MAR 2021- COVID-19 NEWS UPDATE
EVENTS & SOCIALS update
FALL CLASSES UPDATED!
JULY Update: Beginner level 1 OPEN
CORONA VIRUS NEWS UPDATE
COVID-19 NEWS UPDATE
SPRING Weekly Schedule
Best Dance School by Top Three Rated
PRIVATE LESSONS?
April News letter - Males needed!
25% School Discount! Take advantage!
Valentine's Ideas in Edmonton
WE SELL SHOES NOW!!
Jan 2017 Newsletter
November 2016 Newsletter
September Newsletter
JUNE Newsletter
May Newsletter
February Newsletter
January Newsletter
MAY NEWSLETTER
SALSA WITH THE STARS - THEATRE & DANCE VIDEO
APRIL NEWSLETTER
MARCH NEWSLETTER
FEBRUARY NEWSLETTER
JANUARY NEWSLETTER
NOVEMBER NEWSLETTER 2014
September Newsletter
August Newsletter
ETOWN SALSA in Puerto Rico!
Saskatoon Salsa Success!!
2014 Salsa With The Stars!!
Bachata TV Debut on ABC w/Romeo Santos
WORLD LATIN DANCE CUP: Alex Espinoza & Avideh Musgrave from ETOWN SALSA
Bachata Artist Jeyro :Profile and Videos
Salsa Artist EDGAR JOEL: Profile videos
Salsa Music and Timing
CD RELEASE: Tony Succar - UNITY- Tribute to Michael Jackson
Salsa with the Stars VIDEOS!
'SALSA WITH THE STARS' Photos
GROUPON NEWCOMERS TO ETOWN!!
5th Annual SALSA With The STARS!
Gilberto Santa Rosa - Alberta shows
SALSA Video clip of the week!!
Heritage Days Festival videos
Montreal Salsa Congress videos
Saskatchewan Salsa Congress videos
Welcome Living Social Members!
ZUMBA 2 Video Game coming
ETOWN SALSA add MINDBODY as its ONLINE solution!
FROM THE EXPERT: SALSA ON1 OR SALSA ON2. WHAT’S YOUR FLAVOUR?
Vote ETOWN SALSA in ZUMBA Contest!
Salsa on1, on2 or On Time
Thousands say goodbye to Joe Arroyo in Barranquilla cathedral
THE SALSA TEST
Pitbull & Wyclef Jean Get Into The Beat of Zumba
ETOWN SALSA at Vancouver Salsa Festival 2011
Video of the Week: Ana Massacote & Didier Lobeau
Tips For Winning Salsa Dance Competitions!
Edmontonian places 6th in World Salsa Competition
ZUMBA Video Game!
The 2011 ZUMBATHON FITNESS-CONCERT
ZUMBA Toning on CBS' THE TALK
ETOWN SALSA IS RELOCATING!
TALENTED KIDS in DANCING!
ETOWN SALSA OPEN HOUSE
Rhythms Del Mundo feat. U2 with Coco & Coldplay
Rock my World - Michael Jackson (salsa remix)
Thinking of You- Lenny Kravitz (Salsa)
In Da Club- 50 Cent (SALSA REMIX)
SALSAID for Chile raises over $10,000 !!
HELP REBUILD CHILE (Online Sites)
Giju's Salsa Music Video
ETOWN hits Dil Se (Bollywood event)
Latin Music USA - Its Gonna Move You
ETOWN hits U OF A Enterprise Square
Dance away your blues the salsa way
ZUMBA Fitness hits Edmonton!
SCAM ALERT! Scammer contacts ETOWN SALSA
WHAT IF... The Story of Alex da Silva
RIP Michael Jackson (1958 - 2009)
Alex Da Silva, of 'So You Think You Can Dance,' accused of rape
In Memory: Manny Oquendo, 1931-2009
Joe Cuba, RIP (1931-2009) - Viewing and Mass
AZUCAR is BACK!! Dec 5,2008!
NEW SALSA PUBLICATION! 'OnTwo Magazine'
2 GREAT New Years Eve Fiesta's Under the Same Roof!
SYTYCD Canada - Salsa & Mambo
Before Becoming Salsa Superstars
Junior & Emily on America's Got Talent
FIESTAVAL 2008 Highlights
So You Think You Can Dance 2008
CLUB PROFILES: Steven's Steakhouse - Los Angeles
Colombian Style by Swing Latino
2007 WORLD SALSA CHAMPIONSHIP RESULTS
Interview with Oliver Pineda
Salsa Congresses Around the World 2008
New Swing Sextet-Back to the streets
GIVE ME SOME MAMBO MUSIC TO LISTEN TO!
Hector Lavoe - Video Classics
El Cantante (feedback from Willie Colon)
Take the positives, El Cantante - The Movie
PUERTO RICO SALSA CONGRESS BANDS VIDEOS
NEW Spanish Harlem Orchestra Album
'El Cantante' The Movie,in Theatres August 1st
Alex Lebron - Music Prodigy
David Melendez has passed away!
Interview with Carmen Taveras - NYC
Interview with Ike "Dr. Ike" Ogbaa
Interview with DJ D. Martinez (Boston)
Arson suspected in Latin club fire
Interview with Ahmed Zakaria (New York)
Interview with Thomas Guerrero - Santo Rico ( New York)
Interview with Kelvin Harris
LaVoz Magazine Available NOW!
Interview with Stracey Diaz - New York
Looking for the Salseros in San Juan
DJ Article by Saif Al Bitar
Interview with Leon Rose (London)
New festival gets into Latin groove
Expo Latino is hot, hot, hot
Hispanic Festival 2006 News! Noticias!
Interview with Cesar Henriquez(LA)
Interview with Ahtoy WonPat-Borja (NYC)
So You Think You Can Dance - Auditions
Latin Jazz Legend Barretto Dies
2006 W.C. Salsa Congress Instructors (CONGRATS ERIC & KELLY)
What Makes a Good Dancer?
ˇBOMBA! NOMINATED FOR CMW INDIE AWARD
Interview with Micah Boon (Chicago)
Interview with Liliana Hernandez (Philly)
THIRD ANNUAL SALSA MUSIC SEMINAR
World Salsa Championships 2006 Tour Schedule To Qualify
REVIEW: The 1st Annual World Salsa Championships 2005
Interview - Juan Matos ,N.Y.
Interview -Junior Alabi, San Francisco
RESULTS: World Salsa Championships 2005
Lopez & Anthony Evacuated From Film Set
Big Lights, Big Salsa
A Dance That Spans the World
COMIC RELIEF - Pinky the Cat
Interview with Melissa Fernandez and Luis Vasquez - LA
DJ Fuego Retires Clubscene
1st Annual Mexico World Salsa Congress
Interview with Mr. Oscar Hernandez
Announcing the 2005 Vancouver International Salsa Congress
'For The Love of Salsa' Concert & Dance
September 11, 2001
Interview with Sasha Jimenez (Boston)
Interview with Jhesus Aponte (New York)
Interview with Amanda Estilo – NY
And The Salsa Beat Goes On
High Level Salsa In Las Vegas
3rd Annual Canada Salsa Congress
Singer Ibrahim Ferrer dies
DJ Nik’s Tunes for the Dancefloor!
Interview with Johnny Polanco
Faith in Carlos Gomez : A Memoir of Salsa, Sex, and Salvation
Puerto Rico Congress Summary
TV: So You Think You Can Dance
Puerto Rico Salsa Congress July 24-30
An Introduction to Clave Theory (Breaking on Two)
Pics of the Day - Jimmy Bosch & Ismael Otero
History of Reggaeton
Pics & Vids from Jimmy Bosch & Calgary Open
Interview with Janet Trotto (NY)
Interview with Mr. Johnny Pacheco
PRESS RELEASE: Chino Nuńez
Beginner’s Corner: Should I take salsa dance lessons?
SALSA - more than just a dance, it’s a lifestyle.
Cuban Salsa Congress – World Tour 2005-2008
Jimmy Bosch at Medicine Hat JazzFest 2005
Interview with Joby Martinez
Interview with Jareau Almeyda from iMambo.tv (NY)
Interview - Eric Baez
Profile - StuckOnSalsa.com
Origins of Salsa the Puerto Rican Influence
7th Annual West Coast Salsa Congress Media Advisory
World Mayan Contest 2005 Heating Up!
Interview with Jimmy Bosch
Combo Re Interview with Aryana
Shakira's New Single
Interview with Joel & Ana - Boston , USA
Los Angeles Film Festival Welcomes Albert Torres Productions To Participate In Screening Of Mad Hot Ballroom
Day 165 maybe??!!
Albert Torres World Salsa Competition
Interview with Oliver Pineda - Australia
Salsa El Cheapos
Chino Nunez - Timbalero Giant on the Clave!
SPANISH HARLEM LIVE IN JACKSONVILLE JAZZ FESTIVAL 2005
Interview with Gordon Neil - Atlanta, GA
Interview w/ Grisselle Ponce - NY/NJ
"Why Am I Not Improving?"
A House Divided
2nd NJ/ NY Salsa Festival 2005
Calgary Salsa Weekend 2005
Law Dept Employee Wins Grammy
Salsa Event Will Spice Up L.A.
Interview with Super Mario - London
Japanese Turn Saucy About Salsa Dancing
An Interview with Ms. Emily Alabi - San Francisco
FREE ONLINE Salsa Video Links
Tsunami Fundraiser Success! Thanks Salseros!
Interview with Yesenia Peralta - New Jersey
ATP WORLD SALSA EVENTS 2005
An Interview with Alfredo Piceno
Interview with Diana Nunez
A Performer Vents, A Promoter Responds...
From a Salsa DJ's Perspective
America Rosa Celebrates 15 Years!
Salsa Freaks Love iBomba!
Etown Interview with Ismael & Jamie
Larry Harlow – El Gran Maestro of Fiery Salsa!
Let the world change you, and you can change the world.
Reminiscing Salsaloon.com
A Salsero in New York
SALSA ORIGINS
2nd Musician's Seminar @ LA Congress
Vancouver Congress Review
One Step at the Time! Dont Get Frustrated!
Is Salsa dying?
Los Caminantes Celebrate 25 Years!
Welcome EdmontonAzucar.com!
What is Salsa? Where and How Did it Start?
NEW Jimmy Bosch CD!
Jennifer Lopez pulls out of upcoming movie
Foreigners Coming In
FYI Edmonton Salsa Club
Salsa Sin Fronteras
Oscar Hernandez’s Spanish Harlem!
Hector Lavoe - Reflections on a Salsa Legend!
Celia Cruz: A Year Later
GET YOUR ˇBOMBA! ON ACROSS THE COUNTRY
Latin Beat Joins 2005 Congress Offer
ATP / 2005 Special Price Badges For Fundraiser
Largest Salsa Congress In LA
Johnny Pacheco & Africando Articles
Beginner, Intermediate or Advanced?
Do I Need To Learn How To Dance ON THE 2 ?
Good Salsa Dance Songs
ˇBOMBA! WIN CBC GALAXIE RISING STAR AWARD AT JUNOFEST
6th Annual West Coast Salsa Congress
The Catskills Meet Castro: 'Dirty Dancing' in Cuba
How Was FULANITO?
Is salsa world's savior?
Havana Nights Preview
VOTE ˇBOMBA!
Monday Night Growth Opportunity for Etown Salsa
Snow 'n Salsa 2004
Top 10 - Reasons to Start Salsa This Year
Ruben Gonzalez (1919 - 2003)
Latin Christmas Charity Ball
Salsational Workshops Ana & Orville!
Wanna Learn Salsa??
Etownsalsa.com is LIVE!!
DJ Spice on the Internet
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WE ARE MOVING! Jan 2023
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It is with a heavy heart that we have to say good bye to almost 12 years at the so called "WAMAG" building located at 10923-101 st.
Due to the building going through changes and the property owners having a new vision for the area, ETOWN SALSA is having no choice but to relocate to not only a better neighbourhood but a top of the line building with fantastic amenities and complimenting neighbours.
Our new location will be located at #204, 10575-115st., Edmonton, AB, T5H 3K4.
The location is quickly becoming a busy area of commercialization and residential abundance. Its a great area to enjoy a fantastic dance class and then head over to the Oliver Square area to enjoy a pub or restaurant right afterwards.
Free parking located exactly in front of the building, you will find plenty of it after business hours when the parking becomes plentiful and convenient especially during the winter season when we need quick access to indoors.
Also plenty of bus routes that stop by within 1-2 blocks away to get you near our venue.
Come join us at our new location in January of 2023.
See you all then!
THE ETOWN SALSA TEAM
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JULY EVENTS & SOCIALS update
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We are officially heading into stage 3 and this will allow full classes, full socials and gatherings.
But with some precautions we would like to eventually phase into this stage 3 by still having a few limitations for the health and safety of our students. For classes, if you are registering as a single for a partnering class, we suggest you have fully vaccinated to keep yourself in good safety and health. If not, we will suggest you continue to wear a mask. As part of your registration, you will be signing a waiver as well if you are not vaccinated. This will also apply to dance socials if you intend to attend any. Otherwise, we hope you will enjoy our SUMMER SALSA & BACHATA in the VALLEY classes as well as any other classes we have in studio. Thanks and enjoy your summer! |
JUNE EVENTS & SOCIALS update
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We have just entered Stage 2 which will allow some indoor classes participation and more gatherings outdoors.
As more people get vaccinated this will help our dance community get back to normal which is SOCIAL DANCING rather than the complete opposite SOCIAL DISTANCING! Once we get to Stage 3, this is where you will get to see more events, outdoor and indoor happening with ETOWN SALSA. In the meantime, we have introduced a SUMMER SALSA & BACHATA in the VALLEY series for the complete beginners to take advantage of. We have already introduced it to the intermediates and they are loving the outdoor association of dance and summer! Our outdoor location is on 9999 Grierson Hill just south of the Shaw conference center. Its called the Louise McKinney Riverfront Park and we meet at the Shumka stage. If the stage is not occupied, we stay there, otherwise there are plenty of little spots around there that we can meet and dance! Enjoy your summer and hope you can join us for some awesome classes!! |
MAR 2021- COVID-19 NEWS UPDATE
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Due to a slow down of class in the midst of the pandemic during the months of Dec 2020 to Feb 2021 we are doing the following:
We are requesting all interested students wanting to start up a class in either Partnering Salsa / Bachata / Merengue / Cumbia and Singles Footwork classes to email us directly at contactus@etownsalsa.com and/or text us at 780-906-7939 with your preferred times and dates to start up a dance class. This way we will be able to gather all interested parties and make a group class at any time that the group requests. And until restrictions ease up, classes will all be virtual til we are allowed in-person classes. We hope you are all doing well and staying healthy! That's the most important at this time and honestly , dancing is such a great activity to brighten up your days. The endorphins and really dopamine, oxytocine, and seratonin released from dance activity is so amazing, you really have to try it to experience the change in your life. We hope you all are doing any and all activities to combat the mental health depression. Dance is just one that will help you and hope to see you in a virtual or in-person class. ETOWN SALSA is setup with mic to clearly hear instruction and direct audio connection of music to get the best instrumental experience possible from virtual instruction. Gracias! Stay safe and healthy amigos! |
EVENTS & SOCIALS update
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Due to covid mandate from AHS, ETOWN SALSA will be currently banning dance social events and socials and any dance nights it usually holds. Why you may ask? and you may also question then why would partner dance classes be allowed and not socials? Large in part, social dancing is exactly what the name implies, to dance socially with as many partners as one pleases. In addition to this, there is alot of close contact and heavier breathing that occurs right in front of each other. And this is usually with strangers and regular dance partners one may have. In a classroom setting, we have mandated same cohort and couples only with no swapping so this allows much better control of risk. The probability of being able to have a social dance event that did not allow swapping of partners is very unlikely and so for that reason alone, we don't feel confident in hosting parties of this nature at this time until a vaccine or drugs are introduced to build our immune systems and to create a herd immunity. Seasonal flu has drugs and vaccine shots available but COVID so far does not. So until vaccines and drugs become main stream and available to the Edmonton people, we will be postponing any events of this nature. It's unfortunate and depriving of what dancers , especially partner dancers love the most. Partner dancing fulfills a proper amount of Serotonin in our brain to reduce levels of depression, anxiety and sleep. In addition dancing and listening to music considered wellness and exercise will elevate your Dopamine, Oxytocin, Serotonin,and Endorphin levels to create very healthy brain development. We like to call it your Latin Dance "D.O.S.E." One becomes addicted to the feeling and doing it again and again only keeps your DOSE levels up! ;) In the meantime, find a cohort partner and just dance at home or even solo dancing can help your situation. If you don't have a partner, we do have solo footwork classes that will get you dancing, exercise, and fulfilling proper levels of D.O.S.E.. In anycase, keep happy , keep sane, and keep dancing!! |
FALL CLASSES UPDATED!
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Please find now a full lineup of classes for this fall season. Note the changes we have made with some new classes plus some new rules we have setup. Check out the list:
- New Beginner solo footwork classes - New Intermediate solo footwork classes - For partner classes, couples only or cohort trusted pairings. - For all classes, masks mandatory and if sufficient distance between students, then no mask on solo classes as long as no talking. - Sanitize hands or clean hands upon arrival to class before and after class. - Virtual option for class but must be requested before the start of series. - If a lockdown of classes in studio occurs, remainder of classes will continue by zoom virtually. - As a bonus virtual classes will also be recorded for download and reference. - Socially distanced squares have been created to give 2 metre distancing requirements. - Santizing stations are setup at the entrances front and back of the building for your safety as well. |
JULY Update: Beginner level 1 OPEN
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Yes it has been a slow phase in period and we want to ensure health wise everyone is taken care of. We have already started 4 in-studio classes with great success and we will be added more this month. Look forward to some new classes never introduced before. Footwork shines to get your minds going. It includes absolute beginner classes in Salsa and Bachata patterns that will increase your footwork vocabulary like you never thought. Its not a Zumba class but more directed into learning footwork and body movement like you have never done before. Latin Afro Cuban movement is distinct and you will love the vibe once you take these classes. We also have couples only classes in Salsa and Bachata available. Both classes have already been scheduled for July and August to start. Feel free to register online and because there is limited space we recommend early registration. Also we have a strict mask requirement for all classes and no couples will be swapping during class. The effectiveness of what we are doing is going a long way to keep our health and sanity! Hope you can join us soon! |
CORONA VIRUS NEWS UPDATE
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Testing
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COVID-19 NEWS UPDATE
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Here will be an update of news and protocols ETOWN SALSA will be following in order to stay within the AHS guidelines till the pandemic has ended.
Edmonton is under Stage 2(as of June 12) of the re-opening phases and here are some protocols we will be enforcing: * We will be spraying and disinfecting the washrooms and reception areas before , between classes and after classes. * Floors have been marked with 2 meter distancing in between to help guide all students with proper social distancing. * We have made masks mandatory during stage 2 and possibly stage 3. If you do not have one, we are selling masks upon prior request. * A reduction in the number of students per class exists now in order for proper social distancing. * A 15 min break in between classes now exists in order for exiting and entrance of clients. * In order to reduce risk indoors even further, we are requesting students wanting to socialize to do this outdoors rather than in reception or in the studio itself. * If you would like to film the class, keep your phone on you or near the wall by where you are dancing to avoid any contact with anyone towards the end of class. * We will not be utilizing punchcards or allowing drop-ins to the class unless prior notification is made. (24hrs minimum prior to class) * No one will need to sign into the class upon entry. You will be designated an area to remain for the remainder of the class. * We have 3 washrooms available and will be requesting everyone to hand sanitize or wash hands before and after class. * Please enter with your partner 5-10 min before class. Not any sooner or any later. We will be locking doors up to 5 min after the start of class to avoid any outsiders entering the premise. * If any children of parents are present to wait for the parents in the reception area, we request they bring masks in order for them to remain in the area. As more guidelines are presented we will update this post for best practices for all students attending. Thank you for reading and we hope to give our students the safest experience possible during this difficult time.
Alejandro Rojas
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SPRING Weekly Schedule
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The following schedule is our current schedule for Spring 2018. Some classes may be swapped such as our special workshops but most lev1 and lev 2 classes will stay consistent. Please note the DROP-IN classes. For complete beginners we have social nights included for these ones. For Level 2 students we have in addition to the Tuesday night, any Salsa 1.5 class is also available to drop in on. Please notify us by text at 780-906-7939 if you plan to attend.
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Best Dance School by Top Three Rated
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We were very happy to find out that we had been awarded status as Top 3 Dance schools in Edmonton by Three Best Rated. Thank you very much for your recognition of businesses and the hard work we put in year in year out for our clients. THANK YOU!!! Here is the letter we received in full:
Congratulations! You are now listed as one of the Top 3 Dance schools in Edmonton, AB. We would like to Thank You for providing consistent high quality in your area of business. Our review team either approved or updated your business listing using our 50-Point Inspection which includes everything from checking reputation, history, complaints, ratings, satisfaction, trust and cost to the general excellence. You can view your business at https://threebestrated.ca/dance-schools-in-edmonton-ab If you want to update any of your business information on our website or to provide new High-Resolution photo/logo, contact us by email. Share this exciting news!
ETOWN SALSA Dance Studio
Three Best Rated® was created with a simple goal to find you the top 3 local businesses, professionals, restaurants and health care providers in your city. We display only businesses that are verified by our employees since customers deserve only the best. That's not all... Businesses do not pay us to list them ever. You do not pay us for the listing any time. We believe that local businesses provide better and personal services locally. Local businesses know your city better since they live there too. Our policy is free to list because if you can pay to list, then is it really the best business? It has been an honour and a pleasure to work with you. |
PRIVATE LESSONS?
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Looking to take some PRIVATE Lessons this summer? Have shift schedule or planning your wedding dance? Maybe your a teacher and have some time off to take on a new hobby?
WE HAVE SOME GREAT DEALS! For singles, we have privates priced as low as $45/hr !!! For couples we are offering as low $75/hr for couples!! Its low season for us and summer is the time to get the best prices available and a great time to get some 1 on 1 instruction too! Its festival season and Edmonton has 4 festivals going on with Latin music to get you grooving all day.
Feel free to call /text us at 780-906-7939 today!! or email at contactus@etownsalsa.com and just mentione in the Subject: SUMMER DEAL on PRIVATES! and we will fill you in!
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April News letter - Males needed!
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MALES NEEDED THIS SUNDAY and MONDAYS! Check out our latest e-mail newsletter: http://ymlp.com/zo28qE |
25% School Discount! Take advantage!
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If you attend one of the following post secondary universities, colleges or institutions, you will automatically receive a 25% discount if you text us at 780.906.7939 with a picture of your ID.
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Valentine's Ideas in Edmonton
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Spend this year's Valentine's with your loved one and only your loved one at this SPECIAL VALENTINE'S workshop called "Valentine's Salsa". A FUN , NON-COMPETITIVE environment where you will just enjoy each others time dancing the night away. You will get 90 min of instruction and 15 min to further dance with your loved one.
IN ADDITION:
A special treat for your loved one! Register now! These classes sell out every year! This year we have a choice of 2 different time slots to choose from.
TUESDAY FEB 14 @6pm or @7:45pm
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WE SELL SHOES NOW!!
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We are very proud to announce that ETOWN SALSA Dance Company will now be selling dance shoes geared towards making your dance experience a FANTASTIC ONE! The BEST looking shoes in two different price ranges!
A locally owned company named VAGARI shoes recently opened up this past year with amazing results! They have imported an Italian manufacturer to create the most amazing comfort dance shoe that looks just stunning! Ladies that love their shoes will simply LOVE Vagari! Personally WE at ETOWN SALSA feel they are the best in luxury shoes with also affordable pricing! Here are the 2 lines of ladies shoes available as well as a men's line of shoes too!!
If your interested we currently are just selling in store at our studio at 10923-101 st NW. Please call to make an appointment and as well just in case we may not have your shoe, let us know which one your interested in and the size so we can have it ready for you. We have plenty of shoes in stock but also don't have many of them as well in all sizes. Call for Ana or Alex at 780-906-7939
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Jan 2017 Newsletter
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PHOTOs of Felizańo NYE Masquerade! Join a Latin dance class in winter 2017! SBK Flava schedule out! Enter to win door prize for attending Felizańo NYE Masquerade party! Winners announced next week Jan 8, 2017 : |
November 2016 Newsletter
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We have a bunch of classes to offer this month in Salsa, Bachata, and Latin! If you want to attend our Latin NYE Masquerade party and you need to brush up and take a crash course in salsa & bachata, then we have you covered! Also looking for date night alternatives? DANCE NIGHT! we got it! Have a xmas party that needs some entertainment? We have you covered as well! Latin dancing is very popular at a party!
Latin New Years at Renaissance Hotel / Dance your winter blues away! / Date Dance Night? : http://ymlp.com/z6Vp21
#latinnewyears #datenight #winterbluesideas #renaissancehotel #newyearsideas #latin #salsa #bachata #kizomba #sbk
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September Newsletter
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FREE CLASSES! OPEN HOUSE! Salsa & Bachata! Parties Sept 4 & 24! Check out our latest newsletter: http://ymlp.com/zjVaC
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JUNE Newsletter
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ETOWN SALSA just returned from Saskatoon winning the Salsa on2 Amateur team category and we are super happy that our group was able to win it over some tough competition in Salsavitus. ETOWN SALSA sets their sights on going now to Miami to attend the World Latin Dance Cup now in December as this prequalifier allows them to skip any qualifiication stages.
International Artist Weekend/ Ladies Styling 1&2 / Tango 1&2 / Kizomba 1&2 / SBK Flava Jun 11
Check out our JUNE e-mail newsletter: http://ymlp.com/zzcujl
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May Newsletter
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Salsa 1.5! Salsa with the Stars! SBK Flava! Dioney Da Silva Weekend! Check out our latest e-mail newsletter: http://ymlp.com/zfJ6X1
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February Newsletter
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Valentine's Day Ideas / Kizomba class / Tango starts newsletter: ETOWN SALSA NEWSLETTER
#edmontonvalentines #danceedmonton #vdayideas
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January Newsletter
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VALENTINE'S SALSA , Valentine's Ideas for Couples, Edmonton Valentine's Ideas, Valentine's Ideas in Edmonton.
http://fb.me/4qBdTslwV
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MAY NEWSLETTER
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This month a bunch of new classes include: Samba, Bachata, Tango, Chacha, and of course Salsa!
http://ymlp.com/zY9rmW
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SALSA WITH THE STARS - THEATRE & DANCE VIDEO
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If you missed the amazing Salsa with the Stars theatre gala, here are the performances that include: Marco Claveria Project, Casa Tango, Cuban Movements (Raydel & Brittany & Leo), Maria Thomas Belly Dancing, Sydney Espinoza, Vitaly & Kayla Bachata, Nerissa and Alwynn Bachata, Samba Edmonton, Salsavitus, Mario Acosta, Sekou's Crew House, Alma Latina Edmonton, Salsaddiction, and all 5 of the ETOWN SALSA dance teams which include:
Nuevo Salseros
Amateur Salseros
Amateur Bachateros
Pro-Am Salseros
Sabor Divino
DANCE EVENT - SHERBROOKE HALL |
APRIL NEWSLETTER
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No Classes Easter Weekend! Krush on Sun Apr 5 and O'Mailles Apr 10!!
http://ymlp.com/zW3K8R
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MARCH NEWSLETTER
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Samba / Tango / House Startups!! Krusch / O'Mailles / Theatre Salsa Event!! Check out our latest e-mail newsletter: http://ymlp.com/zZM9k1
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FEBRUARY NEWSLETTER
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Valentine's Day Ideas!! Check out our latest e-mail newsletter!: http://ymlp.com/zZMFOs
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JANUARY NEWSLETTER
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WORLD LATIN DANCE CHAMPS come to ETOWN! New Classes posted! Winners of NYE! Check out our latest e-mail newsletter: CLICK HERE FOR JANUARY NEWSLETTER!
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NOVEMBER NEWSLETTER 2014
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NEW YEARS PLANS!
NEW SCHEDULE FOR 2015
INT'L ARTIST COMING TO ETOWN!!
Check out our latest e-mail newsletter: http://ymlp.com/zD3QNp
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September Newsletter
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Check out our latest newsletter!
Highlights are: Samba Workshop series! Latin Jazz/Contemporary Workshop Series! Afro-Brazilian Workshop Series! Hip-Hop Workshop Series! FALL SCHEDULE IS UP! REGISTER NOW! Check our newsletter: http://www.etownsalsa.com/newsletter2.asp |
August Newsletter
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Check out our latest newsletter!
Highlights are: FREE CLASSES for our OPEN HOUSE! SALSA & BACHATA Auditions! TEEN SALSA! for the first time! SALSA Practice Schedule is up! FALL SCHEDULE IS UP! REGISTER NOW! Check our newsletter: http://ymlp.com/zu7z9B |
ETOWN SALSA in Puerto Rico!
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5 members of the ETOWN SALSA team took on the thrill of a lifetime and ventured out to the beautiful island of Puerto Rico to attend the 18th Annual Puerto Rico Salsa Congress. Check out their performance that was broadcasted live online! All of ETOWN SALSA is proud to see its members perform at this event and we hope to take more members in the future to many more events like this! |
Saskatoon Salsa Success!!
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Ther 3rd Annual Saskatchewan Salsa & Bachata Congress is now officially over and with great success!! It has to be one of everyone's favourite congresses to attend as the people are so warm and inviting that you can help but feel the love that everyone gives you. ETOWN SALSA's 2 amazing teams "ESTUDIANTES" and "INTER-AVANSADOS" took the stage and did not disappoint at all. Much like their success at their own fundraiser, they elevated themselves to a fantastic showing at this years congress. Please enjoy their videos here.
Post by Etown Salsero. |
2014 Salsa With The Stars!!
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Salsa With The Stars was a complete success with a sold out show of over 200 in attendance. Thank you goes to everyone who put their effort to make this evening happen! On behalf of the whole ETOWN SALSA Dance Team we would like to thank all our volunteers:
Carlos H., Emilia H., Jenny P., Susana B., Silvia T., Ron S., Laureen E., Jessica R..
We also want to thank all our dancers:
EDMONTON TEAM We also want to thank all our sponsors:
PLATINUM - CENTURY 21 - Laureen Espinoza A VERY SPECIAL THANKS GOES TO LES LEFEBVRE for his amazing MC'ing this evening. His dedication and professionalism at the mic is a vital part to a FANTASTIC SHOW and he did just that!! THANK YOU THANK YOU!! Enjoy the performances at this year's showcase!
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Bachata TV Debut on ABC w/Romeo Santos
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"The Bachelor" is a highly rated tv series and it is featuring for the first time a Latino American. Juan Pablo Galavis has become an American heart throb on this show and for many episodes he has exposed much of the Latin culture that is hugely embraced by many. In this episode, Juan Pablo takes his date to a Bachata concert with Romeo Santos. As most Bachateros know, Romeo is a very popular artist in Bachata dancing and this is an example of how Bachata is making waves in popularity around the world. Don't let the dancing fool you though, these two are very new to the dance. I personally invite these two to a free dance lesson by ETOWN SALSA!! ;)
Enjoy the video!
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WORLD LATIN DANCE CUP: Alex Espinoza & Avideh Musgrave from ETOWN SALSA
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2 of Edmonton's top dancers from ETOWN SALSA have taken the big leap to the big league and are representing CANADA at the WORLD LATIN DANCE CUP 2013 in Miami, Florida, USA.
Alex Espinoza has been with ETOWN SALSA for nearly 6 yrs and took his first dance classes with ETOWN SALSA. His first lesson was a Level 2 class Jan 14, 2008. Avideh Musgrave has been with ETOWN SALSA for 7 yrs on and off (first 1yr). Her first lesson was a level 1 class April 7, 2007. Watch them live on the USTREAM this weekend. The broadcasts will be recorded so you can watch the whole event on their channel: (CLICK HERE FOR USTREAM VIDEOS) Competition resultsAlex & Avideh competed in 2 categories for themselves. They competed in the amateur Salsa On2 category and in the Salsa Couples Over 65 (over 65 in combined ages) category where they place 7th and 2nd respectively. We are very proud of their achievements and here is the video to show. |
Bachata Artist Jeyro :Profile and Videos
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Salsa Artist EDGAR JOEL: Profile videos
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Biography Un 20 de Agosto en el ańo 1961 en el seno de una familia originaria de Barranquitas, Puerto Rico. Edgar Joel mostró afición por la música desde los primeros ańos de su vida por lo que cursaba estudios secundarios comenzó a organizar grupos para fiestas locales. Posteriormente, llego a formar parte de varias orquesta hasta que formo la suya. Con su entusiasmo y el deseo de superación la disciplina y la dedicación que caracteriza los verdaderos artistas mas tarde organizo "Edgar Joel y su Orquesta" una nueva agrupación que le ha dado al mundo de la música grandes creaciones como "Hechizo De Luna", "Hasta El Sol De Hoy" “En las Nubes”, “Como Será”, “Si tuviera tus Ojos”, “Me Atrapa La Noche” y “Las Alas De Mi Corazon”.es la nueva entrega musical de Edgar Joel, con una propuesta de salsa es un disco que marcara en lo clásico con 8 nuevos temas inéditos. Edgar Joel, nos sorprende con este nuevo trabajo un clásico por su contenido donde figuras del pentagrama musical de la salsa, han participado en este trabajo. Este cd es la definición de un grupo de talentosos músicos, arreglistas y compositores del genero salsero. Al decir "Pa' La Historia" no nos referimos o enfocamos en la historia pasada sino la que acaba de empezar y se empezara a escribir con este álbum, que hoy ponemos en sus manos, oídos y corazón. Edgar Joel con sus ańos de experiencias y su nueva producción. Es un junte el que tendremos el placer de escuchar ahora que convulsionamos en la música con nuevas fusiones musicales este álbum hará retomar el sitial de la salsa en sus ańos dorados. Este nuevo disco para los salseros de corazón completamente bailable y con swing. Arreglistas como Cuto Soto, Eric Figueroa, Ramón Sánchez y Andy Guzmán. Compositores de la talla de Rubén Martínez, Gustavo Márquez, Peter Velásquez, Ricardo Viguetta, Alberto Guerrero y Edgar Joel. Músicos y coros de voces hacen que este producto sea “Pa' La Historia”. Pa' La Historia grabado en Puerto Rico en los estudios V U / Indian Cliff Recordings.
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Salsa Music and Timing
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Hola students!
Found a few videos that will help you learn a little more about the instruments and what they do during a song. Of course every song will be different and depending on the rhythms they are playing, each song is unique but elements such as the the instruments will be shown in a graphical form. Excellent videos to use so please take advantage to rewind and study these! There is even a song the breaks up to count your one in the music so you can follow.
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CD RELEASE: Tony Succar - UNITY- Tribute to Michael Jackson
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Succar has worked with artists Arturo Sandoval, Néstor Torres, Ed Calle,Tito Nieves, La India,Obie Bermudez, Jennifer Peńa, and Tito Puente Jr., among others. Growing up in Miami—a multi-cultural “Melting Pot”—molded him into a versatile musician, prompting him to make the most of his prodigious talent. President of his own record label, Mixtura Productions, Tony Succar is well-versed in a number of professional Roles;bandleader, percussionist, musician, producer, composer, and arranger.He is currently endorsed by Gon Bops, a top percussion brand, and Sabian, one of the leading cymbal manufactures in the world. Whether in a timbales solo, an orchestration, or an explosive groove, Succar’s sound is gripping and distinctive and accommodates the energies and interests of musicians and dancers. Notably, at every performance, Tony focuses on the integrity of his music. Succar’s compositions emphasize combinations of syncopation, harmonic curiosity, rhythmic uniformity, and tasteful melodies. With his unique arrangements and personal charisma, Succar breaks the mold to create enticing masterpieces for all. Tony’s debut album (CD/DVD) “Live at the Wertheim Performing Arts Center” is a prime example. The album received excellent reviews from mainstream media, including this one: “An exciting fusion of South America, Cuba, Jazz and South Beach flavor from an up-and-coming artist who will almost certainly be heard from more in the future.” – Jazz Chicago Reviews. Assembling an exceptional production team and featured artists, Tony Succar has created The UNITY Project. A unique endeavoraimed at the minds, ears and hearts of a global audience. Pop legend Michael Jackson’s music and life philosophies heavily influenced Tony as a youngster and teenager, truly igniting his musical ideas and passion. The UNITY Project is the result: an innovative sound that interconnects elements of American Pop, Jazz, Tropical, and World Music with the enduring foundations of the King of Pop. The UNITY album will explode beyond mainstream media to appeal indefinitely to markets around the world. Involved in this grand project are international-renowned artists Tito Nieves, Jon Secada, India, Obie Bermudez, Jennifer Pena, Kevin Ceballo, Jan, and Michael Stuart. The mission of the UNITY Project is to honor the legacy of Michael Jackson, King of Pop; while remaining true to his artistic essence, excellence, and music. The UNITY Project seeks to unify the world’s heart, talents, mind and values.To break barriers between people and countries—just as Michael Jackson envisioned—we all live harmoniously together.
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Salsa with the Stars VIDEOS!
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Salsa with the Stars 2013 Gala, Dance and Silent Auction was a huge success this year with over 400 in attendance for a SOLD OUT show! To show you a couple of the ETOWN SALSA numbers, here are the Student Partnering Team performing La Punta Del Pie (Celia Cruz) and the Intermediate Partnering Team performing Mundy Baja (El Gran Combo).
Student Partnering Team Intermediate Partnering Team and SALT Different angle |
'SALSA WITH THE STARS' Photos
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A huge thanks to all performers, volunteers, family, friends co-workers that have supported this event! It's amazing to put on these big events and to display this beautiful dance we call SALSA! Enjoy the pictures from this years 2013 'SALSA WITH THE STARS' GALA and DANCE!
ClICK ON THE FOLLOWING LINK TO SEE THE EVENT PHOTO GALLERY FROM FACEBOOK!!
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GROUPON NEWCOMERS TO ETOWN!!
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We are very please to have worked with GROUPON in these past few days and if you managed to get yourself in on the AMAZING PROMOTION we offered , you will be even MORE AMAZED at what an AWESOME ZUMBA program ETOWN SALSA has to bring to your life. So for all the purchasers of the deal (Newcomers only), please be aware of the steps you need to take in order to get yourselves in a class. Here they are: STEPS TO START ZUMBA CLASSES!STEP 1: After you receive your GROUPON voucher# (8 digit upc bar code ex: '1234-5678') , we request that you CREATE A PROFILE of yourself with all your details and emergency contact info in our online scheduler system by going here: STEP 2: Email us at contactus@etownsalsa.com with your voucher #. (note: we will cross reference your email and voucher) STEP 3: Once you have received a reply confirmation email starting with 'Confirmed and entered' you will then be able to login to your account to start reserving classes. FREQUENTLY ASKED QUESTIONS:QUESTION #1- Do I have to use my classes only at the location stated on the voucher ? ANSWER: NO. You can use them at any classes listed on our online scheduler site. QUESTION #2- Do I have to use my classes in succession once a week on the same day and time? ANSWER: NO. You can use them anywhere , anytime , any place that ETOWN SALSA has classes. QUESTION #3- Is this like a drop-in basis and do I need to book ahead online? ANSWER: YES it is a drop-in basis to an extent. And YES you will need to book online your classes. Showing up will only disappoint you as with many purchasers, classes will fill up. Our Mindbody system works much like a Hotel Reservation system. So you book a room for a certain day online and if you don't cancel ahead at least 24 hrs, then your room is charged. Well, we are trying the same setup. You book online your specific dates and times but if you fail to cancel a class at least 24 hrs ahead, that one class is forfeited. If you miss 3 in a row, we will forfeit the remainder of your classes to make room for others wanting to get in. Reason is we have a limited number of spots available and if you reserve a spot and you don't show and we saved you that spot, we could have given that spot to someone else that would have shown up. We understand that everyone has busy lives and things come up and so each person is responsible for their own schedule and times. Our system will show you immediately if a class is FULL on the calendar. QUESTION #4- It seems there are no other classes past this week on your calendar? Are there anymore classes? ANSWER: YES, there are plenty of more classes. At the top of the weekly schedule, you will see 3 buttons. TODAY, DAY , & WEEK. Beside the WEEK button, there is a left and right arrow (triangle). Click on the right one, and this will take you to a future week. You will then be able to see future classes coming up. QUESTION #5 - Is my voucher transferrable after I have used some of the classes? ANSWER: NO. The person that has originally used these classes cannot be substituted by someone else. There are serious liability issues we can run into if that person has not signed a waiver or if even a health matter were to occur. Its very important that all precautions are taken care for the safety of everyone involved.
ZUMBA is an amazing workout with Latin music. We know you will enjoy all your classes!
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5th Annual SALSA With The STARS!
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On Friday March 1, 2013, the ETOWN SALSA Dance Company will host its 5th annual gala and fundraiser: “SALSA WITH THE STARS Gala & Dance”. Our amazing dance team is passionate about what they do and travelling to perform is one of the ways they enjoy displaying their talents and passion. Proceeds from this event will help offset the costs of costumes and expenses for the out-of-town travelling to salsa congresses that our team participates.
“SALSA WITH THE STARS” will be held at the Royal Alberta Museum in Edmonton, which is going to be an amazing venue. Our past galas have been very successful and this year’s event promises to be the BEST with a first class theatre facility and another energy-filled evening as it will demonstrate the ETOWN SALSA dance groups and will also be the stage for a variety of local multi-cultural talented acts, ranging from Belly dancing to the unique, rich and entertaining styles of Latin dancing. We will start the night with a slient auction, items will be on display and bidding for an item will be open to anyone. Silent auction will be closing around 10pm to announce winners. If you are still interested in donating or becoming a sponsor for this event , please click the link below to download: CLICK HERE FOR SPONSORSHIP FORM
TICKET ON SALE @ ETOWN SALSA DANCE STUDIO & ONLINE! |
Gilberto Santa Rosa - Alberta shows
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========================= EN ESPANOL ======================
Estimada comunidad Latina de Calgary y Edmonton.
Reciban un cordial saludo de parte de Manny Echevarria, Andres Paredes y Martin Martinez Rios.
El motivo de este comunicado es para expresar nuestras mas sinceras disculpas por los conciertos proximos a llevarse a cabo en Edmonton y Calgary con el Senor Gilberto Santa Rosa para las fechas del 19 y 20 de Octubre del presente anio.
Queremos hacer del conocimiento publico general que estas fechas se compraron directamente a un booking agent en los Estados Unidos el dia 31/08/2012 con deposito y firma de contrato par alas dos ciudades de Edmonton y Calgary. Ademas de que anteriormente se habian firmado contratos exitosos con artistas como Don Omar, Victor Manuel y Plan B entre otros.
Recientemente hemos descubierto que Gilberto Santa Rosa se presenta en West Palm Beach Florida para la misma fecha de Calgary y decidimos contactar directamente a la oficina de Puerto Rico y confirmer la validez de nuestros contratos.
Tristemente descubrimos que nuestras fechas nunca fueron confirmadas con esta oficina general y que nunca existio comunicacion referente a nuestras fechas y conciertos. Como la imagen de este gran artista esta involucrada, su manager el senor Rafael Munoz ha ofrecido ayuda de manera incondicional para llevar a cabo el evento mas adelante con nuevas fechas.
En este mismo momento nuestros abogados estudian el caso para proceder legalmente e internacionalmente contra quien resulte responsable por dichas fechas y dichos actos que afectan no solamente a estos promoters sino a la comunidad latina de estas dos ciudades.
Aprovechamos este comunicado para expresar a todos ustedes nuestras mas sinceras disculpas y dejar en claro que durante ningun momento fue nuestra intencion causar este gran inconveniente a todos los asistentes al evento. Agradecemos de antemano su atencion y comprension a la presente y damos gracias a Dios por habernos dado cuenta con anticipacion y poder corregir esta situacion antes de que el dano fuera mucho mayor.
El refund de todos los boletos se hara en Calgary a partir del dia Martes 23 al Sabado 27 de Octubre en las tiendas Aarons Sales and Lease ubicada en el No. 3200 17 ave SE de las 10.00 am a las 2.00 pm
El refund en Edmonton se hara Lunes October 22 2012 a los puntos de compra.
======================== IN ENGLISH ==========================
Dear Latin community of Calgary and Edmonton.
In behalf of Manny Echevarria, Martin Martinez and Andres Paredes we would like to make the following announcement.
The purpose of this letter is to express our sincere apologies for the upcoming concerts to be held in Edmonton and Calgary with Gilberto Santa Rosa on October 19 and 20, 2012. These dates were purchased directly from a booking agent in the United States on 31/08/2012 with a deposit and formal contract for the two cities and with which we have handled previous presentations with other international artists like Don Omar, Victor Manuel and Plan B among others.
We recently discovered that Gilberto Santa Rosa is being announced in West Palm Beach Florida for the same date as the concert in Calgary so we decided to contact the General office of Gilberto Santa Rosa in Puerto Rico to reconfirm the validity of our contracts.
Sadly we discovered that our dates were never confirmed at this general office and there is no track of any negotiation being made with any of them to guarantee both concerts for our two cities.
As the image of this great artist is involved, his personal manager Mr.Rafael Munoz has offered unconditional support to carry out the event below with new dates soon to be announced. Furthermore, at this precise moment, our lawyers are studying the case to proceed legally and internationally against the person responsible for those dates and those acts that affect not only our credibility but the Latin community in these two cities.
We would like to express to all of you our sincere apologies and make it clear that in any moment was our intention to cause this major drawback to all attendees. We appreciate your attention and understanding to this matter and we thank God for giving us the opportunity to discover this situation on time and correct everything before the damage was even greater.
Refund in Edmonton will start Monday October 22, 2012 at the point of purchase.
If you purchased from ETOWN SALSA, we will be available for refunds at the studio. Please call ahead (780-906-7939)
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SALSA Video clip of the week!!
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Video clip of the week:
This is an older clip of a couple years ago but it is a fun social dance by former multi-year world Salsa champion Oliver Pineda and La Alemana who is a Bachata goddess and also can hold her own in Salsa as well. Enjoy the clip!!
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Heritage Days Festival videos
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Every year for the past 8 years since 2005 Alejandro Rojas has managed to get a group of dancers to performance at the Heritage Days Festival held every year on the August long weekend. This year was no exception. With a group of 12 dancers, they frequented both the Venezuelan and Nicaraguan pavilions to demo and perform for the massive crowds at the festival. They did a total of 8 showcases during Sunday and Monday and here are a few videos to show you how they did!
Agua de Belen performed by Jermaine S. & Natalia C.
Cuando Te Vea performed by Roshan & Karene G. / Alex E. & Kristine S. / Alex R. & Saffa A. / Mark F. & Daisy A.
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Montreal Salsa Congress videos
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Here are some videos of the ETOWN SALSA Dance Team at the Montreal Salsa Convention 2012 at the Hyatt Regency hotel on the May long weekend. Here we have both the Student Partnering Team as well as the Mix Pro-Am team dancing on both the Friday and Saturday night showcases. ENJOY!
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Saskatchewan Salsa Congress videos
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Here are the videos for the Saskatchewan Bachata and Salsa Congress this past June 2012. This congress was one of the most enjoyable and most hospitable in regards to the reception from the host city. We definitely recommend it in terms of people interaction. All the dancers are super nice and they created a great party vibe!
ENJOY our performance videos! FRIDAY NIGHT - Mark and Kerri
FRIDAY NIGHT - Natalia
SATURDAY NIGHT - Alex & Natalia |
Welcome Living Social Members!
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We are very please to have worked with Living Social in these past few days and if you managed to get yourself in on the AMAZING PROMOTION we offered , you will be even MORE AMAZED at what an AWESOME ZUMBA program ETOWN SALSA has to bring to your life. So for all the purchasers of the deal, please be aware of the steps you need to take in order to get yourselves in a class. Here they are: STEPS TO START ZUMBA CLASSES!STEP 1: After you receive your Living Social voucher#, we request that you CREATE A PROFILE of yourself with all your details and emergency contact info in our online scheduler system by going here: STEP 2: Email us at contactus@etownsalsa.com with your voucher #. (note: we will cross reference your email and voucher) STEP 3: Once you have received a reply confirmation email starting with 'Confirmed and entered' you will then be able to login to your account to start reserving classes. FREQUENTLY ASKED QUESTIONS:QUESTION #1- Do I have to use my classes only at the location stated on the voucher ? ANSWER: NO. You can use them at any classes listed on our online scheduler site. QUESTION #2- Do I have to use my classes in succession once a week on the same day and time? ANSWER: NO. You can use them anywhere , anytime , any place that ETOWN SALSA has classes. QUESTION #3- Is this like a drop-in basis and do I need to book ahead online? ANSWER: YES it is a drop-in basis to an extent. And YES you will need to book online your classes. Showing up will only disappoint you as with 800 purchasers, classes will fill up. Our Mindbody system works much like a Hotel Reservation system. So you book a room for a certain day online and if you don't cancel ahead at least 24 hrs, then your room is charged. Well, we are trying the same setup. You book online your specific dates and times but if you fail to cancel a class at least 24 hrs ahead, that class is charged and you forfeit the one class that was booked. Reason is we have a limited number of spots available and if you reserve a spot and you don't show but we saved you that spot, we could have given that spot to someone else that would have shown up. We understand that everyone has busy lives and things come up and so each person is responsible for their own schedule and times. Our system will show you immediately if a class is FULL on the calendar. QUESTION #4- It seems there are no other classes past this week on your calendar? Are there anymore classes? ANSWER: YES, there are plenty of more classes. At the top of the weekly schedule, you will see 3 buttons. TODAY, DAY , & WEEK. Beside the WEEK button, there is a left and right arrow (triangle). Click on the right one, and this will take you to a future week. You will then be able to see future classes coming up. We also will be introducing GYMNASIUM style Zumba Party Fitness classes (at 9540-102 ave Edmonton Chinatown Multicultural Centre) on TUESDAYS at 5:45pm. If you keep click the right arrow WEEK button then you will be able to sign up for these. We are planning for most LIVING SOCIAL Clients to attend these classes , as other ones will fill up quickly. QUESTION #5 - Will you be offering any morning classes? ANSWER: YES! We will be starting with 1 morning class at our main STUDIO on SATURDAYs @ 9:30am . QUESTION #6 - Is my voucher transferrable after I have used some of the classes? ANSWER: NO. The person that has originally used these classes cannot be substituted by someone else. There are serious liability issues we can run into if that person has not signed a waiver or if even a health matter were to occur. Its very important that all precautions are taken care for the safety of everyone involved.
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ZUMBA 2 Video Game coming
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"Our Zumba Fitness games combine both dance and fitness with fun, high-energy choreography, contagious music and multiplayer functionality that lets friends and family join the party," said Jesse Sutton, Chief Executive Officer, Majesco Entertainment. "Zumba Fitness Rush is packed with features and improvements that Kinect fans have asked for -- from licensed music to a calorie tracker, 40+ all new routines with more than twice the dance styles of the original, a custom playlist feature and online connectivity. This is an incredibly robust experience that fans will love."
TRAILER VIDEO
FOR INDEPTH FEATURE BREAKDOWN
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ETOWN SALSA add MINDBODY as its ONLINE solution!
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The 2012 year will bring in not only a NEW YEAR but a new ONLINE SYSTEM for ETOWN SALSA students to do so much more. In trying to speed up administrative tasks for us, this slick new way of online business allows you to create your own profile and administer much of it on your own. Many of the new features include: reserving your spot for a class by purchasing and getting instant confirmation; printing tax receipts for business expenses; no more additional online fees for purchasing ; purchasing for family members or loved ones; gift certificates online; private lessons can be scheduled and booked online; purchasing products offered by us; online videos for reviewing what you did in class and much much more!!
If you would like to see the online store here is a link by CLICKING HERE!
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FROM THE EXPERT: SALSA ON1 OR SALSA ON2. WHAT’S YOUR FLAVOUR?
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How do you like your Salsa? Timing can sometimes be at the centre of many debates so Salsa Expert Tina Nicolaidis dishes on which count is better. It can be spicy, it can be smooth, it can be mild, or it can be explosive. Salsa dancing comes in more than one flavour. After all, this street dance got its name and versatility by taking the best ingredients from many different dance styles and music genres and throwing them together onto one dance floor. From LA to NYC, from Cuba to Columbia, countries and cities from all over the world have formed their own unique style of Salsa over the years. Some styles have obvious differences, such as the staccato-like steps with a signature tap that can define Cuban style, or the furiously fast footwork that defines the Columbian style. However, it’s the less obvious differences of timing that can sometimes be at the centre of many debates when it comes to Salsa dancing. These timing differences are defined as Salsa on ‘1’ or Salsa on ‘2’. The numbers refer to the ‘break’ step, which is the fundamental motion in a basic step. The definition of Salsa on ‘1’ is that the dancer takes their first step by stepping back on count ‘1’. The definition of Salsa on ‘2’ is that the dancer takes their first step by stepping back on count ‘2’. You may be thinking, “What is the big deal?” Many Salsa aficionados claim to prefer dancing one style over the other due to the different feel, rhythms, and dynamics of the steps, hence creating an overall different connection with the music. Some dancers also believe that dancing on ‘2’ is a more advanced way to dance Salsa since there is a truer connection with the instruments and musical composition of a Salsa song. Let’s take a closer look at these differences and see if we can demystify some of the myths surrounding these two styles. Myth #1: The music sounds better when you dance on ‘2’ Salsa music has the same time signature and same rhythms from song to song. The majority of Salsa is played between 150 - 220 beats per min, making it a moderate to fast-paced dance. Every Salsa song is in a 4/4 time signature, but for dancers, this translates into 8 counts per measure or phrase. These 8 counts translate into a quick-quick-slow rhythm with the steps. The foundation of all Salsa songs is the clave instrument. The clave is comprised of two wooden sticks that play a syncopated rhythm. There are two basic rhythms of the clave. One rhythm stresses the downbeat of the measure, usually the count ‘1’, where as the other rhythm stresses the upbeat, also known as count ‘2’. In addition to the composition of Salsa remaining consistent from song to song, there are some fundamental steps that also remain consistent from dancing on ‘1’ to dancing on ‘2’. In the both styles the Leader generally steps on count ‘1’ with his left foot, and the Follower generally steps with her right foot on count ‘2’. In both styles counts ‘4’ and counts ‘8’ are the pause counts, where no steps are being danced, and both styles maintain the quick-quick-slow rhythm. Myth busted. Where as the make up of Salsa music is the same, the melodies, vocals and instruments will vary from song to song. The way you ‘feel’ the music depends on whether you choose to stress the downbeat or the upbeat in the music. In many Salsa songs, additional instruments like the congas and the timbales mark the upbeats in the music, where instruments like the cowbell and piano, mark the downbeats in the music. Dancers from NYC, where the on ‘2’ style of dance is most prominent, claim to dance to the percussive instruments like the congas. Cuban style dancers tend to stress the down beat with instruments like the cowbell, which plays on counts ‘1’, ‘3’, ‘5’, ‘7’. Neither is better, just different. Myth #2: Dancing on ‘2’ is smoother
When dancing a basic step on ‘1’, the break step happens on count ‘1’ and by count ‘3’, the feet are close together, allowing the body to be fairly stationary during the pause count ‘4’. The same motion occurs for the second half of the basic for counts ‘5’ – ‘8’. When dancing on ‘2’, the feet are still passing through the basic step and by the pause count on ‘4’ and ‘8’, the weight is still being shifted from foot to foot. This is where the ‘smoothness’ is most obvious, because the body is not stationary at any point, and it is constantly moving forward and back without a stop.
As mentioned above, by count ‘3’ the feet are together and the first half of the basic has been completed by this count when you are dancing on ‘1’. If you are to dance a basic right turn, this turn must be completed in these 3 counts. Take the same turn and dance on ‘2’, you will have an extra count to complete the turn because the turn will still be in motion during the pause count. Myth busted. Turns may feel slower when dancing on ‘2’ because the pause count ‘4’ or ‘8’ happens when the turn is still in motion. However, this only refers to one type of turn, and where as a basic right turn feels slower, there will be many other turns that will feel just as fast, if not faster than when performed on ‘1’. With so many similarities and very small distinctions, it is evident why many dancers find it hard to understand the difference between Salsa on ‘1’ versus Salsa on ‘2’. For some beginner dancers, the idea can be intimidating as they are still trying to understand just the basics of Salsa music. Overall, one style is not better than the other and it really comes down to a matter of preference and musical interpretation. Dancers studying and practicing Salsa would benefit from learning both styles as being versatile on ‘1’ and on ‘2’ not only makes for a well-rounded dancer, it also opens the door to a whole new world of musicality and freedom of interpretation. Like it’s name, Salsa is made up of so many musical ingredients, and knowing how to incorporate each one into your dancing is challenging and fun.
So what’s your flavour?
WANT TO DANCE WEBSITE LINK
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Vote ETOWN SALSA in ZUMBA Contest!
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We want YOU to vote ETOWN SALSA as the video to win the ZUMBA contest. ZUMBA is gaining popularity all over the world and so they wanted to let the world know that big named artists also support ZUMBA such as Pitbull and Wyclef Jean. Pitbull has personally ok'd the use of one of his tracks from his latest album to use as an anthem song for 2011 for ZUMBA. In addition, a contest with up to $5000 as a GRAND PRIZE has been put up. Here is where you come in. We want you to vote ETOWN SALSA as your favorite video. All you have to do is click the following link and under the video click on "VOTE FOR THIS ENTRY". THANK YOU!! GRACIAS! |
Salsa on1, on2 or On Time
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I met Johnny Johnson close to 10 years ago when I just got started in Salsa and was promoting my website and he was promoting his(The Mambo Scene). We helped each other by linking each others site in hopes that the Salsa community would educate themselves and grow! 10 years later the Salsa community is booming and thriving and we only see it growing ever more. Check out this article he wrote about the on1 & on2 preference. 10 years later, I still prefer on2 timing. Enjoy! |
Thousands say goodbye to Joe Arroyo in Barranquilla cathedral
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Thousands have paid their last tribute to Colombian salsa legend Joe Arroyo at the Barranquilla cathedral where his body has been on display since Tuesday. "El Joe," laid in a cooled coffin to protect his body from the Caribbean heat, has not been without the company of hundreds of fans since he was moved from the La Ascuncion hospital to the local cathedral. Crowds of people have since gathered at the cathedral to catch a last glimpse of the salsa god, who died Tuesday morning at 7:45 after a sickbed of 30 days. Rosa Carolina Gomez, reporter for television network NTN24, told Colombia Reports that the atmosphere in front of the cathedral was chaotic. "It seemed more a carnival than a wake. 'Oh oh Tania,' the chorus of one of Joe's most famous songs, was being played by a powerful sound equipment installed on the trunk of a car. Dozens danced, drank aguardiente, beer and rum, while others stood in line to go inside the Cathedral and say goodbye to 'El Joe.' The chapel was closed at approximately 11:15PM, but people kept partying in the streets, celebrating his life, showing pictures they had taken years ago with the artist, and telling strangers the story of how they met Arroyo, and how his music became part of their lives," said Gomez. Fans will be able to pay homage to their hero until 3PM Wednesday when his remains will be taken to a private place where his family and closest friends can say goodbye before he is returned to the grounds at the Eternal Gardens cemetery. The death of Arroyo has caused a wave of reactions in both Colombia and abroad. Colombian President Juan Manuel Santos called the death of Arroyo a "loss for music and for Colombia," while international media widely covered the death of "one of salsa's greats." The organization of the Latin Grammys announced Tuesday that the singer will be posthumously be given a Lifetime Achievement Award. "The singer, whose given name was Alvaro Jose Arroyo, died at a hospital in Barranquilla, where he was being treated for hypertension and fluid in his lungs, his manager, Luis Ojeda, told The Associated Press. Arroyo composed some 200 songs and performed with artists including Celia Cruz and Shakira. He first appeared in the 1970s with the orchestra Fruko y sus Tesos, and formed his own band in Medellin in 1981 called La Verdad. Two years later, he moved to Barranquilla. The Afro-Colombian performer "was very refined. He charmed everyone with his voice, with the enthusiasm and joy with which he sang," the leader of Fruko y sus Tesos, Julio Estrada, told the AP. "He didn't need any instrument" but his voice. Although never winning a Grammy, Arroyo received several nominations. The Bogota Philharmonic Orchestra called Arroyo "one of the most important artists of tropical music" in Colombia, recalling the 2009 homage it performed with him in the country's capital. The Latin Recording Academy lauded Arroyo for crossing many styles including salsa, merengue and reggae, even creating his own stile known as Joeson. It said it would celebrate him at a special awards ceremony in November." |
THE SALSA TEST
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Pitbull & Wyclef Jean Get Into The Beat of Zumba
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Over 6,000 Zumba dance-fitness instructors gathered in Orlando, Florida, over the weekend for their annual convention featuring performances by superstars Pitbull and Wyclef Jean. “The reason that Zumba and the Pitbull movement live together is because they pull from the same,” Pitbull said on the red carpet before putting on a full show Friday night. “We’ve seen how powerful music works globally and how it speaks to everybody no matter what language they speak or culture they believe in.” Zumba was created 10 years ago and originated as a Latin-inspired dance workout routine, and has captured Hollywood fans such as Jennifer Lopez, Madonna, Ricky Martin and Eva LaRue. “I do Zumba, period. With music there’s absolutley no boundries,” Wyclef Jean said. “The coolest thing for me was singing the story of my new record and to see 7,000 instructors moving to a Wyclef record in sync was incredible.” Instructors and attendees at the convention enjoyed numerous classes and parties with performances by Pitbull and Wyclef. |
ETOWN SALSA at Vancouver Salsa Festival 2011
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Here are a couple performances by ETOWN SALSA's student dance teams. The "SALT" Ladies Troupe and the Student Partnering Team performed at the Vancouver Salsa Festival this March 2011. It was a fantastic experience for the groups and they had a blast. It was a jump up in environment to the Calgary Congress as our group felt in the presence of some awesome amazing dancers and artists. In the end, both groups represented Edmonton very well as they gained new respect from alot of the performers and watchers at the congress. A big thankyou goes out to artistic choreographer Jennifer Izquierdo and Alejandro Rojas for directing and guiding the groups to a well executed congress performance. Salut to our dancers! Enjoy the videos!
The student partner team does not have a video for Vancouver uploaded yet but we will upload it very soon. in the meantime, here is a video from their performance at the Salsa Caliente fundraiser party in January of 2011.
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Video of the Week: Ana Massacote & Didier Lobeau
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Social dancing to Cheo Feliciano " Yo soy un angel" Album 'Serie Cristal" , the following dancers are Ana Massacote and Didier Lobeau at the 2009 Monaco Salsa Congress. Video was expertly shot by Videosalsa.com. ENJOY!
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Tips For Winning Salsa Dance Competitions!
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Salsa dance competitions are as old as western Salsa dancing itself. Attending Salsa dance competitions is the right manner for showing the world how good you really are. Latin and Ballroom dancers have lots of experience in dealing with dance competitions, but Salsa dancers do not. This article is a short guide for winning Salsa competitions. Salsa students performing Salsa dance routines in front of audiences are great, but they will never know if their Salsa dancing is better or worse than the other amateur Salsa dancers. A growing number of Salseros and Salseras are getting fed up with Salsa dance couples trying to show how good they are on the social dance floor whilst hurting other dancers in the process. And – when asked – many people of which Salsa students rely on and respect such as their Salsa dance instructors will be reluctant to tell them the truth about their 'true' Salsa skills, because – over the past two decades - it has been proven to be 'bad Salsa business' to do so. Promoting Salsa competitions under the general Salsa public can solve some of these problems, and becoming Salsa dance competitors is also an excellent manner for Salsa dancers can asses their current dance levels in a more objective manner. If you are a Salsa student, then chances are that your past and current Salsa dance instructors have never participated in any dance competition whatsoever. So, they lack the experience to give you the advices you really need for winning competitions in Salsa dancing. Here are some basic tips which will help you gain the winning edge:
1. Asses Your Own Goals & Salsa Dance Capabilities
2. Find the Right Salsa Dance Partner
3. Invest your Time, Money and Energy Wisely
4. Choose the Right Salsa Dance Competition
5. Read the Rules Carefully! Final note: Know that your presentation (costumes), your own creativity/originality (“out of the box” dance elements) and bringing lots of fans to cheer for you on will give you that extra edge needed to win a Salsa competition. To get some inspiration, here are some videos courtesy of Nuevotec Productions ( www.nuevotec.com) (They are simply the best in catching all the best Salsa moments around the world): http://www.nuevotec.com/index.php?option=com_zoom&Itemid=38&catid=328 Here is a Cabaret couple in a WORLD LATIN DANCE competition in December of 2010.
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Edmontonian places 6th in World Salsa Competition
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Edmonton's very own Mario Acosta-Cevallos recently competed at the WORLD LATIN DANCE CUP 2010 and placed 6th in the ON2 Freestyle division.(according to Nuevotec Productions)
He competed with Liz Rojas from San Francisco, California, (formerly 3rd in the World in the Salsa On2 category)
In addition, Mario and his mentor John Narvaez take the stage and place 1st in the SAME GENDER SHINES competition. Check out their performance:
Calgary's very proud to have David Zepeda place third in the World Latin Dance cup ON2 division. David called Calgary home for a couple years as he embraced Salsa as his new passion and exploded once he returned to his native Mexico to join Paulina Posadas in his quest to reign supreme in the Salsa dance world. Here is their video:
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ZUMBA Video Game!
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MYFOXNY.COM - Fitness fads come and go, but Zumba appears here to stay. The super-popular cardio workout incorporating Latin dance is taking a step into the gaming world. Liz Buckley, director of marketing of Majesco Entertainment, visited Good Day to talk about the new Zumba video game for Kinect, Wii, and PlayStation. Victoria Beckham, Natalie Portman, Jennifer Love Hewitt and Giuliana Rancic supposedly practice Zumba.
ZUMBA FITNESS video game
Reggaeton, Merengue, Salsa, Cumbia, Hip-Hop and Calypso workout |
The 2011 ZUMBATHON FITNESS-CONCERT
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IMMERSE YOURSELF IN A ZUMBA® FANTASY WORLD If you were there last year, we don’t need to tell you how mindblowing the Zumbathon Fitness-Concert is, and what a rush it is to be a part of it. If you weren’t there, check out this brand-new video to get a glimpse of the magic. “People have crazy energy in this moment,” says Beto, his eyes lighting up with excitement. “I think it’s the best class I teach all year. It’s amazing… a new concept! And the people participate. I love that.” This year, celebrate 10 years of Zumba Fitness programs at the most elaborate, impressive Zumbathon Fitness-Concert yet. Imagine a sea of rainbow lights washing over thousands of ZIN Members as live multicultural music moves everyone to dance in harmony, expressing the joy of movement and the love of life. Get carried away to a dreamlike world of light and sound, a world of pure, exhilarating Zumba love. Be a part of this unforgettable, multisensory event — we need you to complete the spectacular mosaic! THE PARTY IS SPREADING NEXT DOOR TO THE HILTON! Looks like the 2011 Zumba Instructor Convention is turning into a block party! Hey, the more the merrier! As you may already know, The Peabody Hotel in Orlando, Florida is officially sold out. Fortunately, the Home Office was able to secure rooms at the same rate right next door at the very well-appointed Hilton Orlando. For reservations call +1-888-488-3509 and ask for Hilton Orlando Zumba Block (guaranteed group rate of US$115 + tax). You can also call directly at +1-407-313-4300. This information is also found on ZIN Home. |
ZUMBA Toning on CBS' THE TALK
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Here we have Beto Perez on CBS' THE TALK with Holly Robinson, Sarah Gilbert, and Julie Chen. This is a preview of the ZUMBA Toning which this year will be the next phase of the Zumba program. It is going to be a huge hit in ETOWN and of course ETOWN SALSA will be offering it real soon! If you are interested in signing up, join our mailing list on our homepage to get first notice of classes to be offered THIS SPRING of 2011! Enjoy the small lesson below...
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ETOWN SALSA IS RELOCATING!
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We are very proud and excited to announce that ETOWN SALSA Dance Co. is moving to a NEW state of the art studio. Located on the 2nd floor of 10575-115 st. commercial building , ETOWN SALSA will be sharing the space with Dance Code Studio who will be offering Ballet, Jazz, Hip-hop and other dance genres not offered by ETOWN SALSA.
All classes are moving over to the new studio right after the Thanksgiving long weekend starting Tuesday October 12, 2010. This includes all current ZUMBA classes and Salsa partnering classes currently in session. Each class will be notified by email of the move over as their classes approach. There will be free parking along the front of the building with plenty of space for up to 40 vehicles at least. Find below a map and photo of the building that we are moving into.
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TALENTED KIDS in DANCING!
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Here are a few videos of some kids that are the future of DANCING around the world. The kids are from North America and South America. If you feel there is a video worth showing, email us at contactus@etownsalsa.com and we will post it for you. GRACIAS!
ENJOY!!
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ETOWN SALSA OPEN HOUSE
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Fall season of ZUMBA and SALSA classes are set to go and are you signed up yet? Here's a little bit of what's to come. This was our open house video from Aug 23. Check it out!
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Rhythms Del Mundo feat. U2 with Coco & Coldplay
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This is a track of the Rhythms Del Mundo album that has many great artists such as U2 , Coco, and many more artists! Check out their album sold in any record store! You can also of course purchase it online. Here is a couple tracks:
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Rock my World - Michael Jackson (salsa remix)
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This is another great hit from Michael Jackson. Used for Zumba fitness classes, this is a great number! Sounds totally different as a salsa number. Check it out!
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Thinking of You- Lenny Kravitz (Salsa)
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Here is an all time favorite from none other than Lenny Kravitz. When I use to DJ i would play this and everyone loved it! ETOWN SALSA personally recommends this one as it is great slow number for beginners and advanced dancers and it fits really nice with any club crowd too! |
In Da Club- 50 Cent (SALSA REMIX)
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If your looking for some modern salsa tunes that have a more hiphop feel but at the same time have the elements of salsa to dance to, check out some of these major hits. ETOWN SALSA personally recommends this one as it is a all time anthem and it fits really nice with the dance crowd too! Check it out!
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SALSAID for Chile raises over $10,000 !!
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ETOWN SALSA Dance Co. was very proud to have presented over $10,000 on April 7, 2010 for the Salsaid For Chile event held March 27, 2010. Officially it was $10,515 submitted to the Canadian Red Cross for the CHILE Earthquake fund. FUERZA CHILE!! We want to thank everyone again for their support and coming out to our event. This includes all performers, all volunteers, all sponsors, all donors and everyone that played a part in making the event happen.
Please find below our income statement along with our official bankers cheque and our official Red Cross receipt presented to the Red Cross:
[OFFICIAL BANKER's CHECK presented to the CANADIAN RED CROSS]
[OFFICIAL CANADIAN RED CROSS RECEIPT for SALSAID EVENT]
Edmonton Office If you would like to make a donation to the CHILE EARTHQUAKE FUND , please go online to their website at : CLICK HERE TO DONATE TO RED CROSS ONLINE As of April 9, 2010, ETOWN SALSA has raised $1265 with Habitat for Humanity to send to Chile. This is only 13% of our goal. Please help us out. If you would like to make a donation to help ETOWN SALSA's goal of $10,000 for Habitat for Humanity 'Chile Relief' fund, please click on the following link: |
HELP REBUILD CHILE (Online Sites)
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Hola Amigos! As you have heard through the news, Chile was hit by a devastating earthquake that really has affected the world in a large way. Thousands of Chilenos decades ago migrated to all parts of the world , including my family, with the hopes of making better lives for ourselves. We have all succeeded in this and now we are seeing a different struggle in Chile that has caught everyone's attention, not only the Chilean community. As a proud Chilean-Canadian, its really hard to see people from my country struggle but its in their blood to be strong people! As strong as they are, they are also in need of basic needs in life.
Many of you have asked how you can help and how you can contribute to the devastation in Chile. I am providing a couple links as they have just updated their websites for emergency response in Chile. The first one is a personal page created through Habitat for Humanity to raise funds.
HABITAT FOR HUMANITY - Chile Earthquake Response http://my.e2rm.com/personalPage.aspx?SID=2484066 PAYMENT IN PERSON: You are all more than welcome to also pay in person a cash or cheque donation for the Habitat for Humanity fundraising drive that ETOWN SALSA is hosting. If so, please make out cheques to "ETOWN SALSA " and we will pay on your behalf to Habitat and also issue an official tax receipt with your name.
CANADA RED CROSS - Chile Earthquake Fund https://secure.e2rm.com/registrant/donate.aspx?EventID=45112&LangPref=en-CA I sincerely thank everyone for making any contribution. MUCHISIMAS GRACIAS!
Alejandro Rojas |
Giju's Salsa Music Video
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Here are a few salseros getting into the music industry with an Indian pop single that has some fantastic salsa dancing.
You'll see some recognizable international salsa professionals in this video including Salsamania's John Narvaez and Liz Rojas, and a few of their students including the featured artist in the video Giju. Also Junior & Emily Alabi from Amacitia. Also some well known cabaret dancers Alex & Chi make a cameo appearance with some death defying moves. Enjoy!
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ETOWN hits Dil Se (Bollywood event)
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ETOWN SALSA Dance Team was welcomed to a FULL HOUSE of 700 at a Bollywood extravaganza that was Edmonton's elite Bollywood performers all in one night! DIL SE is an event dedicated to various great causes and this year they raised over $7000 that will go to the Edmonton Human Society. GREAT JOB!! See below some photos of ETOWN on location!
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Latin Music USA - Its Gonna Move You
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Watched a great LATIN MUSIC collection series online at the PBS website. It gives you a great history of Latin Music and its evolution and greatest influences. There is alot of video here. Approximately 4 hrs in total. Click one of the links below to view each show. There is a link to each chapter on the left side and each show on the top of the video screen.
BRIDGES - 1 hr |
ETOWN hits U OF A Enterprise Square
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ETOWN SALSA was really happy to be part of ALBERTA ARTS DAYS, in where there were 571 different events in 116 Alberta communities. The night was in the main courtyard of the Enterprise Square Campus. Hundreds of foreign exchange students and other faculty members were present to enjoy a night of Latin dancing in where ETOWN SALSA presented a dance lesson and got everyone out of their shell on the dance floor.
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Dance away your blues the salsa way
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Posted: 26 September 2009 1350 hrs
NEW DELHI: Executives in India are dancing their troubles away. Many have taken to learning salsa as a way to de-stress and unwind after work. FOR VIDEO CLICK ARTICLE AND VIDEO LINK IS ON THE RIGHT SIDE At 38 years old, businessman Arvind Agrawal is the oldest participant in a salsa workshop in Kolkata city. But after a tough day at work, Arvind doesn't mind jiving along with much younger people. In fact, he said it is the perfect way to relax. "I joined salsa on an impulse and I really like it. It's a great workout, and you meet new people," Arvind said. "After a full day's work at 7 o'clock (at night), when you think you've done so many great things, you go back to (salsa) school, (you find that) you are learning something new. So there is a whole inspiration thing of becoming a better person." Salsa is the latest passion among executives in big cities. Working round the clock and chasing tight deadlines, they have little time to exercise, let alone socialize. Salsa instructor Aditya Upadhyay said: "Salsa has a lot of benefits. It's a very good form of exercise. It's a good way to lose weight and strengthen the muscles. "The best part of salsa is that it is a lot of fun, so you always look forward to the class and you always look forward to dancing." Over the last three years, at least five salsa centres have sprung up in New Delhi alone. Instructors are invited from all over the world. Instructor Alex Diaz, a Cuban-American, has been in India for over four months, giving tips to salsa enthusiasts in New Delhi. He said: "The steps come pretty natural to them because they are used to dancing already, so in that sense I think India can be a really big success when it comes to salsa." Salsa enthusiasts recently launched the Indian edition of the international salsa congress. The event is an annual affair, with as many as 30 international participants. During the week-long contest, salsa parties are organised across the country to choose an all-India salsa champion. Who knows, Arvind the clumsy dancer might soon be a part of it! For youngsters in India, showing salsa moves on the dance floor is about making a style statement. And, call it the media influence or simply youth aping the West, Western dance forms like salsa and jazz are edging out Indian dances like Bhangra and Bollywood style in popularity, especially in night clubs. |
ZUMBA Fitness hits Edmonton!
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(Zumba in Edmonton, Edmonton Zumba ) ETOWN SALSA's Alejandro Rojas in 2007 was approached by a business owner to put on some Latin cardio classes for her retail clientele. At first Alejandro agreed to jumpstart these classes but little did he know that he would also develop into a crazy loving Cardio fitness junkie. Two years later, Alex stumbled across a fitness class being offered at a Salsa Congress that he regularly attended in San Francisco. He soon came to find out that this fitness class was hugely popular around the world already and it is called ZUMBA! Zumba is a fun, energy filled cardiovascular class filled with latin music, dance moves, and alot of afro-Latin influenced body shaking. It does not compare to anything out there for aerobic workouts. You almost can't even consider it a workout cause its a party the whole time your there! It gets you smiling, laughing, giggling your sadness away. It takes people into a whole other world that they love to feel once they start. Recently in September 2009, Alejandro certified himself in Zumba and is one of only 2 male instructors in the Edmonton area with Zumba training. Here are some news features that can testify to the ZUMBA CRAZE!!! -----------------------------------------------------
Sep 22, 2009 11:43 ET Zumba Fitness® Annual Convention Draws Thousands Company Launches Two Innovative Fitness Programs HOLLYWOOD, FL--(Marketwire - September 22, 2009) - Zumba®, the acclaimed fitness-party workout that features contagious Latin rhythms and boasts a global following of millions, recently celebrated its second annual convention with a record-breaking 2,200 instructors from around the world in attendance. Reflecting the ever-expanding popularity of Zumba, the 2009 convention, held in Orlando, Florida over Labor Day weekend, boasted the largest instructor attendance to date. The event, which featured a jam-packed schedule of workshops, master classes and training sessions, culminated in an epic fitness-concert, the revolutionary and exhilarating Zumbathon. Zumba, an innovator in the fitness world, continues to evolve its offerings and reach new audiences with the launch of two brand-new highly anticipated programs -- Zumbatomic® and Aqua Zumba™. Reaching out to a new generation, Zumba Fitness® introduced a ground-breaking fitness program for children ages 4-12 years old. Over the weekend, 1,000 instructors trained in Zumbatomic, learning how to use the Zumba Fitness® philosophy of incredibly fun exercise to motivate and inspire kids to embrace fitness. Instructors who attended the convention workshop were among the world's first to learn Zumbatomic's choreography breakdowns, personal development "games," and youth-tailored cardio techniques, all of which help kids develop critical skills such as coordination, discipline, confidence and teamwork. Soon to create waves of excitement in pools across the country, Aqua Zumba also debuted at the 2009 convention, bringing a fresh, energetic workout to the water. The Aqua Zumba workshops trained instructors to create a challenging and fun aqua workout, incorporating the signature Zumba Fitness® formula. The recent weekend celebration also featured Zumba's growing family of partners, including 24 Hour Fitness, AFAA, American Laser Centers, Club Med, IDEA, LOA Fitness for Women, AEA, Gold's Gym, NETA - National Exercise Trainers Association, Silver&Fit, Rio Soul, Vistaprint, H2O Water Wear Inc., Polar Electro Inc., Shoes4Fitness, River Wellness Clinic, SCW Fitness, and AV Now Fitness Sound. About Zumba Fitness® The Zumba® program is a fitness-party™ with a contagious blend of Latin rhythms and easy-to-follow dance moves that provides an exciting and effective workout to a global community, either at home or in the gym. The Zumba program is available in a four-disc DVD collection featuring creator Beto, and offered in 40,000 class locations worldwide. For more information, to find a class, or to purchase the DVD Collection, visit www.zumba.com. |
SCAM ALERT! Scammer contacts ETOWN SALSA
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When I first received this email, it sounded too good to be true. When I got this email, I was in a rush so I quickly replied that I would provide a quote at a later time as I was heading out. After reading this email repeatedly , I started becoming very suspicious of the information he was asking for. Who asks for a POS machine? As I am writing this blog, I also noticed that the scammer changed text font for my name , which means this guy has been cutting and pasting his content repeatedly. The crazy thing is that these phishing scams are much more sophisticated than before. These guys actually are taking the time to find their victims through company websites and finding the nature of their business and using that to execute their scam . The bad thing is that I can really see how it can fool the victim at first. Luckily I have alot of experience with catching these sorts of Phishing emails but I want to warn any other companies of this sort of scam. Please investigate your client, especially if they are giving as much information and details as the following email:
From: "Fredrick Mark"
Date of Arrival: 1ST OF SEPTEMBER 2009
I will send to you my credit card details for a deposit for you to hold the date for us. I hope you have a credit card machine/PoS in your office? So confirm this and provide me with your
Your Full Name:..........
Please kindly confirm the reservation for the above dates so that we can process our accommodation within the region more convenient for you and us. Hope you would turn our dance into THE PERFORMANCE of the occasion.
Best Regards |
WHAT IF... The Story of Alex da Silva
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What if… What if you went on a few dates with someone from a small town and after the third date, they asked to borrow several thousand dollars from you? What if… …they threaten to file rape charges against you if you refused to loan them the money? What if… …they followed through with rape charges against you without your knowledge? What if… …a couple years later, the exact same thing happened again with another person from the same small town as the first? What if… … news of unproven “rape charges” against you started spreading all over the internet like wildfire? What would you do? What could you do? How can you stop the speed of Internet news? Have you ever heard the saying, “No matter how thin you slice it, there are always two sides to every story.” ? This is the story that no one heard - that somehow never reached the world internet online waves. This is the story of what could happen to YOU. It could happen to ANYONE – especially if you are famous and in the limelight - in ANY business, not just entertainment. This is the story of world famous choreographer / performer Alex da Silva. So far, what the entire world has been told is just one side of the story – especially online. What about the other side of the story? Why didn't the news agencies ever mention his side of the story? The internet and news agencies only told one side of the story – Alex the rapist. Two days later, all the charges were dropped and he went back to good ‘ole Alex – but did anyone neither care nor even dare talk about THAT? Everyone loves dirty laundry. If the accused comes clean, the news drops the story faster than a bad habit. NOTHING is said, mentioned, nor reported… silence. Conversations stop and news agencies pretend it never happened. And what about the lingering stories all over the internet? They stay on the servers for weeks, months, and even years. Dropped charges, false accusations, and false imprisonment never accompany the initial stories told. Embellished ongoing accusations and rumors continue to spread online for years to come. This is the story of Alex da Silva; World Famous Choreographer, performer, and instructor. Alex was chosen to choreograph and work with dancers and producers on the popular television show “So You Think You Can Dance”. He is one of the most successful Salsa dancer / performer in the industry. His residence is surrounded by some of the most famous Hollywood movie stars in Los Angeles. Films, movies, and television is commonplace for him as he has not only appeared on various television commercials and movies but has also trained some of the most famous movie stars in the world. He has several international competition titles under his belt, and since the early 80's (over twenty years) has taught Salsa to some of the best competitive dancers in the world. Love him or hate him, like it or not, Alex da Silva has earned his rank as one of the most prominent and famous Salsa dancers in the world. Why, why, WHY??? I found it interesting, that his bail was posted at 3.8 million dollars – higher than OJ Simpson's case. Why? I found it interesting that ALL the charges were immediately dropped on his first and only court date – but that fact was never announced in the news, nor online… Why? I found it interesting that Alex never paid a single cent of bail money – but that fact was never published online … Why? That is why I was not surprised when all the charges were dropped and he was released with no fines nor charges. “Edie, it was all about the money” he said. Here is his story… Edie,TSF So Alex. What happened? Alex: In 2003 I met this woman at the Mayan nightclub on a Saturday night. We danced a bit and she wanted to hang out for the rest of the weekend. She came over to my house at 10am, had breakfast, lunch, then we went dancing again, and then went to movies. She left my house at 3am. After that I left town, came back, and was too busy to call her. She started calling me but our conversations became strange. Then she asked for $20,000. Naturally I refused to give her any money –Blackmail is in not an option! Two weeks later she accused me of rape. Of course I denied everything, and next an undercover detective began to inquire about my personal life. He came to all my classes, and monitored my house. After the accusations were dropped, we had a talk and he warned me about who I get involved with. If you are in the limelight, there are a lot of women out there that will definitely try to get money from you in any way possible. I can't account for 2004 and 2005. Those accusations turned out to be false as well. Six years later in 2009, I met another person from the same small town on the island, (possibly a friend of the first). We met at the Edge dance studio and later met at the Mayan, and we had consensual sex on three separate occasions. Then on my birthday, she asked to borrow $5000 . I told her that “...we do not have that kind of relationship.” On Saturday, which is the day after my birthday, she came to my class. I made an announcement that it was my birthday all weekend and that I will be performing a Salsa show that night at the Hollywood Park Casino. She told me she wanted to come over and “be my birthday present.” She came over and started acting really strange. So on this day all these things began to accumulate; like "Can I borrow $5000?".... She asked who I was seeing and finally after saying she was my birthday present, she changed her mind and we did not do what we usually do, if you know what I mean. So that was the end of our liaison. Then she accused me of raping her. I am so lucky we did not have sex that day. She thought I would settle out of court like basket ball player Cobey Bryant did. When I was in jail over the weekend, my bail was set at 3.8 million dollars - higher than all 30 guys put together with me in that cell. It was a bail set higher than Michael Jackson’s bail. The police never took my passport, my driver’s license - nothing. I was in jail for only three days. I was arrested on Saturday and I was out on Tuesday. The same day as my court date. I did not even see the judge due to insufficient evidence. Edie,TSF: So what is the status of your case now? Alex: There is no case.. Edie,TSF: People are concerned about the charges if you raping a "minor"... can you explain that? Alex: There was never charge of a rape of a minor – at all. Someone that didn't like me must have started that rumor. This story was not in any of the news nor newspapers. There are a lot of haters in this world. There are people who like me, and hate me. Once the hater’s fire starts, it’s copycat all over the internet – the rumors just seem to spread and get worse. One of the girls that accused me of rape sent me a text message just a few days ago, "Alex, how are you? I hope everything is going well with you." I saved it and informed my attorney.. Would you send your “rapist” a pleasant text message? Edie,TSF Did you know these women for many years prior to their accusations? Alex: Not at all. I just met them, one asked me to show them around LA since it was her first time to the city. The other came and took my class. Edie,TSF Were they U.S. citizens? Alex: Yes. Edie,TSF Why do you think women pry on you like this? Alex: I meet a lot of women, but I never thought this would happen to me. I only see this kind of stuff in movies. Once I was arrested, I kept thinking, “Wow this is not happening... how am I in here with all these real criminals?” A lot of women will say good things about me. There are a lot of haters in the Salsa scene. Most of the haters are men. After I did the show "Mr. Smooth", every guy wanted to be me, or hated me even more. Edie,TSF How has this affected your relationship with your dance partner Alien? Alex: It brought us even closer together because she knows what kind of person I am. For two months prior to my nightmare, we had a rocky time in our relationship so we took a break. During all the madness I told her everything. She loves me even more for opening up and telling her the truth. What happened to me could have happened to anyone. I was the one with the nightmare. Edie,TSF Are you going to change the way you approach students/women/ etc? Alex: Yes. I think I will exercise more caution and qualify the people I teach. I still would like to offer privacy to my students. This is the best way to teach one on one. I will scrutinize my new students in the future. I can't change my whole life because of two bad apples. I know the truth, and I don't even know who the others are, it's all a bunch of lies, and people just want to bring me down. If something like that really happened, then they should have gone to the police that night, or the same day, but it was never that way. I have too much to lose. I don't need that type of thing in my life. Edie, you see me all over the world, you see how people react to men like us. I'm not bad looking, I'm definitely not desperate, and when you're a high-profile person, the news and EVERYONE will know about it. Edie,TSF To what extent has this damaged your career? Have you been asked to leave the So you Think You Can Dance show? Alex: I spoke to the producers of the show. They like me and will be hiring me back if not this year, then the next. It's about the Fox network. To work for them is very difficult. Yes, my name is tarnished, but I will clear my name again. The truth will come out. Edie,TSF What do you plan on doing to reverse the damages, if they can be? Alex: We are taking steps, but all that is under wraps at the moment. My head is up, and I will never look down nor look behind. I will always keep moving and looking forward because I know the truth in my heart. Some of the women who tried to accuse me of this know the truth as well. Edie,TSF What have you learned about your friends in this business? Alex: In times like these, you really know who your friends are. I had a lot of support from people whom I thought were my enemies. They came up to me and told me they were glad to see me. I didn't know what to expect. When you go to online web forums, you don't know who wrote what. When I shake someone's hand I always look into their eyes, and see if they are genuine. When they aren’t, those are the ones you have to worry about. The internet is explosive, within a matter of seconds information flies all over the world. Good or bad. When it’s bad, it’s magnified one hundred times worse than it really is. Edie,TSF: If you had a chance to un-do the past, what would you have done differently? Alex: I will never get involved with people like that again. Edie,TSF What did you learn from this? What has this taught you? I have to think twice about trusting people in life. I found out who my friends are from all of this. I wouldn't have wished this on my worst enemy. This was the real deal. I was in there with real criminals, and I was innocent. Edie,TSF: What are some of your goals for the future? Alex: I'm a dancer, and I love to dance, and I am never going to stop dancing. My new Salsa show with my dance partner and others will be a satire of the situation that happened to me. Once you see the story on stage, it will it make you think, and blow your mind. Alex and his dance partner Alien will premier their new Salsa show at the Key Club on Sunset Blvd in West Hollywood June 24, 2009. The event is called Carnaval. Then he is off to Hamurg Germany for the Hamburg Salsa Congress in Europe, July 15th - 20th, 2009. Alex can be reached at www.AlexDaSilva.com sources referencing charges dropped: TV GUIDE by MSN |
RIP Michael Jackson (1958 - 2009)
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Michael Joseph Jackson (August 29, 1958 – June 25, 2009) was an American recording artist, entertainer and businessman, whose unique contributions to popular music and dance, along with his highly publicized personal life, made him a central part of popular culture for four decades. One of the few artists to have been inducted into the Rock and Roll Hall of Fame twice, his achievements included multiple Guinness World Records—including the "Most Successful Entertainer of All Time"—13 Grammy Awards, 13 number one singles in his solo career, and the sale of over 750 million records worldwide. The seventh child of the Jackson family, he made his debut in 1968 as a member of The Jackson 5, beginning a solo career in 1971 while still a member of the group, a career that saw him dubbed the "King of Pop." His 1982 album Thriller remains the best-selling album of all time, with four of his other solo albums among the best-selling: Off the Wall (1979), Bad (1987), Dangerous (1991), and HIStory (1995). In the early 1980s, he became a dominant figure in American popular culture. He was the first African American entertainer to amass a strong crossover following on MTV, with videos such as "Beat It," "Billie Jean," and Thriller—widely credited with transforming the music video from a promotional tool into an art form—bringing fame to the relatively new channel. Videos such as "Black or White" and "Scream" made him an enduring staple on MTV well into the 1990s. Beyond his success on television, he popularized a number of physically complicated dance techniques, such as the robot and the moonwalk, with his elaborate stage performances. His distinctive musical sound and vocal style influenced many hip hop, pop, and contemporary R&B artists across several generations. Jackson supported 39 charities: he donated and raised millions of dollars through his Heal the World Foundation, as well as by performing charity singles. Aspects of his personal life, including his changing appearance and behavior, generated significant controversy. He had experienced health concerns since the early 1990s, along with conflicting reports regarding the state of his finances. Accused of child sexual abuse in 1993, his health and reputation were badly affected by the controversy, though no charges were brought because of a lack of evidence. He married twice and fathered three children, one of them using a surrogate mother, actions that triggered further speculation about his life. In 2005, he was tried and acquitted in connection with different child molestation allegations. He died on June 25, 2009, aged 50, after suffering cardiac arrest. |
Alex Da Silva, of 'So You Think You Can Dance,' accused of rape
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At left: Da Silva's booking photo. Credit: Los Angeles Police Department Alex Da Silva, of 'So You Think You Can Dance,' accused of rape 11:17 PM | April 4, 2009 Alex Da Silva, the salsa dance instruction and a choreographer for Fox's "So You Think You Can Dance," was arrested on Saturday on charges of sexually assaulting four of his students, L.A. police said. Da Silva, 41, is accused of assaulting the students in his two homes in the San Fernando Valley over the last six years, police said. He is being held on $3.8-million bail. Authorities said that the four vicitims were all students of Da Silva at the time of the assaults. "The victims allege that he lured them to his homes in North Hollywood and Van Nuys," the police said in a statement. "He then used a ruse to get them into his bedroom, where he raped them." Da Silva won the World Salsa Championships in 2002 and 2007 and currently teaches at the Edge Performing Arts Center in Hollywood and the Mayan club in downtown Los Angeles, police said. Alex DaSilva booking photo Anyone with information about other alleged assaults involving Da Silva is urged to call Van Nuys detectives at (818) 374-1926. -- Ken Weiss
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In Memory: Manny Oquendo, 1931-2009
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Manny Oquendo, 1931-2009
Manny Oquendo (January 1, 1931 - March 25, 2009) was an American percussionist. His main instrument was the timbales, and was strongly influenced by Cuban drumming. Oquendo grew up in New York, and began studying percussion in 1945. He worked in the bands of tropical and Latin music ensembles such as Carlos Valero, Luis del Campo, Juan "El Boy" Torres, Chano Pozo, Jose Budet, Juanito Sanabria, Marcelino Guerra, Jose Curbelo, and Pupi Campo. In 1950, he became the bongo player for Tito Puente. Following this he played with Tito Rodriquez in 1954 and Vincentico Valdes in 1955. He worked freelance in New York before joining Eddie Palmieri's La Perfecta orchestra in 1962. He worked with his own group, Conjunto Libre (later simply Libre), from 1974, and had a worldwide hit with "Little Sunflower" in 1983.
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Joe Cuba, RIP (1931-2009) - Viewing and Mass
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Joe Cuba will be viewed at the R&G Ortiz Funeral Home located at 204 E. 116th Street, NYC 10029 between 3rd & 2nd Avenues. 212.722.3512 on Wednesday & Thursday, February 18th & 19th from 2 to 10 p.m. A funeral mass service will be held Friday morning at 11 a.m. at St. Paul's Church located @ 213 E. 117th Street, between Park & Lexington. The "Father of Boogaloo," Joe Cuba, passed away on Sunday, February 15, 2009 at 4 p.m. at Mt. Sinai Hospital in New York. He was the most popular exponent of the boogaloo, a fused Latino and R&B rhythm that exploded onto the American top 40s charts during the turbulent 1960s & ‘70s. Hits such as “Bang Bang,” “Push Push,” “El Pito,” “Arińańara,” and “Sock It To Me Baby,” rocked the hit parades establishing Joe Cuba and his Sextet as the definitive sound of Latin New York during the ‘60s & ‘70s. The Joe Cuba Sextet’s unusual instrumentation featured vibraphones replacing the traditional brass sound. His music was at the forefront of the Nuyroican movement of New York where the children of Puerto Rican emigrants, America’s last citizens, took music, culture, arts and politics into their own hands. Joe Cuba’s Sextet became popular in the New York Latino community precisely because it fused a bilingual mix of Afro-Caribbean genres blended with the popular urban rhythm & blues of its time creating a musical marriage between the Fania and Motown sound. His was the first musical introduction to Latin rhythms for many American aficionados. The lyrics to Cuba's repertoire mixed Spanish and English, becoming an important part of the emerging Nuyorican identity. ...Singer/songwriter Ruben Blades noted: “His music lives on. That is the most any of us can hope for, after we’re dead. God bless him and we thank him for all the joy he gave us.” Ruben's campanion of that time, Paula C remembers Joe Cuba picking up Ruben to go to gigs in Jersey. "He was the niceste guy," remembers Paula. "I used to call him Gentleman Joe." [ Aurora Flores, Aurora Communications, 212.876.1936]
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AZUCAR is BACK!! Dec 5,2008!
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The latin vibe has been lost in Edmonton for too long. But finally, the long awaited time has come and Azucar's spirit has been resurrected once again. The energy, the love, the beats, the rhythm- that's what sets us apart from the rest. With the brand new addition of a unique latin-style restaurant, you'll be feeling the latin flavour of Azucar Picante from head to toe, both on and off the dance floor. We're the one you've been waiting for Edmonton!! Join us soon and add some spice to your nights with Azucar Picante!!! We’ve been working day and night to bring you the best Latin taste and style Edmonton has to offer, and now the time has come for us to open our doors and let you see and taste what you’ve been waiting for. That’s right, get ready for the best Latin experience that you know only Azucar can bring! Savor the food, relax with your drinks, and enjoy your evenings on the dance floor with the beats of live-entertainment and pumping DJs. That’s what we’re all about. You have no idea what we have waiting behind our doors….and there’s only one way to find out!!! December 5, 2008 Azucar is officially back in business! Be there! We guarantee it’ll be a night you remember
Office:
780-479-7400 |
NEW SALSA PUBLICATION! 'OnTwo Magazine'
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Greetings Salseros and Mamberos! You may have received a message yesterday regarding OnTwo Magazine. We'll I wanted to follow-up to give you a little more info rmation about our project. OnTwo Magazine is a new publication profiling the mambo music and dance culture. It's produced by the same people that brought you LaVoz Magazine and La Voz Del Mambo (The Newsletter). OnTwo Magazine is a new publication set on making a commercial impact in the magazine industry, while showcasing the awesome culture of mambo music and dance. OnTwo Magazine will not be republishing feature material from LaVoz Magazine. This will be a new publication with new features and topics revisited from our globally popular newsletter, "La Voz Del Mambo." In case you didn't read the first message, OnTwo Magazine has acquired a national distribution contract and will be available at 50+ newsstands and bookstores in 2009, namely on the east coast.... however (due to overwhelming feedback)... subscriptions to OnTwo Magazine are available. In addition to being a hi-quality, professionally designed, full color publication.... Each issue of OnTwo Mag will also include a MAMBO MUSIC CD! If you are interested in supporting this publication, you can subscribe today. Our premiere issue will be released on Jan 15, 2009!
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2 GREAT New Years Eve Fiesta's Under the Same Roof!
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Take your pick! This year end is going to bring you probably the best central location for latin New Years party's in Edmonton: The 1st Annual Salsa New Years! and The 9th Annual Latin New Years! both at the Delta Inn South Edmonton located at 4440 Gateway Boulevard. Two different rooms, both under the same direction. Two parties under one roof. Is this even possible?? Moreno Productions Inc., promoters and producers of the highly successful Latin New Year's 8 years in a row, now bring you their 9th Annual Latin New Years with a twist! Why not add a 2nd party and cater to a highly energetic salsa community in Edmonton. How do you produce this with the right taste for a HOT Salsa flavored crowd? You bring in 'Edmonton's #1 Latin Dance Resource' ETOWN SALSA and you are ensured to have a great party with great music that everyone will love. In the Crystal Gallery room, the Salsa New Years will bring you a buffet dinner, a salsa show, and a dance to follow with your favorite salsa music to dance to. This along with party favors and multi-party access to the next room to also enjoy featured bands Tumbao Vibe Salsa Band and Latin Combo. You cannot go wrong with this choice as you will get the best of both worlds. In the Grande Ballroom, the Latin New Years will bring you a 4 course dinner, a salsa show, and a dance to follow as well with Latin music varied from Cumbia, Bachata, Merengue, Reggaeton, to Latin Pop and Retro-beats. Stick around as you will enjoy 2 featured bands Tumbao Vibe Salsa Band and Latin Combo. But don't wait too long cause last year the Latin New Years sold out and you don't want to be left out. I personally had a blast last year and I anticipate a better time this year as I am partial to the Salsa music. See you then!! |
SYTYCD Canada - Salsa & Mambo
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Not going to say much here but I just wanted to post up some videos of some talented Canadian dancers dancing salsa & mambo on tv. You can definitely see their influences of dance when they dance salsa. True salseros stay purely latin and try not cross over into other dance genres. Here are 3 videos to show you what I mean. The first 2 are a salsa and mambo routine on the popular dance show "So You Think You Can Dance Canada" and the 3rd one is a mambo routine performed by premiere students(Melissa and Adolfo), of Eddie Torres, creator of New York Style mambo.
Oh,in the first video, a talented Canadian dancer that recently came from Havana Cuba is part of a popular Canadian Salsa group out of Vancouver called Grupo America. Her name is Arassay Reyes.
ADOLFO and MELISSA
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Before Becoming Salsa Superstars
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Here are just a few of the salsa superstars live on video before they became who they are today. The following videos feature;
Alex Da Silva, in salsa circles is known as former Mayan World Champion and long time instructor in the Bay Area in the U.S. and also on television known as the premier salsa choreographer for "So You Think You Can Dance" United States; Find their videos below respectively. Most of the videos have time stamps and others are unknown.
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Junior & Emily on America's Got Talent
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Was updating my page on youtube and I stumbled across a link to this video. Well known in the salsa world, current #3 in the world salsa champions from San Francisco, Junior & Emily put on a great show at this years(2008)America's Got Talent competition. Check out their opening performance:
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FIESTAVAL 2008 Highlights
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So you missed the FIESTAVAL 2008 as well as the SONORA CARRUSSELES concert? No worries. For those that are familiar with PROYECTO UNO, here is a little video from this past weekends FIESTAVAL 2008 in Calgary's Olympic Plaza.
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So You Think You Can Dance 2008
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Just in case you missed some of the salsa routines at this years 2008 So You Think YOu Can Dance show, here they are. Alex Da Silva, the choreographer, is known in the salsa world as the macho "MR. Smooth" and here is a video of him as well. ENJOY!
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CLUB PROFILES: Steven's Steakhouse - Los Angeles
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If you ever head out to Los Angeles for some holidays, you have to catch this Salsa hotspot called Steven's Steakhouse. Looking for the restaurant / club, it appears to be out in the middle of no where. Really! Its rich in tradition and at first view inside you will see the old school upholstery that resembles something out of an Italian Mob movie. Great dance floor and they always have a great line up of bands hitting their local. I personally have been there a couple times and they were off band nights and both times they were very busy. Mind you the location is expandable for when they have bands so you can see how they have achieved a good level of success that way. Don't hesitate to check this place out as it is a diamond in the rough.
Here are some videos for you to enjoy! Here is their info to get updates.
Battle of the Bands
Battle of the Bands - April 27, 2008
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Colombian Style by Swing Latino
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(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. This is a compilation of videos over the past years of SWING LATINO. ENJOY!!
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2007 WORLD SALSA CHAMPIONSHIP RESULTS
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(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. 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) On 2
1st Oliver Pineda & Luda Kroiter (Chile & Australia)(view Oliver interview for videos) 3rd Mario (Junior) Alabi & Emily Alabi (USA) Cabaret
1st John Rodriguez & Johana Vazquez (Columbia) 3rd Kelvin Hernandez & Licelott Maldonado (Puerto Rico & Venezuela) Teams
1st Swing Latino (Columbia)
2nd Pioneros del Ritmo (Columbia) Semi Final Scores Semi Final Results On 1 Isidro Corona & Sheila Cepeda 88.3 Semi Final Results On 2
Oliver Pineda & Luda Kroiter 89.3 Semi Final Results Cabaret John Gerner & Judy Aguilar 92.588 Semi Final Results Team Swing Latino 96.233 |
Interview with Oliver Pineda
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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 ˝ 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
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Salsa Congresses Around the World 2008
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Albert Torres has established himself as a strong presence for producing and promoting International Latin Entertainment events and concerts. He has garnered an esteemed reputation within the entertainment industry as the Bill Graham of Latin Entertainment. Choosing any one of these congresses, you will find an amazing inspiration to not only continue your salsa journey but to make it a life committment that not even I myself ever imagined. Please find below a list of 2008 Salsa Congresses for this year.
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New Swing Sextet-Back to the streets
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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!
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GIVE ME SOME MAMBO MUSIC TO LISTEN TO!
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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 |
Hector Lavoe - Video Classics
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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! 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:
Y canto a la vida
Vinieron a divertirse Eh le leee! le lee!
Me paran, siempre en la calle
Y nadie pregunta
Yo soy el cantante
Yo, soy el cantante
Y sigo mi vida
Yo soy el cantante
Hoy te dedico, mis mejores pregones! (3x)
Oh le lo la laaa, a la laa laaa !
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El Cantante (feedback from Willie Colon)
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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. |
Take the positives, El Cantante - The Movie
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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
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PUERTO RICO SALSA CONGRESS BANDS VIDEOS
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Here is the lineup of bands and artists in Puerto Rico for the 2007 World Salsa Congress:
EL GRAN COMBO
SONORA PONCENA
CANO ESTREMERAWILLIE ROSARIO |
NEW Spanish Harlem Orchestra Album
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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) PURCHASE BY CLICKING HERE - DESCARGA.COM
Song titles include: |
'El Cantante' The Movie,in Theatres August 1st
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For more info about Hector Lavoe, go to hectorlavoe.com For more info on the movie, go to elcantante.com
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Alex Lebron - Music Prodigy
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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!!
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David Melendez has passed away!
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Breaking News: Former NYC Salsa Congress Promoter David Melendez has passed away. This is a major lost for the salsa community. In addition to the NYC Congress, David was also the Publisher of Salsa Y Mas magazine. David provided me with an opportunity to write a regular column in his magazine and was very inspirational and supportive towards my own magazine endeavors. David was truly a great man and will be sorely missed.
If you are having trouble viewing this message, please go to May he rest in peace. Johnny Johnson LaVoz Magazine Publisher About David Melendez David Melendez has been around the mambo scene for years. He has been performing as far back as 1987. His credits include dancing at the Apollo Theater, Avery Fisher Hall, Madison Square Garden and a Tour of Mexico. He has danced on the same stage as Tito Puentes, Gilberto Santa Rosa and Jose Alberto. Throughout his career he was a member of the Mambo Society Dancers (1989), helped formed the Latin Sensation Dance Group (1990) and founded the Mambo Elite Dance Company (1991). He performed, directed, choreographed or help choreograph routines for these groups until he retired from performing in 1994. David has also been a mambo instructor since 1987, teaching private lessons, at the Mambo Society and at the Fazil Dance Studio before opening his Starlite Dance Studio in 1992. Melendez has dedicated himself to passing on his love of dance to our future generation. He has created the Starlite Dance Studio as a means of giving back to the community, to teach children about their Latin culture, to help keep youth off the streets and help focus their energies into some more positive.
David's Funeral Arrangments:
Reference: http://www.salsanewyork.com/magazine/instructors/david_melendez.htm |
Interview with Carmen Taveras - NYC
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Johnny: First and foremost thank you for granting lavozmagazine.com an opportunity to interview you. You have been a member of the Santo Rico Pro team for several years. This is arguably one of the best salsa performance groups in the world. What type of impact has performing with Santo Rico had on your life?
Carmen: Well first I want to start by thanking you for this opportunity. It’s truly an honor. Being a part of Santo Rico for the past 3 years has been an incredible experience. Regardless of the metamorphosis it has gone through throughout the years I am proud to say that Santo Rico has been able to maintain its reputation of being one of the best salsa performance groups in the world. And to be a part of that still amazes me to this day. It has been non-stop since Tomas asked me to be a part of the company and everyday –every rehearsal, every trip, every social outing; I learn more about my ability as a Santo Rico Dancer. The blood, sweat, tears & bruises (there have been many) that I have endured in Santo Rico have made me a stronger, more confident person. Tomas pushes you past your self imposed limit, and I am honestly grateful for that. Johnny: You have previous dance experience in Rumba, Jazz & Hip Hop. How has this contributed to your tremendous salsa dancing abilities? Carmen: Having started with Cecilia (CC) Williams & The Revelation Dancers in 1999 I was exposed to a little bit of everything. CC was very creative and wanted to incorporate anything from rumba to belly dancing into her choreographies, so she tried to train her dancers in as many forms of dance as possible. I don’t have the training background as some of today’s great salsa dancers but the bit of exposure that I did get from CC has lend to my training as a salsa dancer esp. in Santo Rico. Johnny: Can you talk about your dance performance experience at the Apollo Theater in 1998; Along with any other pertinent dance experiences unrelated to salsa? Carmen: HA!! That was so long ago. I started dancing late in life with a group of friends in High School. I was a back up dancer for a talented friend who had signed to a small record company. We did little showcases for about a year including the Puerto Rican Festival and the Apollo Theatre, both of which were a very big deal for us. Doing amateur shows like that is what got me into salsa dancing and prepared me for the stage. I remember participating in a talent show for a church youth group in Brooklyn, and one of the performances was a salsa performance. The couple that performed awed me, I wanted to learn to dance like them so I looked into salsa dance classes…who knew id get to where I am now! All those shows cultivated in me a love for dance and performance. Johnny: You have traveled all around the world performing with Santo Rico, what has been your most memorable experience? Carmen: You know it’s so funny we were actually discussing this amongst ourselves the other day and we couldn’t pick just one, so I’m going to give you my top 3:
Carmen: I love this question. Not to be partial but Tomas and my girl Liz Chavieri she is a firecracker when she’s on the dance floor. Yahaira Casanova & Pierina Sanchez are just nasty, the sultry Ivonna Bochinska, Mario B., Magna Gopal, Eric Baez, Adolfo, Patrick Rosheuvel, Brian van der Kust and countless others. Performance groups - Ana & Joel (Masacote) have to be my favorite dancers hands down. She is so beautiful and has this mesmerizing fluidity to her dancing and Joel is just a force to be reckoned with. He is a great performer and awesome to dance with. All of the Vasquez brothers are awesome performers-unmatched energy. Los bailarines de Puerto Rico! Jhesus Apone, Jason Molina, Tito & Tamara. There are so many beautiful dancers, I could be here forever. What I appreciate the most from all of these dancers is there effortlessness when dancing and performing, something I truly aspire to portray in my own dancing. Johnny: Can you tell us something about Carmen Taveras that the salsa community might not know? Carmen: Hmmmm……I love to eat! I’m teased by my team mates all the time. But really, what you see is what you get. I’m very laid back and free spirited. Johnny:What are some of your short-term salsa and non-salsa goals? Carmen: Short term salsa goals… well one of them would have to be to have a successful trip to Sydney with Tomas at the end of January. Being a good instructor, in January I will be teaching Ladies Spinning & Styling on Sundays and pray that I do a good job (cross your fingers for me). Non-salsa goals-keep my job (lol), seriously I want to become better at what I do, I’m currently an executive assistant in a private school for autistic children in NYC. I would also like to pursue a graduate degree in Education Administration or Counseling. Johnny: Any additional comments: Carmen: Well Johnny I want to thank you again for inviting me to do this interview and for your patience! I also want to congratulate you on the success of LaVoz Magazine. Your aspirations for the magazine are fantastic and wish you continued success. On behalf of Tomas and Santo Rico I would like to thank all of the SR supporters. No matter where we are in the world we are always welcomed and embraced with a smile and we are truly grateful. For all the salseros/as- always dance with conviction! And when it gets to be a bit too much for you remember that “dance is a little insanity that does us all a lot of good!” Wishing everyone a prosperous new year filled with love, laugh & mambo! |
Interview with Ike "Dr. Ike" Ogbaa
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Johnny: First and foremost, thank you for giving www.lavozmagazine.com an opportunity to interview you. You have been a pertinent figure in the Houston Salsa scene for a while. For those who may not know you can you tell us how you got into salsa dancing?
Ike: I decided to pick up salsa dancing as a hobby in med school in New Jersey after seeing some great salsa dancing while on spring break in Puerto Rico and as an outlet from the rigors of school. The music reminded me of the same rhythms I used to hear as a kid playing the drums in church as a kid in Nigeria. It later became an addiction. Johnny: You recently started your own dance company Mambo Poseido. What prompted this move? Ike: After dancing salsa for 6 years I was beginning to get bored of going to the same clubs every week and seeing the same people all the time. I decided to take up a new challenge to make salsa fun for me again. I have always been known as a social dancer and performing is very new to me, so performing and choreography is a very fun and exciting challenge to me. I get a unique kind of high from performing on stage that is very different from social dancing. I also started my group to help further promote mambo dancing in the south. Johnny: In addition to dancing salsa you also DJ, how did this come about? Ike: Again it also came out of the frustration of hearing the same 15 songs at every salsa club. I am an avid latin music and video collector and there are literally thousands of great salsa songs that you never hear in clubs or performances. I felt obligated to share some of this music with fellow salsa/mambo lovers. I have been a guest DJ for the Houston Salsa Congress, South Padre Island salsa event and for various night clubs and socials inTexas. I like to play medium tempo dancers music like Tito Rodriguez, Sonora Poncena, Willie Rosario etc Johnny: How involved are you with salsa promotions in the Houston scene? Ike: I am very involved in salsa promotions in Houston. I am usually involved directly or indirectly in promoting most of the major salsa events in Texas. I have worked closely with Jerome Carter of United Salsa Productions to promote dancers and groups like Tropical Gem, Santo Rico, Griselle Ponce, Adolfo Indacochea etc in Houston. Johnny: Many people that know you, may not know that you are practising Physician. Can you talk a little bit about your life outside of salsa as a doctor and your specialty? Ike: Well I have been practising as a General Internist for about a year and half now. I work for a teaching hospital that trains residents and medical students. I enjoy practising medicine and teaching medicine because it gives me a unique sense of satisfaction and reward for helping to alleviate suffering. I also work in the emergency room 3 to 4 times a month. I was actually the official doctor for the NY and Texas Congresses in the past. Johnny: How do you balance life as a doctor with your salsa endeavors? Ike: Its easy, I just manage my time very efficiently and many times sacrifice sleep. Johnny: Who are some of your favorite salsa dancers and/or performance groups? Ike: I have so many favorite dancers/groups I know that some people will be offended for leaving them out. But a few of my favorites include Griselle Ponce, Shani from Israel/NY, Adriana from Houston, Juan Matos & Dicky Colon(favorite social dancers), Frankie Martinez (favorite choreographer), Adolfo Indacochea &Thomas Guerrero (favorite performers). My favorite groups are Hacha y Machete, Santo Rico, Xibuke (from texas). Johnny: What can the salsa scene expect from Ike in the next 5 years? Ike: Promoting bigger events, introducing you to different music as a DJ, and growing as a dancer. Johnny: Any Additional Comments: Ike: Thank you very much Johnny for this honor and I want you know that you have always been one of my inspirations as a dancer and an entepreneur. Keep up the good work. I leave everyone with this quote! Dance is your pulse, your heartbeat, your breathing. It's the rhythym of your life. Its the expression in time and movement, in happiness, joy, sadness and envy. --Jaques D'Amboise |
Interview with DJ D. Martinez (Boston)
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Chris: DJ D, for those who dont know you, can you tell us where you're from and how you became one of Boston's best DJs?
DJ D: I started to really get into Latin music while in college. While at Northeastern, I decided to start my own Latin radio show since there was no form of Latin music at the college station. La Rumba, my radio show, focused mainly on Salsa music. During this time I was still doing the occasional college party, night club and Weddings. It was at the station and through these other gigs where I gained a following. Some of these other gigs were quite an adventure. I really paid my dues. After graduating college, I started to work for a few local Audio Visual companies where I gained technical experience. I started to do the local night club circuit and things were going well. Boston at this time had no real Latin Club or venue. There were some places that played some Salsa early on in the evening then it went into club music for the remainder of the night. I had out-grown the club scene and started to embrace Salsa. I started listening to anything I could get my hands on. I had a fairly decent collection at this time but was always on the lookout for more. My Father’s collection satisfied some of the new addiction I had. His music really showed me the way. It must have been around ’97 or ’98 when I was approached to do a strictly Salsa night. At first, I was not sure it would work since it had not been attempted before. But over time, the night grew and more places started opening up as a result and the rest is history. Chris: Not to put you on the spot but Boston has some other great DJs. What did it take to earn the reputation and following that you have despite all the competition? DJ D: Boston has some excellent DJ’s. I know many of them personally and have worked with almost all of them. To me, competition is healthy; it definitely moves me to do my best and keeps music and events fresh. Transitioning myself to the Salsa community was challenging for me at first for two reasons. First, most of the people that followed me at that time, knew I played an all Latin music format. They were not used to me playing all Salsa sets at these new venues. Overtime, I convinced them that I could do both and in the process introduced some people to a new musical experience. Second, I don’t have a dancing background as some of my colleagues do. I have always been into the musical and technical aspect of the scene. I love to dance (although not as much as I should, as my Wife occasionally reminds me) but I can’t dance anything near to the level that some of these Boston dancer’s can do. They are really amazing. Many of the other Boston DJ’s started out as a dancer and got into DJ’ing or vice-versa. So, I had to really hone my skills to catch-up to my counterparts. I’d like to think I have my own distinct style to DJ’ing. I like to take my audience on a musical ride during my sets. I do that by playing some old classics interspersed with a few new tracks here and there. For me the audience has to be into the ride as well. It is a two-way, I thrive off of the dancer’s energy and they hopefully, are reacting to the tunes I have selected. My thing is to get people moving through Salsa. I love it when I play a particular song and someone comments to me: “I remember that song when I … or “That song really made move…” My greatest joy when I am spinning is to see the crowd smiling, feeling the music and dancing up a storm. Then I know I have accomplished my goal. I try to play music that not everyone is too familiar with. I feel it is more interesting to open the audience to new tastes, artists and rhythms. People don’t realize how much good music is out there ready to be discovered. Chris: The first time I heard you play was at the Boston Congress a few years back. What you are your feelings on Salsa Congresses and the direction they have gone? DJ D: I do understand how difficult and stressful it is to put one these huge events together. The idea of the congress is to promote and celebrate the dance, music and culture. I believe, sometimes, we can forget the focus and purpose and get caught-up in the politics and micro-management of these events. Unfortunately, that can hinder the event’s prosperity and overall moral to the project. I am not exactly sure what can be done to make things work better? I do know that Boston has come a long way and it would be a shame to lose the ability to have any future congress. I remember a time where the only place to hear some real Latin music was at some one’s old-school, house party. If you wanted to dance Salsa, you had to wait for the first few songs at a local club and that was it. That’s all you would get for Salsa. Now, we have multiple nights, venues, special events, media coverage, etc. That was unheard a few years ago. There were never any events specifically geared to Salseros. The fact that we’ve had a few different Congresses here in the past speaks volumes as to how much the community has grown. Ultimately, everyone benefits from these Congresses. So it’s in everyone’s best interest to come together and make them work. Chris: EMuscia recently bought all the rights to FANIA music along with its subsidiary labels. How do you feel about this and what do you think will happen to some of the older music? DJ D: When I heard about this I was initially very excited and skeptical. I was excited because it meant that this historically important label was going to live on. Fania is so important to Latin music aficionados because it was the launching pad for most of the major Salsa legends. If it had gone under, I believe most of this music would have been lost to time for ever. I was skepitcal because I thought Emusica would put out a quick re-hash or an inferior “Best of “compilation of their major stars. This would have been a terrible dis-service to the many legendary and influential artists that have recorded with Fania. To lump together a greatest hits package would not cover all of the great music that these artists have recorded over the years. To my surprise, EMusica have actually kept true to the original Fania Label and its recordings. They have re-released many of the older, more obscure, titles as well as their main artists. They have also included information on artists and the recordings from people who part of the original recordings themselves. This means this music and its history will live on through a new generation. Hopefully, there will be a greater appreciation for this wonderful music by an all new audience. EMusica has done an excellent job and I hope they continue. Chris: I personally feel that DJs are underrated in the grand scheme of salsa events. Promoters tend to focus on a group or performance that lasts for 5 minutes as oppossed to the DJ who is keeping the crowd going all night. What do you think about this and what can be done to give DJs the recognition they deserve? DJ D:I have been fortunate to work with many great promoters and clubs that have treated me very well. I know there are some people and places where this is not the case. The average person believes a DJ is someone who plays cd’s and that’s it. This is such an awful generalization because a true DJ puts more into a performance than the physical ability to press play. A true DJ listens to, understands his music and respects his audience. A true DJ spends countless hours, money and personal sacrifices in the pursuit to perfect his / her craft. Good DJ’s spend time practicing, listening, compiling and searching for music. A true DJ has to have the ability to read his crowd and multi-task different factors at an event. He / she has to consider their set lists, over-all sound quality, equipment, performance schedules and many other factors. Most people don’t realize all the things that go into spinning at one of these events. DJ’s put in just as much of an effort and skill into their performance than any other dance group. Good DJ’s are just as disciplined as any good dancer. A good DJ will practice and familiarize himself with his music for that event. I understand that promoters and performers have many responsibilities on a chaotic performance night. It is still no reason to forget about your DJ. Their talents and efforts to keep the party moving should not be overshadowed. Again, this has rarely happened to me, I feel that is due to the family-like Salsa community we have here in Boston. My only recommendation to the people, who put these events together, is to communicate with the DJ before, during and after the event. Make sure everything is spelled out before hand. Respect and communication sound like such simple things but end up being forgotten through the course of an event. So many problems can be avoided by just talking or reviewing things before the event begins. Chris: I want to thank you again for doing this interview. Is there anything else you would like to share with our readers? DJ D: To everyone reading, I welcome and invite you to come visit Boston and check out our Salsa scene. |
Arson suspected in Latin club fire
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Elizabeth Withey, The Edmonton Journal EDMONTON - The $1.5-million fire that destroyed a northside Latin nightclub Sunday morning was likely deliberately set, officials say.
The fire at Azucar -- the Spanish word for sugar -- left little more than blackened rubble, and fire officials suspect arson after finding a jerry can outside the club, at 11733 78th St., west of Northlands and Rexall Place. "There are indications this was a deliberately set fire," investigator Johnny Yaschuk said Sunday. Email to a friend Printer friendly Font: ****The two-alarm fire started shortly before 5:30 a.m. Crews arrived to find the building burning and a vehicle in flames. It took 12 fire trucks and around 50 firefighters to get the blaze under control. At 10 a.m., the gutted structure was still barely visible through the heavy smoke and steam. Crews were still working to extinguish hot spots at 3 p.m.
"It was an intense fire," Yaschuk said. "We had heavy, heavy smoke conditions." No one was inside the building and there were no injuries. Damage is estimated at $1.5 million. Azucar opened in April 2004. The club had a capacity of 700 and offered salsa dance lessons. Owner Manuel Echevarria was visibly distressed as he surveyed the club's charred ruins Sunday morning. He said the business was doing well. "It's a sad day, but we have to overcome," he said. Echevarria is originally from Peru, but has lived in Edmonton with his family for many years. "I am a survivor," he said. "I am an immigrant. I can make it up." Bartender Darcy Duncan, who is Echevarria's son-in-law, said he had just finished his shift after a "crazy busy" Saturday when he heard about the fire.
"I got home and got a phone call and turned around and came back," Duncan said. "It's devastating for the family." It's not the first time there has been a fire at that address. In 1998, a suspicious blaze caused heavy damage to the C-Weeds Country Bar on the same site. The building reopened 18 months later as the Longriders Saloon. Duncan said there had also been a fire at Azucar in the past. Ed Posnosky, who owns Stylemaster Slacks next door, was thankful the blaze didn't jump to his building, where 10,000 pairs of men's pants are stored. In his 50 years in business, Posnosky has seen several fires at the Azucar site. "You worry all the time, but what can you do?" Posnosky said Sunday. No arrests have been made. Police and fire officials continue to investigate. ewithey@thejournal.canwest.com -> CLICK HERE FOR JOURNAL WEBSITE ARTICLE |
Interview with Ahmed Zakaria (New York)
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Johnny: First and foremost thank you for giving www.lavozdelmambo.com an opportunity to interview you. You have an interesting salsa background. You were fortunate to start your training with the Mambo King, Mr. Eddie Torres; where you joined his performance team and eventually became the captain, quite an accomplishment. Now you are performing with the world-renown, Yamulee Dance Company. Can you talk a little bit about how you got into salsa dancing? Ahmed: Thank you Johnny for the interview. I was in Genčve, Switzerland on a business trip in April of 2000, and while I was there I made some friends and they invited me to go out with them that night. We went to a club, and it so happened that it was salsa night. I sat there and started absorbing this wonderful energy that these dancers were sharing. The whole atmosphere was filled with a feeling that we are all familiar with once we get "hooked". I started noticing how different people, through their movements, shared such passion for this music and this dance. I sat there watching my friends dancing, and then they invited me to dance. I got up and, of course made a fool out of myself, but I didn't care anyway, I was in another domain. We continued to hang out, and I continued to make a fool out of myself, again, I didn't care, until I came back to NYC. One of the first things I did once I got back to NYC was to Google salsa dance classes and found some discussion boards and inquired about salsa classes. I got a reply from someone who until this day I would love to know who he/she is, and the reason is because this person told me about classes that he/she takes with this man they call Eddie Torres. I think now you know why I want to thank this person. I took my first class on Wed June 7, 2000. By the end of the class Maria Torres asked me if I wanted to pay per class or get the unlimited monthly pass. Before she could finish talking I was writing the check for the unlimited pass. I spent the next year and a half going to class 3-5 times a week and going out dancing at least 5 times a week. I was super dedicated and eager to learn. Then Eddie invited me to join his team where I spent the next year and a half with the Eddie Torres Dance Co., during which he made me captain of the team, something that until this day, I consider my highest honor as far as my dance career. After that, I took some time off for different personal reasons that quiet honestly were taking a toll on my passion to dance. After about a year, Osmar Perrones invited me to join his newly formed team Yamulee, and after watching a few practices and after getting rid of some of the apprehensions that I had about joining a team again, I joined the Yamulee Dance Co.
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Interview with Thomas Guerrero - Santo Rico ( New York)
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Johnny: First and foremost thank you for granting LaVoz Magazine an opportunity to interview you. Your dance company, Santo Rico is definitely one of the top performance companies in the world. You are one of my personal favorites and a source of inspiration for me in regard to dancing and performing salsa. For those who may not have heard of you can you talk briefly your background? Thomas: Well first of all thank you very much for this interview opportunity. I am more than flattered to do this. I started dancing professionally in 1995 and I would say that salsa kind of choose me because I just use to dance socially. I don’t have a dance background or resume in jazz, ballet or other types of dance. Nevertheless, to make a long story short, I started visiting the clubs in my late teens to early twenties and I started dancing socially. A friend eventually brought me into the Santo Rico Dance Company when it was being born and I was primary taught dance choreography from the streets. The group really materialized itself in 1996. I never thought I would be at this level now, so I say salsa choose me because now I am the director of Santo Rico. So it’s a blessing because I have done this with no expectations. So by the grace of God I’m here and I have loved every minute of it. Johnny: One of the most interesting aspects of salsa is that you don’t have to possess an extensive dance background to be a great dancer and instructor, which you have proven. How has your dance background or lack of, contributed to your success in this particular dance? So this is experience has been gratifying and I have done this with no expectations. However I am a very passionate person and I like to finish what I start. So I took it on, educated myself in regard to the music and dance and maintained respect for both. I also invested a lot into this, I did my own promotion and kept the school going and we went through a lot of rough roads, but those rough roads has helped us to grow and has made us stronger. In addition, we have worked so hard to bring out such an intricate style to the dance, such as the spinning technique and partner work style that tends to separate us from a lot of genres of dance. So to see that influence on the dance has also been very gratifying. |
Interview with Kelvin Harris
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Johnny: First and foremost, thank you for giving La Voz Del Kelvin: It all started when I went on a business trip to Orlando with my good friend and SOS south east regional director Rick Greenfield. We had an opportunity to go to this club called The Roxy. To this day I don’t think I’ve been to a club where people seem to be having as much fun as they were that night. It was a Wednesday salsa night, the room was so crowded, and for the first few hours I couldn’t see the dance floor. There were a lot of beautiful Latin women there; unfortunately, neither Rick nor I could dance salsa at that time. After several failed attempts at trying to pick up the dance steps I vowed that I would never be at another club where people are having so much fun and not be able to participate. After leaving the club that night, me and Rick made a pact that we would take salsa lessons and go out dancing every week. The promoting came about by accident, actually. There was a period of time in Washington DC area when, through a series of unfortunate events, all of the usual salsa venues were either closed or decided to change their format. So, me and Earl decided to find a venue and throw a party primarily out of necessity and the need to feed our own salsa addiction. The first night, it was a cold winter night, I believe the temperature was somewhere in the low 20 and we were very concerned about the turnout. But despite less than ideal conditions, about 200 people showed up for our first party. Everyone seemed to enjoy the SOS format of high energy, up tempo salsa with an occasional cha-cha and a few hip-hop and reggae songs to re-energize the crowd. Since that time we’ve just tried to continue to give the salsa community what they like and have come to expect from a SOS party– great music, a good dance floor and good people s to dance with.
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LaVoz Magazine Available NOW!
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La Voz Del Mambo Productions is proud to announce the first issue of our salsa magazine! LaVoz Magazine will contain interviews, articles, and discussion that pertain to the salsa and mambo dance community. It will be distributed all over the world amongst communities with a high interest in salsa and mambo dancing. If you would like to support La Voz Del Mambo's Mission, please purchase a magazine or subscription today. You can make your puchase online or mail a check or money order to: La Voz Del Mambo Productions, LLC Po Box 4663 Alpharetta, GA 30023 US Prices - Full Year Subscriptions are $15 | Single issues are $5 International Prices - Full Year Subscriptions are $20 | Single Issues are $7 (these prices includes taxes, shipping and handling) Subscriptions include Fall 06, Winter 06, Spring 07 and Summer 07 Issues! For advertising information please contact Chris Soto (Marketing/Advertising Director) at chris@lavozmagazine.com Thank you for your support! Sincerely, Johnny R. Johnson LaVoz Magazine - Executive Editor johnny@lavozmagazine.com
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Interview with Stracey Diaz - New York
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Johnny: First and Foremost, thank you for granting La Voz Del Mambo an opportunity to interview you. You have experienced a tremendous dance career as a professional salsa dancer, instructor and performer. You have gained alot of recognition for your accomplishments in Mambo/Salsa dancing, as well as, Latin Hustle. For those who may not know, how did you get into dancing salsa professionally?
Stracey: Before I answer your questions Johnny, I'd like to say thank you for being so patient in waiting for my reply. I'm humbled at your request for an interview. Thank you so very much. Now back to your questions...lol. I'm quite fortunate in having been able to frequent a little known Hot Spot in the Bronx called Side Street back in the early 90's. This is where I met David Melendez as well as all of the other greats that danced there. David was responsible for introducing me to dancing on2 and shortly thereafter asked me to do a duet with him...lol. Wow, I would love to see that video again. I know David has it hidden in his archives. It was a very sexy little number especially for back in those days. He then asked me to join his dance company "Mambo Elite" and thats where it all began for me. Johnny: You have traveled the world as a principal dancer with "The Descarga Latina Dance Co" and with your most recent partner Jhesus Aponte. How would you describe these experiences? Stracey: Priceless!!! How lucky am I to have shared more than ten years with the same six team members as well as the number of dancers that joined us occassionally. They are my brothers and sisters and I look forward to growing old them. I have shared countless laughs as well as tears with them and am very proud to have them in my life. Jhesus and I are kindred spirits which is why I feel like I've known him all my life. We know eachothers deepest secrets....lol. Johnny: You became New York's first Puerto Rican Stuntwoman in the early 90's, earning an impressive resume in Film/TV and Stage. Early on in your career, you worked as a stunt double for Lauren Velez on 11 episodes of "New York Undercover." What is your most memorable experience working as a stunt double during this assignment? Stracey: Hhhhmmm....We did an episode once where Lauren and I had to work with 200 training Firefighters and do everything that they were doing. Well, we were the only two females there besides a few crew members and we had the time of our lives. Need I say more...lol. Johnny: You have also done some work on TV shows which include: "Third Watch", "Johnny Zero", 3 episodes of "Law & Order", "Rescue Me" and most recently on ABC's "All My Children" Is there any correlation between performing salsa on stage and acting on TV? Do you have any other projects coming up in the near future? Stracey: I would have to say yes Johnny. Whether I'm on stage or in front of a TV camera, I have to get into whatever character I need to be in order to get the job done. Sometimes that means telling a story on stage thru dancing and sometimes it means creating a character for the camera. I had to take a few months off to recover from a stunt accident but fortunately, I have a few projects coming up in the coming months. I'll be working on a new character for a film where I'll be playing a Hitwoman as well as working on a new number and hitting the stage again. Johnny: You appear to be a very interested person outside of salsa. Can you describe something that people in the salsa community may not know about besides your work as a stuntdouble? Stracey: Well, I have an amazingly beautiful younger sister who is my Hero. I'm totally in love with my dogs and someday would love to foster as many as my home will hold...lol. I'm a hardcore Old School Classic Rocker who was lucky enough to have a free spirited, music loving Mom who raised me to laugh as often as possible, respect life and all it has to offer.....Oh, and I love to cook ;) Johnny: What are some of your upcoming plans within the next 5 years related to salsa dancing and beyond? Wow, the next five??? Stracey: lol... I plan on dancing as long as my body allows me to and beyond.... As always, follow my heart wherever it may lead. Johnny: Who are some of your favorites dancers? Stracey: Too long to list... I have a great deal of respect and admiration for all that dare to dream and follow thru. Some of my favs to dance with though are Nelson Flores, Jhesus, Fernando (Tropical Gem), Super Mario, Ismael, Orlando (LTM), Hecter Berrios (my hustle partner), and my newest partner Tony Hernandez (Luv U). My Favorite girls are Marielys ( I want to be her when I grow up...lol), My Descarga sisters M&M, Griselle P, Candy, April Genoveese (known her since she was 11yrs old), Joby (my LA sista), My Tropical Gem sisters, Jami Josephson (she can turn anyone into a dancer...wink), wow...told you the list was too long...lol. Thats just to name a few. Johnny: In addition to acting, you have worked with the legendary Tito Puente and Celia Cruz as well as the cast of "The Combinacion Perfecta Tour" starring many of the biggest names in Latin Music history. Can you talk a little bit about these experiences? Stracey: My most memorable moment was at our first CP tour together. The entire cast had gotten together for a full blown rehearsal and I was stretched out on the floor warming up for the opening number. I looked up and was surrounded by some of the very best in Music and Dance history and was completely taken aback. My heart started racing and it was one the most proudest moments in my career. I got to know them not only on a professional level but on a personal one too. I traveled on many tours thereafter with quite a few of those stars and soaked up as much as I could from their words of wisdom and life experiences. I'm a really lucky girl. Johnny: What advice would you offer to individuals aspiring to work in television? Stracey: Be professional always!! Know your lines, your routines, your job, whatever it may be. Do your homework in whatever field you choose and train, train, train....Be prepared. Johnny:Any additional comments:
Stracey: I want to thank you again Johnny and wish you the very best with everything you do. I want to thank everyone who has had any part in my life for I could'nt have gotten here without you. God Bless ~ Stracy*
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Looking for the Salseros in San Juan
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Just show up in San Juan, follow the sound of the clave, and you would expect to be in for some fantastic dancing. The rhythms of salsa can be heard blaring from passing taxis, grocery stores, open apartment windows and bars. You can see great salsa bands every night of the week. But finding the city’s vibrant salsa dance scene can prove to be quite a quest if you don’t have the insider hookup from day one.
I was recently in San Juan for a few days. Armed with the club listings from a number of websites I was confident that several nights of mind-blowing salsa lay ahead. Having checked into a small guesthouse in Old San Juan late on a Saturday night, I headed out to nearby Rumba. It was a pleasant bar with plenty of room to dance that attracted a good mix of tourists and locals. Apart from one couple there were not really any great dancers, but this was not unexpected given the location in this delightful but very touristy part of town. The next night I hit the Oister Bar in Isla Verde. Inconspicuously situated next to a Wendy’s across from high-rise hotels and apartment buildings, this bar had a friendly and very local vibe. There were a few good salseros on the small dance floor and a fantastic band cranked out one salsa clasica tune after another. A good time for sure, but not quite the incredible dance night I had been hoping for. Ok, so I hadn’t hit the hottest spots yet. No problem. I had heard from both salseros back home and local sanjuaneros, online reviews and even the tourist guidebooks that the Havana Club, “la casa de la salsa,” was the place to go. The real-deal San Juan salsa experience was surely coming up later in the week. Or so I thought. As the club was in Santurce, an unfamiliar working-class borough, I took a detour from one of my day trips to acquaint myself with the location. The club was hidden behind a fast-food joint just off the main avenue. But the door was boarded up and the building had that defunct look all too familiar to a traveler from Detroit. The Havana club, “la casa de la salsa” had recently closed. So where did the salseros dance in this town? I consulted, friends, the tourist office, hotels, but no one could point me in the right direction. I even enlisted a local tour operator named Peter to my cause. “Helping people like you, that’s what I do...” Taking it on as a personal mission, he voluntarily drove me from one club to the next, but to no avail. Jakalope Café - dead. Live bands at the big hotels – tourist traps. I ended the night at Nuyorican Café, a great little bar located on a narrow street in Old San Juan. The band was fantastic, but no one could dance. I resigned myself to enjoying the music and dancing with the few ladies who weren’t drunk and could at least do a basic. After the band finished their last set I approached the conga player, who had an afro so big that he just had to know where the dancers were. I told him my story. “So you’re a salsero? Hmmm... I understand your problem” he empathized. He wasn’t a dancer himself, but he did know that there were only a couple of real dance nights a week in San Juan; Wednesday nights at El Criollo in the suburb of Guaynabo and Thursday nights at Shots Bar and Grill. By that time it was too late to get to El Criollo but the next night, my last in San Juan, I would try my luck at Shots. Great dancing in San Juan may be hard to find, but when you find it you really find it. The deceptively unassuming bar in the shadow of another huge hotel on Avenida Isla Verde was almost all dance floor. Soon after the band got started the salseros I had been seeking for so long started pouring in though the door. It was a fantastic night of one great Puerto Rican On2 dance after another, the true San Juan salsa experience that made it all worthwhile. As it turns out, although salsa music is very much a part of Puerto Rican culture, the actual social dance scene in San Juan is very similar to that in many other cities around the world in that there are only two or three places a week the salseros go out to dance. The trick in San Juan is to find those places amongst the countless other bars, clubs, restaurants and hotels that feature live salsa bands.
So if you’re in San Juan and don’t have the insider hookup from day one, here’s my advice: ask the band member with the largest afro where the dancers go. Once you find them, you’ll be in for some of the best dancing anywhere.
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DJ Article by Saif Al Bitar
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Tracks you may have heard and could just never find out who they were by: I want to thank you Johnny for giving me this privilege of posting ten of my favorite floor shaking tracks. I have been dancing salsa for well over 6 years and have been saddened by a lot of the commercialism in music that people associate salsa with. Not to say that what you may hear in a nightclub is bad, but it just doesn’t give me that ‘gut’ feeling I had when I first started listening to salsa music. Here is my 50 cents of aural and soulful bliss that is sure to get you stepping! (A Hint to all Salsa music lovers, I had a chat with a friend of mine once and he said, “You know…look for the albums that have the cheesiest covers on them and you are guaranteed good music!”) “Insight” - Poncho Sanchez & Freddie Hubbard I had to start this list off with this track. The layering of the percussion, the breaks, the progression of the track, all the elements that make you feel like you’ve been given an injection of adrenaline. It teases you early on for what’s to come, and then…boom! The percussion solo…and you are on cloud 9. This is Latin Jazz at its best, the sax and trumpet are the glue in this track, they just weave in and out seamlessly and with no effort, allowing you, the dancer, smooth flowing transitions from on queue to the next, and I know how much you like breaks. This will definitely fill your craving for those show stopping breaks and shines during a dance. Poncho Sanchez is renowned for his skill on the congas, such a crisp clear sound, once you’ve heard a few of his tracks, you will be able to pick up on his style. His is one of aggression, smoothness, and precision. “Atrevida” – Ray Rodriguez & his Orchestra It was pure happenstance that I came across this album. I was chatting with a friend of mine in Amsterdam who is a salsa DJ, and I had sent him this song in hopes that he would find the album for me because, and he did! Unfortunately do not know much about this artist, but I can say this, lush vocals, very sublime production. Classic 60’s and 70’s salsa at its best. A Gozar: Latin Grooves on Blue Note Alright, I couldn’t pick out just one track from this album, so I just put the whole album in here. This music is all late 50's through 70's music recorded by Blue Note and its sister labels, and is a really good overview of what was going on at the time. Willie Bobo, The Jazz Crusaders, Bobby Hutcherson, Les McCann, and Candido among others are featured on this fantastic compilation. Unfortunately not all the tracks are danceable, but pay special attention to Latin Bit, Brazilian Soft Shoe and Titoro. “Plastico” – Ruben Blades & Willie Colon I guarantee you this is probably in every DJ’s collection. The track will definitely throw you off at first with its disco and funk flavored intro, which goes on for about a minute or so, and then you hear the break, and it begins. Even if you have never danced in your life before, this track will definitely ease you on to the dance floor, that intro will pull you in, and then you hear the queue for the clave, you freeze, and you think to yourself “okay I thought this was not a salsa, now my dance partner is not going to let me sit, so I must try and dance!” “Cuidate” – El Combo De Pepe What a great 1968 jazzy descarga-guajira session from Peruvian bandleader and bassist Pepe Hernández. Rich, hard driving grooves obviously intended to keep the dancers moving. Cuidate is uninhibited and does not give you time to breathe, you just dive in head first and unleash! “Lo Que Dijo La Gitana” – Ismael Rivera Y Su Cachimbos Ismael Rivera was known for his contribution to Bomba/Plena. Very well known for his improvisation in his lyrics, it was that talent that earned him the title “El Sonero Mayor”. Although known for that specific genre, he did branch out into Son, Mambo, Guajira, Guaracha, Guaguanco, and Bolero, and this song definitely showcases his abilities in Son and Mambo. I found this record stashed and forgotten at this old record store in Montreal, the vinyl was not in the best shape, but this one track was relentless “La Margarita” – Roberto Y Su Nuevo Montuno This is a very good guaracha-salsa number from the '70s that typifies the no-frills, urban, garage salsa sound. If you liked this track, then check out the album “Aqui Esta” “Una Descarga a Cachao” – Cachao Israel Lopez I am sure all you salseros and salseras will agree with me when I say that songs that go on for longer than 5 minutes are hectic and feel like an invitation to leave the dance floor. That said, this track is 12 minutes long, but dancing to it is blissful. Wonderful queues, breaks, and percussion solos, obviously because it is a descarga, and boy let me tell you, Mr. Lopez and his ensemble unloaded like you would not believe on this track! “La Amistad” – Adalberto Santiago The track is off of an album called “Feliz Me Siento” which was produced by the late Ray Barretto (Rest In Peace). La Amistad has the formula that every classic salsa track should embody, a fantastic intro, a build and a magnificent break into a percussion solo. Highly danceable, highly recommended. “Caravan” – Conga Kings Following the success of the first Conga Kings CD, this release embraces the traditions of Afro-Latin jazz much more than the first, which focused more on the folkloric roots of Afro-Cuban music. Some of the arrangements here are done in the style of the big-band Cubop and mambo-jazz bands of the '40s and '50s and can be both sophisticated and vibrant, but struggle with the shortcomings in the mixing and audio separation -- especially "Caravan" which simply sounds distant. |
Interview with Leon Rose (London)
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Johnny: First and foremost, thank you for taking time out to grant www.lavozdelmambo.com this interview. I was first exposed to your tremendous talents at the Chicago Salsa Congress in 2003. I just remember this huge circle around this brotha doing all the awesome moves that I had never seen before. I overheard two dancers talking and one of them said, "Oh that's Leon Rose." From that point, I always kept an eye out for you because I thought you were "off the hook." For those who may have never heard of you, how did you get into salsa? Leon: Damn, I remember that congress in Chicago. I was really sick and I was finding it really hard to dance. Anyhow, I started Salsa almost 9 years ago in a hot and sweaty club called Villa Stefano's in London. It was in fact my mum that dragged me down there since she got hooked on Salsa just a few weeks before. I remember standing in a corner amazed at all these moves people were throwing down on the dance floor. Then a girl asked me to dance and that was the moment I decided to study this "Salsa thing" hard! Johnny: I got a chance to read your articles located at www.leonrose.com I found them to be very inspirational. To know that a dancer of your magnitude has gone through some of the same things I go through is very inspiring. For those individuals that aspire to be great but are somewhat discouraged what words of advice do you offer? Leon: For me it has been and still is very important to enjoy what I'm doing whether it is in a class situation or while on the stage. I don't think I would be where I am now if I just looked at Salsa a business. I started working nationally then internationally because I traveled around to different clubs/ congresses and just had a good time on the dance floor. People would then approach me for workshop and shows. My advice to up and coming dancers would be to start traveling around and performing your routines must most importantly, after the shows dance with everyone! Johnny: You talked in your article "Partners - Past and Present" about all the different partners you have had and how they inspired you. As a male lead, how can a great female follow help to someone's ability to lead salsa? In ways have women help you to improve as a dancer? Leon: Every partner I've ever had has helped me lead better by giving me feedback on the combinations I would use on them. Male leads must understand that to lead well you must be ready to adapt to different females. For example shorter women might need less force for a double turn than a tall one. Everyone has seen guys with strong leads throwing ladies around in clubs (even on the stage), and if their partners don't say anything they will just continue the same way with everyone they dance with. Another way I've been helped was by my dance partner of six years, Susana Montero, with spinning techniques. She trained in ballet for a number of years and gave me tips on how to improve my spins. Johnny: You also mentioned how you were influenced by Robert Charlemagne and T in London. In what ways did these tremendous dancers influence your innovative style? Leon: In London back in the old days I don't think we had many strong stylish dancers but with the help of these guys thinks started to change. Robert was and is still is a man the that can put a lot of humor and attitude in to his dance without putting too many complex moves in, and T was the guy that would do the fast and tricky stuff. I worked on over the years creating my own style and my own "strange" routines. This started with combination of all the things I learnt from all my instructors to what I do now which I work hard on making unique. Johnny: Who are some of your favorite dancers in the UK and beyond? Leon: Susana Montero (of course) and Miriam: who are probably the only two in the UK that can follow everything I do when I'm going crazy. Lesley and Violeta from LA: because they challenge me when it comes to pure style. There are several women around the US and Europe that are too numerous to mention but they stand out to me because they really feel the dance and there enjoyment radiates off them. When it comes to guys, I like watching Cliford from Paris freestyle. Also I really appreciate the work my brother from another mother, Sekou. Johnny: I got an opportunity to see the "Leon Rose Project" On the UK Congress DVD, which is a preview to a much bigger show. Can to talk a little bit about the hour-long theatre dance production you have in store? Leon: I came up with a idea for a big show a while ago and it's damn hard work!!! When it's ready, everyone will know.... Johnny: Outside of being a phenomenal dancer, what is the Most interesting thing about you? Leon: I'm working on my standup comedy routine at the moment which I've been a little scared to actually go out and do.. Also, I was born to be a singer..I just can't sing.. Johnny: What can we expected from Leon Rose in the next five years? Leon: If I'm still being hired, I'll still be dancing... |
New festival gets into Latin groove
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New festival gets into Latin groove View Larger Image TEARING UP THE SQUARE: Daisy Gimenez, left, and Vicente Guerrero showcase some Latin dancing at Churchill Square on Tuesday. Photograph by : Ed Kaiser, The Journal Article Tools Printer friendly Font: * * * * Susan Ruttan, The Edmonton Journal Published: Wednesday, April 12, 2006 EDMONTON - Edmontonians will be able to dance all day to Latin rhythms at the city's first Latino summer festival, Expo Latino, says the festival organizer. "It's not the kind of festival where you just sit and listen to music," said Carmen Galvez of Calgary in an interview Tuesday. "We're turning Sir Winston Churchill Square into a giant dance floor." Galvez is president of the Calgary-based Hispanic Arts Society, which is hosting Expo Latino in the downtown Edmonton square the weekend of Aug. 19 and 20. "The stage is going to be non-stop from 11 a.m. till 7," she said. The performers will be changing throughout the day, so the audience will be able to try out their salsa or mariachi dancing. There will even be workshops for people who want to learn some dance steps. The new festival is modelled on the successful Expo Latino that has run in Calgary for the past decade. During that time, Galvez said, the Calgary event has grown from a one-day show to a week-long festival drawing 100,000 people. Many of the performers at the Calgary festival over the years have come from Edmonton, which has a Latino population double that of Calgary, she said. "They've been saying, 'you really need to have something like this in Edmonton,' " she said. "We've been working on it for two years now." The festival represents 19 different Spanish-speaking countries, said Galvez. That variety will be reflected in the different arts and crafts for sale, in the food booths and in the different performers. "There's flamenco, there's mariachi, there's Chilean folk dancing, there's the tropical dancers, there's salsa," she said. "We all come together in this festive atmosphere." Galvez said she hopes people will bring their children, so they can hear the bands and join in the dancing. The Churchill Square event will be free. The cost, which Galvez estimates at $200,000, will be covered by government grants. Paying customers can also attend a gala Latino performance at the Winspear Centre on Aug. 19. It will feature guitarist Oscar Lopez, a Spanish flamenco group and traditional music and dances from countries like Chile, Cuba, Venezuela and Mexico. sruttan@thejournal.canwest.com © The Edmonton Journal 2006 |
Expo Latino is hot, hot, hot
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Hispanic event added to festival lineup It takes cojones to start a new festival the same weekend Edmonton's long-standing Fringe opens. But organizers for Expo Latino say they've got it where it counts. "I think our festival will be the favourite pick," says Expo Latino artistic director Carmen Galvez. Edmonton's new Hispanic culture festival runs Aug. 19 and 20 at Sir Winston Churchill Square. The Fringe runs from Aug. 17-27. Also on Edmonton's summer lineup in and around that time is the Labatt Blues Festival from Aug. 25-27 and the ESO's Symphony Under the Sky from Sept. 1-4. Both events take place at Hawrelak Park. Part of Galvez's optimism for a local Hispanic festival stems from the success of Calgary's Expo Latino, celebrating its 10th anniversary this year. It runs from Aug. 23-27. Last year, the Cowtown event drew about 70,000 people, a festival only bested by Calgary's folk fest, Galvez says. Conservatively, she's expecting about 50,000 people in Edmonton, which has a Hispanic community roughly double the size of Calgary's. Edmonton has tried undertaking small-scale Hispanic cultural events over the years with limited success, but nothing on the scale of Expo Latino has ever been realized. The event has taken more than two years of planning. "It's time," says Galvez. "Edmonton needs something like this and people in Edmonton are very open to attending cultural events." The free-admission festival will feature arts and crafts, food and a large musical component, including acts like Spain's Vivancos Ballet Flamenco, Vancouver's Mariachi Del Sol and Juno award-winner Oscar Lopez. Running in conjunction with Edmonton's festival, the Fuego Latino gala of music and dance will take to the Winspear Centre Stage on Aug. 19. Tickets will be available through Ticketmaster. And to get those Latin toes tapping a bit earlier, the second-annual Salsapalooza showcase, competition and dance will hit Edmonton's Four Points Sheraton South on June 17. |
Hispanic Festival 2006 News! Noticias!
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*CELEBRATING CALGARY’S 10TH ANNIVERSARY AT PRINCES ISLAND PARK **INAUGURATING EDMONTON’S FIRST EXPO LATINO FESTIVAL ***FUEGO LATINO GALA IN EDMONTON AND CALGARY Hello Everybody! We are gearing up for a better and larger Hispanic Festival at the end of August. This year we are celebrating our 10th Anniversary in Calgary from August 23 to 27 at our new location, Prince’s Island Park; Inaugurating Edmonton’s first “Expo Latino” Festival on August 19 and 20 at Sir Winston Churchill Square; and “Fuego Latino” will ignite the stage with a spectacular gala of music and dance in Edmonton and Calgary. Edmonton Expo Latino will take place at the Sir Winston Churchill Square in Edmonton on August 19th and 20th from 11 am to 7 pm. It will be Free Admission and include Main Stage Entertainment, Food and Art Market, Travel show and Beer Garden. Calgary Expo Latino is celebrating its 10th Anniversary and MOVING this year to its new permanent home at Princes Island Park, August 25 – 27, transforming into Calgary’s Mega Outdoor Festival. This new venue brings us better covered Stage, larger overall facilities for the audience and vendors, extended hours of programming and recognition of Expo Latino as one of Calgary’s major festivals in the City. Festival hours have been extended to the following: Friday from 6 pm to 12 midnight; Saturday from 11 am to 12 Midnight; and Sunday from 11 am to 8 pm. All events including Salsa Fever, Bombazo, Parties, Workshops will now take place within Expo Latino at Princes Island Park for the entire family to enjoy. The only two events taking place outside Prince’s Island Park are: Opening Ceremonies and Fuego Latino Gala. This brings us to a another good news where we will be able to have even better programming for everybody in the family introducing an Early Bird Weekend Pass for only $10.00 per person available until the evening of Friday, August 25th . Tickets available through: 7-11 Stores; A & B Sound; Ticket Master; and Latin Stores. Daily passes will be available at the door of Princes Island Park on Saturday, August 26 and Sunday, August 27. However, children and seniors will have free admission! Fuego Latino will ignite the stage with a spectacular gala of music and dance. This breath taken Stage production will featuring International, national and local dancers and musicians on the evening of August 19th in Edmonton at the Winspear Concert Hall and the evening of August 23rd in Calgary at the Epcor Centre’s Jack Singer Hall. Tickets will be available through Ticket Master only! Tentative Artist Line-up for this year’s festival: Mariachi del Sol; Vivancos7 Ballet Flamenco; Oscar Lopez with his ensemble; Al Liquid Silver with his Salsa Team; Juan David Rodriguez; Orquesta Expression Latina; Orquesta Internacional Hermanos Flores; Orquesta Tropicana; Ache Brasil; Grupo America; PLP; and Edmonton and Calgary best Latin bands, dancers, musicians and singers. In the month of April our Calgary office is open limited hours on Tuesday, Wednesday and Thursday from 8:30 am to 12 noon. It will open full time office hours on May 1st and in our Edmonton office will open full time office hours on May 29th. Our office number in Calgary is (403)271-2744 and office located at Lwr Level, 237 – 8th Avenue S.E; our phone number in Edmonton is (780) 628-5822 office located at Second Flr, 9704 – 27th Avenue. Application forms are now available for downloading from our website: www.hispanicarts.com Feel free to contact us for any questions, concerns or suggestions. Hope to see you all this year at Alberta’s hottest outdoor festival in Edmonton and Calgary. Thank you, Hispanic Arts Society |
Interview with Cesar Henriquez(LA)
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Johnny: First and foremost thank you for giving LVM an opportunity to interview you. You have performed with Salsa Brava and you are probably one of the most popular social dancers on the West Coast Scene. But what might be more impressive is how you achieved so much success and notoriety on the scene at such a young age. For those who may not know you, how did you get into salsa and how old were you when you started performing? Cesar: Well, I was actually brought into this scene by my mother. A lot of people I have spoken to about this subject all tell me that their parents used to dance when they were younger, and felt it is a great scene for their children to be in. My story is a little different though. My mother actually had to force me to go to my first class. I wanted nothing to do with dancing at the time. I was an ignorant 14 year old boy, not knowing what I was trying to steer away from. She finally convinced me to go to the class, which I refused to participate in when we arrived. I was sitting on the side, pretending to be extremely irritated. I was watching how my father couldn't pick up the steps, and it was irritating me more. My mom came over to me and asked me to help him understand. Because I was so annoyed that he wasn't getting it, I got up and started teaching him. I had been watching the teacher, and comparing to what my dad was doing, so I knew what he was doing wrong when I got up. Finally my father started understanding, and I decided to go sit back down. As I was about to sit, a girl from the class went and grabbed me and pulled me back up. She said, we need guys over here, would you like to help us out? I have a hard time saying no, especially to beautiful women, haha, so I got up and took the class. After that first one, I didn't miss ONE weekend of those classes for a VERY long time. Johnny: I remember watching you and Jamie from Caribbean Soul, dancing on imambo back when it was black and red. Nevertheless, your creative style and complex moves really stood out. I studied that clip and learned a lot of moves that I still use today. The crazy part is that I think you were only 15 or 16. What contributes to your extreme talent for salsa? Do you have experience with other types of dance? Cesar: I think my love for the whole scene is what makes me dance the way I do. I love the people, the music, the actual dance, and the trips, for obvious reasons. :) I think part of it comes from me being raised as an only child. I love being around people, and I believe that comes fro me being alone at home everyday of my childhood. I like people. I like being around them. I am truly happy when I am dancing. I get to be around friends, and I get to express myself in ways that I had not experienced before this dance. Yet I am STILL finding new ways to show my emotions and feelings through dance. Returning to your question, salsa is the first and only dance I have ever taken classes for. I knew nothing about dancing before it, and I have never taken any other classes. I do however, see in my near future, some classes of capoeira, hip-hop, jazz, and tap. I want to learn those, because I believe they will all strengthen my salsa. I have also started taking actual lessons to play the congas. I have been learning on my own for about 2 years, just listening to salsa music, and playing that I hear, or watching live bands, and watching their hand movement. It's actually a great instrument, and I recently bought myself some LP's, performance series. I'm very happy about that. :) Johnny: Unfortunately, the group you previously performed with, Salsa Brava, disbanded. So what are some of your performance plans in the near future? Cesar: I have recently started planning something with two of my closest friends in life. We have many, many plans in mind, but the ones meant for the nearest future are as follows: a) We plan on starting a team together, the three of us. It will at first, consist of just us three; Iriyali Herrarte, Tony Calles, and myself. We all have very different styles of dancing, which is a great attribute to the company, as we are not fixated on one single form of seeing/hearing the routine/music, respectively. b) Not too far after that starts, we plan on beginning an actual dance company, with a few more members. While we still will be performing as the group of three, we will also have our focuses on the team. We will all be traveling to different congresses, performing and such. I plan to make these teams a requirement in every congress. :) Johnny: What is the most interesting thing about you outside of salsa dancing? Cesar: Interesting? I guess I would have to say my love for computers, and all electronics in general. I have a knack for computers. I learn very quickly, as in salsa, and I love to figure out things I don't know about them. I am working towards getting, eventually, my master's degree at least, in computer sciences. I still have not decided if I would like to be a technician, or more of a programmer or web designer. I love electronics, again because I have a knack for them. I don't need instruction manuals to know how to use them. I just figure them out. haha It's always fun to get something new, and be able to enjoy it that way. To give you an example, when I got my palm pilot, I was hooked. I loved figuring out what other features it has, and learning about how it works, without needing the instructions. Every time I get a new cell phone, I don't put it down for the first few days, because I love to find out everything about it. Johnny: Is it true that you graduated from High School in 2 years? (Can you talk a little bit about that) Cesar: How funny, I didn't know this was information other people knew. haha. Yes this is true. Well, 1.5 years, to be exact. I was not happy in high school, and I felt like I was regressing. I could not catch a break from the teachers, and I cannot, absolutely cannot stand someone being on my back about completing things. If I know I have to do them, I will do them, whether it's on that person's schedule, or mine. Obviously, this wasn't hitting the teachers too well, and it affected me. So I decided to leave. I found out about a test that kids in California can take. It is called the High School Proficiency Examination. If you would like more information on it, go to www.CHSPE.com it's a great opportunity for bright kids to take, as long as they use it correctly. I graduated high school halfway through my Junior year. I decided I did not want to be there. So I took the test. I received the pass notice, and the graduation certificate in the mail a few weeks later, and I left. had my last week in school, saying bye to the people I actually liked, and I was gone. I started going to college, working towards finishing my General Ed. classes. All at 16. |
Interview with Ahtoy WonPat-Borja (NYC)
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Johnny: First and foremost thank you for giving lavozdelmambo.com the opportunity to interview you. You are a performer and coordinator for the world renowned "Santo Rico Dancers." Although you have only been dancing with Santo Rico for a couple of years, you are already captain of the student group, "Xibicion" and the Ladies Spinning & Styling Coordinator. This is quite an accomplishment, in such a short-time! For those that have not been exposed to your tremendous dance talent, can you give us a little background on how you got into dancing and performing salsa at this level? Ahtoy: I ventured into salsa after an injury forced me to stop the intensive ballroom training I was engaged in at the time. I initially thought that dancing salsa would be less rigorous and that I could use the time learning it to simultaneously recover. To my surprise, becoming proficient in salsa - especially at Santo Rico - was a demanding endeavor, and it soon proved to be one of the more difficult dance forms in my experience. Tomas invited me into his student group, Xibicion, after two months of attending his classes. Since then, I have really appreciated and benefited from the level of mastery he requires from his dancers. This has constantly motivated me to accelerate through what would have been a quite normal course of improvement had I not been required to dance my butt off everyday since then!! Johnny: You have an impressive dance background. Can you talk a little bit about your dance experience outside of salsa? Ahtoy: I was raised as a dancer from a young age, so dance has always been a discipline rather than a pastime for me. I received most of my training in classical ballet in Guam (my home) and at the Houston and San Francisco Ballet Companies. I later turned my efforts to jazz, modern, and competitive ballroom in New York. I was a very quiet child, so I spent most of my time and energy learning how to express myself physically through dance. The stage still remains a comforting retreat for me, from which I never roam. Johnny: You have traveled all over the world performing with Santo Rico. Is there any particular travel experience that stands out? Ahtoy: My most memorable experience abroad is of beautiful St. Petersburg, Russia. Tomas and I were hired to perform and teach there for an entire week during the summer "White Nights" when the sun never goes down in that part of the world. The city was simply magnificent under the constant dawning light, and so it never slept and neither did I. The most remarkable thing about St. Petersburg is that despite the lack of Latin dance exposure, the salsa community was burgeoning with enthusiasm and promise. We New Yorkers often take the wide accessibility of dance opportunities for granted, so I was inspired by their willingness to seek out and enjoy something that is seemingly out of reach. Johnny: How would you describe your experience as The Captain of "Xibicion?" Ahtoy: Xibicion was the battle-field where I fought my way through bad technique, frustration, and sheer mediocrity. I'll never forget the senior dancers back then who tolerated my tangled hair, my glasses flying in their face, and the occasional toe-smashing. I can still hear them yelling at me sometimes. So it only seems natural to contribute the fruits of my misery to the next generation of eager dancers. Xibicion has always been a group of sincere and earnest students starting from scratch and working for nothing but their own satisfaction. To me, that's the only way to dance. Johnny: If a lady aspired to be a dancer in Santo Rico, what advice would you offer to her? Ahtoy: Believe that you are beautiful, and learn to use dance to communicate that, undeniably, to others. Dance at this level is a performance art and its primary purpose is to display your physical skills and attributes. Santo Rico requires its ladies to perform with perfection, pride in our femininity, and the power to conquer every stage. Once you accomplish that, you can share your love of dance with everyone who watches you. Johnny: Unfortunately, many people still assume that you must be Latino in order to dance and perform salsa at a professional level. Your last name is WonPat-Borja; if you don't mind my asking, what is your ethnicity? Ahtoy: I'm Chamorro! Thanks for asking. Chamorro is the name of the native people of Guam, a tiny tropical island in Micronesia near Japan and the Philippines. I grew up there and moved to New York for college when I was 17. You can legitimately call me Asian, which explains the "WonPat" in my name, but I have a distant Spaniard heritage as well, which is the "Borja". Of course, anyone can dance salsa, and the diversity of the salsa scene all over the world is the most convincing evidence of that. In fact, the national dance of Guam is the Cha Cha Cha!!
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So You Think You Can Dance - Auditions
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(NOTE: Come on SALSEROS! LET'S REPRESENT! SHOW them what real salsa looks like, none of this basic stuff from first season) Fox has announced Open Auditions for the second season of So You Think You Can Dance? via The dates: Major Open Casting Calls! 8 :00 am - Line up 9 :00 am - Doors open for registration 10:00 am - Be ready to dance New York Thursday, March 2, 2006 The Hilton Theatre 213 W. 42nd Street New York , NY 10036 Call Back Dates Friday, March 3, 2006 Saturday, March 4, 2006 Los Angeles Thursday, March 9, 2006 The Orpheum Theatre 842 S. Broadway Los Angeles, CA 90014 Call Back Dates Friday, March 10, 2006 Saturday, March 11, 2006 Chicago Friday, March 24, 2006 The Legendary Chicago Theatre 175 N. State Street Chicago, IL 60601 Call Back Dates Saturday, March 25, 2006 Sunday, March 26, 2006 * More cities to be added as they are confirmed. To audition for the show, you must be between the ages of 18 and 30 at the time of the audition AND either a US citizen, legal permanent resident of the US, or possess a current legal visa allowing you to seek employment freely in the US. |
Latin Jazz Legend Barretto Dies
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Ray Barretto February 17, 2006, 11:30 AM ET Leila Cobo, Miami Legendary percussionist and bandleader Ray Barretto, one of the leading figures of the Latin jazz movement that exploded in New York in the late 1940s, died Feb. 17 in Hackensack, N.J. He was 76. Born in Brooklyn to Puerto Rican parents, Barretto was a virtuoso conguero and a fixture in New York's fertile Latin jazz scene, equally at ease as a sideman, frontman and session player. He recorded and played with greats like Red Garland (he received guest billing on the cover of "Manteca"), Tito Puente, Dizzy Gillespie and Sonny Stitt. Barretto also had a prolific solo career, which spanned more than 50 albums. His profile rose following the release of his 1962 album "Charanga Moderna," whose single "El Watusi" spent several weeks on the Billboard charts. He also released several albums on Fania in the label's glory days, and became a key member of the Fania All Stars. He would later record extensively with his New World Spirit sextet on Concord, issuing albums that explored jazz, soul and Latin music. His albums "Taboo" (1994) and "My Summertime" (1998) received Grammy nominations for best Latin jazz performance. Barretto's career continued unabated up until the time of his death. Just last year, Barretto released "Time Was-Time Is" on O+ Music. Barretto's health had been fragile since the beginning of the year, when he underwent a quintuple bypass operation in New Jersey. He was hospitalized Jan. 30 with post-surgical complications and pneumonia, according to a statement. |
2006 W.C. Salsa Congress Instructors (CONGRATS ERIC & KELLY)
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(NOTE: A SPECIAL congrats to Eric & Kelly from Salsa Rica for being selected as instructors of this massive congress. Eric & Kelly have worked relentlessly over so many years to show they have a huge contribution in the Alberta and Western Canadian dance market and now they get to teach the world at the biggest salsa event in this UNIVERSE! Thank-You Salsa Rica! on behalf of Salsaddiction and EtownSalsa.com)
Congrats to the selected instructors for the 8th Annual West Coast Salsa Congress May 25-28, 2006 For more info on the congress, registration and the bands go to: http://www.atpevents.com/congress/2006/ If we have spoken and you are not on this list. You are probably on our waiting list. All instructors, couples and teams need to confirm with Jose Mendoza before February 28, 2006. If you do not confirm, you will be taken off the instructor and performance list. At that time we will be begin confirming those on the waiting list. Congrats! Al Espinoza On "1" Los Angeles, CA Alex D’Silva On "1" Los Angeles, CA Amanda Estilo On "2" New Jersey & Dominican Republic Arelis Guevara On "1" Caracas, Venezuela Ava Apple & Dave Paris Lifts San Francisco & New York Billy & Katie Lifts Miami, Florida Bobby & Mitsue On "1" Tokyo, Japan Candy Mena On "2" New York & Dominican Republic Carmen Lorente Flamenco / Salsa Valencia, Spain Coabey Dancers Cuban Rhumba San Juan, Puerto Rico Danielle & Graziano On "2" Bella, Italy Edie (The Salsa Freak) On "1" Los Angeles, CA Edwin Rivera On "2" New York / Los Angeles Eric & Kelly On "1" Calgary, Canada Giselle Ponce On "2" New Jersey Gupson & Sharon Spin Class Singapore / Australia Hacha Y Machete On "2" Lawrence, MA Henry Herrera Casino Rueda Miami, Florida Ismael Otero On "2" New Jersey Jaime & Liz On "2" Sydney, Australia Joby Martinez On "1" Los Angeles, CA John & Liz On "2" San Francisco, CA Josie Neglia On "1" Los Angeles, CA & Canada Juan Matos On "2" Dominican Republic & New York Laura Canellias On "1" Los Angeles, CA Liz Lira On "1" Los Angeles, CA Luis & Melissa On "1" Los Angeles, CA Mario B On "2" New Jersey Morris & Sonia On "1" Montreal, Canada Nelson Flores On "2" New York, New York Nestor On "1" Sydney, Australia Oliver & Luda On "2" Sydney, Australia Osmar Perrones On "2" New Jersey Palladuim Legends Cha Cha Cha New York & Puerto Rico Rene Gueits Casino Rueda Miami, Florida Ricardo & Michelle On "1" San Jose, CA Ricardo & Vivianna Colombian Style Cali, Colombia Rogelio Moreno On "1" Los Angeles, CA Ryoko & Ryu On "2" Tokyo, Japan Salsa Y Control On "1" Boston, MA Spin On "1" Seoul, Korea Stayz New Zealand Swing Guys Swing & Salsa Milan, Italy Teresa Zamorano On "1" Orange County, CA Thomas Guerrero On "2" New York, New York Tito & Tamara On "2" San Juan, Puerto Rico Tony Lara Bachata Italy Victor & Gaby Quebradita & Salsa Mexico City, Mexico Victor (Karisma) On "2" Dominican Republic & New York Winsome Lee On "2" New York, New York See you at the 8th Annual West Coast Salsa Congress Salsaland @ Hollywood Park Casino in Inglewood, CA on May 25-28, 2006 Register Today Hotel rooms going very fast! http://www.atpevents.com/congress/2006/register.asp Register for the musicians seminar from May 22-25, 2006 http://www.alberttorresevents.com/congress/2006/musicseminar.asp 2nd Annual World Salsa Championships Qualifying Location More Info Coming soon www.world salsa championships.com Albert Torres Creating Unity Through Salsa |
What Makes a Good Dancer?
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By Norberto "Betto" Herrera A lot of dancers think that mambo dancing is all about turn patterns or spinning or shines. Some one said, "It's not about what you do, but how you do it". Let's take a cross body lead for example: You have two different couples executing this same move. One of them looks forced, with no feeling or structure, while the other one looks stylish, very smooth and lead without difficulty. The two are executing the same move, and have taken the same amount of classes, so what makes one better than the other one. There are a couple of aspects that in my opinion dancers should consider in order to achieve a higher level of dancing. The follow would cover a couple of aspects that "a leader" and "a follow" should concentrate in order to become a good dancer. In my belief, a leader needs to: - Have a strong understanding of the basics. Things like, when to change your weight; arm tension, basic footwork and when to lead the turns are all part of the basics of mambo. The better you understand them as a beginner the quicker you'll improve your dancing. Notices that I say understand them not execute them, going through the step doesn't necessarily mean that you know the steps; can you execute them to the music on time? That is the question you should ask yourself every time you think you know a step or move! - Measure your partner's level. Have her go through a simple routine of basic moves (basic, cross body lead, right turn, left turn) for you to have an idea of what moves she'll be able to follow without difficulty. - Adjust your lead. After you have measured her level, keep in mind that certain followers respond better to more obvious signals and leads, and others to stronger or softer leads. You'll have to determine how to calibrate your lead accordingly. A good leader is able to adjust his lead while keeping his flavor and style with almost every single different partner. On the other hand, when a couple dances constantly together, they lose the ability to adjust to another dancer. A good lead can only be develop if you get yourself out there and dance with as many different partners as possible. - Share the dance floor with the lady. I have seen a lot of posing from some leaders but no dancing. Some times, they don't even move their feet, while their partner is moving from point A to B, side to side, turning left and right with doubles and triples while the man is holding the same pose. Dancing is movement, not posing. If you ever watch Eddie Torres dance, you'll understand what I'm talking about. Think about dancing in a circle, you want to share the circle not be in the middle and have the lady run around you. If you do this, your lead would improve and you'll notice while leading fast inter-exchange of places or dancing fast songs. - The most important one is to feel the music. Feeling will manifest through your body. That is probably the most admirable characteristic in a dancer, not how many times he spins or makes his partner spin, not how many moves he goes through in a single song, but how connected he and his partner are with the music. Mambo or salsa dancing is all about the lady, it's often heard that the lady is the 'picture' and the man is the 'frame'. Followers delight us with their style, sexiness and playfulness. In my belief, all these aforementioned characteristics come to place after the following: - A strong understanding of the basics. By this I mean: When to put weight in the proper foot. How to interpret the lead and to know which direction to go. Know how to execute right and left turns properly without depending on the leader. - Prepping for spinning. No matter if there is one or a thousand spins led, there is always preparation before a turn. Of course, prep for a single right turn is going to be different than prep for a triple right. It's all about adjusting to the lead. The better you prep the better you spin. - Good connection. It's a must for the follower to be able to feel the lead. Starting with the way your following hand is positioned, it should not be flat. You should use your ring and middle fingers of your hand to connect with his ring and middle fingers on his hand, that way we have good security on the hold and not too much friction (which would be uncomfortable and would slow us down). Keep tension in your fingers and slightly curve them to his to maintain connection. Then comes your arm, you need some kind of tension to be able to react on time to any kind of move. Always match the tension you receive from the leader. Tension will range from a zero level to a five level depending on what is being led. Your posture should include a straight back that is what is going to help your balance while turning. This is also going to allow you to carry your own weight and give some tension at the same time. If you keep all these pointers into consideration you'll become a follower that is not too light and at the same time not too heavy. - Experience. The leaders and followers' learning process is different. Leaders need more time to develop than followers. From an experience standpoint, a follower needs to get used to standard moves and be ready for new ones and learn how to respond to certain leads. On the other hand, if the follower gets too used to a certain lead by dancing with the same partner all the time, she'll have problems adjusting to a different lead. A follower should try to dance with anyone who is available to be able to react to different feelings. - Styling. This is something that comes in place after all of the above has been achieved. It's not easy. Good stylish dancers are able to keep their own flavor and follow any move flawlessly. A lot of experience is needed because the follower needs to understand when she has time to style during a turn pattern or what she can do while been led during a move. You can use every single part of your body to style like your hands, arms, shoulders, rib cage, hips, and head.... even your hair. - Feel the music. Styling and feeling the music go hand in hand, but when you feel the music, the moves that you execute are not pre-designed or rehearsed. They are inspired by the music and transformed into those sexy hips movements and head rolls we guys love to watch. These are just a couple of aspects that I think an upcoming dancer should consider to develop into a great dancer. While you might think some of them are more important than others, remember that dancing is an interpretation of the music from our soul with in our bodies and we will have different approaches. I hope this helps some of you and have fun at the dance floor. |
ˇBOMBA! NOMINATED FOR CMW INDIE AWARD
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ˇBOMBA! NOMINATED FOR CMW INDIE AWARD FOR FAVOURITE LATIN ALTERNATIVE ARTIST/GROUP |
Interview with Micah Boon (Chicago)
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An Interview with Micah Boon (Chicago) by Suzanne Perfetto Suzanne: Hello everyone, let's welcome to La Voz de Mambo, Micah Boon. Micah: LVM! Thanks for having me as a part of your site. I'm truly honored to be part of such a wonderful project! Suzanne: Micah how did you get started in mambo? Micah: How did I start...man let me think. Well back in high school some friends introduced me to the basic step of salsa as well as some folkloric dances like cumbia, plena, jarabe de tapatio, etc. All I knew was the basic salsa step and a side step for a few years, then I ordered a "Cool Moves" video by Eric Freeman and learned some moves and that salsa had "counts" to it (wow!). I started going to a club where I lived in South Carolina (whazup to Salsa Cabana!), watching this guy named Gabriel, and making up my own moves. That was all dancing on1, but then I looked on the internet and saw that you could dance on different beats, so I found some online charts and studied how to dance on2, practicing the basic steps in my mom's living room (hey Mom!) and transferring all of my on1 moves. When I moved to Chicago a few months later in 2002, I met my first dance partner Suzanne and was finally able to practice mambo with a real person and then with other dancers in Chicago. Since then, for about 3 and a half years, I've just been going out, watching people, making up random cool moves (and then forgetting them five minutes later), and teaching others to enjoy this crazy shiznit. Suzanne: Tell us about your background in dance. Micah: When my friends introduced me the basic salsa step and folkloric Latin dancing, that was my first encounter with dance, other than going to hip-hop parties and standing on the wall like a loser. It's all good. Suzanne: You are a undergraduate student at Northwestern University majoring in music. Tell us about that and how your musical background influences your mambo steps on the dance floor. Micah: I'd say it influences my mambo jambo quite a bit. It helps because it keeps me aware of the music in every aspect. Especially with choreography...like I'll choreograph a part of a song to some conga slaps in the background and someone will be like "What the fack? I would have never heard that!" Also, being "musically educated" helps in interpreting musical events within the songs while social dancing. People sometimes ask me in clubs or socials, "How do you hit all the breaks like that? You must memorize all of these songs." Then I proceed into a 10 minute speech about musical signals, melody shifts, key changes, drum rolls, and changes within polyphonic textures. Haha...just kidding...I just play it off like I know the songs. Bottom line, I'm very fortunate and blessed to have a background in music and as it very much helps with timing and musical interpretation. Suzanne: You've been involved in a program at your school called Blast. Can you tell our readers a little more about that? Micah: BLAST, or Ballroom, Latin, And Swing Thing, is...well just what it sounds like. It's a student group at Northwestern that performs, teaches, and competes in several different types of partner dancing--salsa, swing, tango, waltz, mambo, foxtrot, merengue, lindy-hop, 2-step, bachata, samba, paso doble...the list goes on. Basically, we try to promote all types of ballroom, Latin, and swing dancing to Northwestern and the surround community. It's a huge thing with a pretty loyal following and I'm glad to have been here for the past 3 years to watch it grow. Suzanne: You've had some experience teaching others how to mambo and salsa. What is the most important and/or difficult thing to teach someone? Micah: I don't know about the MOST important thing to teach people, but off the top of my head, one of the most important (and difficult) things to teach someone is lead and follow technique. A great deal of instructors and schools teach patterns and routines but don't really share how to lead or follow these sequences with random dancers that you'll meet in a club or congress. Meanwhile I'll be teaching someone or dancing socially with someone who learned in one of these schools and I'll attempt a certain move and they look at me like I'M crazy for doing something outside of their repertoire. What the fack? But it's cool...it's all about having fun right? Suzanne: You currently dance with Descarga Caribe. How has that influenced your dancing? Micah: Well through this group and Sekou McMiller, I learned Afro-Cuban body motion, so it's always good to be able to bust that out when a song breaks into a rumba section. More generally, I didn't know that you could use any sort of body motion in mambo dancing, so that inspired me to create some of my own movements and throw those in whenever I'm not busy torturing some poor girl with a series of twisted turn patterns...muahhahaha!. But dancing with Descarga Caribe has been a great experience and I'm glad to have met all of these awesome dancers. Suzanne: Who are some of your favorite dancers, musicians, and dj's? Micah: Favorite dancers? Hmm...I'm not going to play that game. But I will say that some of my favorite ladies to dance with (in alphabetical order) are Kathy Cabrera, Magna Gopal, Ana Massicot, Leah Patterson, and Cristina Zavala. Musicians--Jimmy Bosch, Jose Alberto, Buena Vista, Oscar de Leon...and more. DJ's--In Chicago, Carlos Latilladi is the man and also Luis Rivera. I also have mad respect for Jose Rodriguez, a DJ from Philly. I've never heard this guy play a track that I didn't want to dance to. Suzanne: Any big plans in store for you after you graduate next year? Joining the Chicago Symphony Orchestra? Opening a dance school? Micah: I'm not really sure what I'm going to do after I graduate or where I'm going to be. Definitely not joining the CSO and opening a dance school, I'd rule out for my immediate future as well. For now, I'm going to continue to focus on performing and teaching locally and abroad...beyond that I'm not too sure. Suzanne: Thanks Micah for sharing with La Voz de Mambo! Micah: Much love to Johnny and thanks to Suzanne for this interview. Again, I truly appreciate you guys having me as a part of this endeavor that promotes this music and dance that we are all so passionate about. http://www.mambofodadaz.com |
Interview with Liliana Hernandez (Philly)
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Johnny: First and foremost, thank you for granting www.lavozdelmambo.com this opportunity to interview you. You are by far, one of my favorite social dancers on the mambo scene. There are very few dancers that take me into, what is frequently referred to as "Mambo Bliss;" however, every time I dance with you I feel like I am taken to this Place. In addition, you are one of the lead performers in the up and coming group, "Art in Motion." For those who may not know you can you give us a little background on how you got into dancing and performing salsa? Liliana: WOW!!! I'm speechless...Thank you for your compliment Johnny! Well, I have to say, when I was young, I was shy when it came to dancing. Especially when it came to spanish music, I tried to run and hide, but was caught and dragged out to the dance floor. I was (and still am) into hip hop, reggae, and R & B, but it wasn't until 4 years ago when I got into salsa dancing. One of the members from AIM (Mike Andino) who I have known since childhood was the one that introduced me to salsa. He kept begging me to go to this club (The 8th Floor) in Philly w/ him, at the time I was in school. One night I ended up going and the next thing I knew, I got stuck. Within months after that, I met my partner and soulmate Alex Alvarado (also a member of AIM) and started in my first group "Salsero Unidos" back in 2000. Johnny: As I mentioned before, you are one of my favorite social dancers. Your ability to follow turn patterns is quite extraordinary; in your opinion, what is the key to being a great follow? Liliana: "Enjoy the ride" is what I say. It's like a roller coaster (even though I am frighten by those machines) you never know what's coming. Don't anticipate the move and pay attention (as I always say in class) Look up and smile and most importantly, have fun!!! Johnny: How would you describe the experience of performing in Art in Motion? Liliana: It's overwhelming to see us come this far! I am proud of each and everyone of us for doing a great job!!! Johnny: You guys are all great on2 dancers; however, you frequently perform On1. What the story behind that? Liliana: When we all started dancing, we learned On1. It was only a few years ago that we got comfortable dancing On2, but by then we had already begun our performances On1. We decided that we'd like to keep our performances On1, and still be able to mix it up when we social dance so that we can be more diverse dancers. For now, we plan to keep our performances On1 though. Johnny: Who are some of your favorite dancers on salsa scene? Liliana: There are so many.... Ana and Joel, Burju and Victor, Sekou, Eddie and Maria Torres, Salsa y Control Johnny: Art in Motion is quickly becoming a very popular performance group on the salsa scene. What has allowed you'll to experience so much success, so quickly? Liliana: First and foremost a group of talented people that are extremely hard-working and driven. Without the dancers that we have, we wouldn't be able to do it but we're lucky enough to have dedicated people who seem to want the same thing. When we started the group 2 years ago, one of our main goals was to travel to congresses to not only perform, but to teach as well. We knew that we'd have to "Pay Our Dues" though, in order to be recognized. So we spent a large part of the last 2 years traveling as much as possible, showing the promoters what we could do, so that we could be the kind of group that gets asked to perform, rather than having to ask. Johnny: What the most interesting thing about you outside of Salsa? Liliana: Well what most people don't know, is that I have a twin sister (fraternal) which her name is similar to mine, Lilibeth. We have our differences, one of them is.. she doesn't perform. But, she is out there with me whenever I am at a social event or congress in NJ/NY area. And sometimes even travels with me to congresses. What you also don't know is that Jessica Moya (also a member of AIM) is my roommate. We have been roommates now for the past 4 years and still manage to miss each other when we don't see each other for a couple of days (lol) Johnny: Where do you see yourself as a salsa dancer 5 years from now? Liliana: Well anything can happen, but in 5 years I would like to "perhaps" open a dance studio and also become more involved in other types of dances. Like jazz, ballet, tap and other type of dances. Johnny: Any additional comments: Liliana: "FIRST AND FOREMOST" (lol) I want to thank you Johnny for taking the time to interview me, I am honored, and flattered! I also want to say, to you Johnny, your doing such a great job with your website, keep up the great work!!! I'll see everyone on the dance floor!!! |
THIRD ANNUAL SALSA MUSIC SEMINAR
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Where: LAX MARRIOTT HOTEL Los Angeles, California 5855 West Century Boulevard, Los Angeles, CA 90045 Phone: 1 310-641-5700 Date: May 22rd- May 25th 2006 Who:: Participants must have basic music reading experience. Minimum age requirement is 16. Tuition: Special Discounted price of $295 if you register by Nov. 15, 2005 $325 (before Feb. 1, 2006); $350 (after Feb. 1, 2006) What: This 4-day music seminar is designed for students and professionals who want to improve their knowledge and skills of Latin/Salsa Music. Participants will receive the benefit of instruction focused on their individual instruments as well as ensemble workshops, master classes and special clinics. The seminar will culminate in a joint concert of select students and instructors as part of the opening concert at the 2006 West Coast Salsa Congress. The instruments to be taught at the seminar are those most common to the Latin Genre, i.ePiano, Bass, Trumpet, Trombone, Saxophone, Flute, Timbales, Congas, Bongos, Guitar, Tres Y cuatro and Vocals. Other instrumentalists, if interested, will be considered on an individual basis. The seminar will be taught by internationally renowned musicians of Latin music, some of who are considered legends in their field. All of the instructors have been associated with top artists, such as; Tito Puente, Machito, Tito Rodriguez, Celia Cruz, Johnny Pacheco, Eddie Palmieri, Ruben Blades, Ray Barretto etc. 2004 Grammy Award winner & 2005 Latin Grammy Award nominee, Oscar Hernandez is the official Musical Director of the L.A. Latin Music Seminar. INSTRUCTORS*: Oscar Hernandez – Musical Director, piano Jimmy Bosch – trombone Pablo “ Chino ” Nuńez – timbales “new school” Jose “Papo” Rodriguez – timbales “old school” Bobby Allende – congas Eddie Resto – bass Ray de La Paz – vocals Willy Torres – vocals Artie Webb – flute Johnny Polanco – guitar tres y cuatro Sal Caracchiolo – trumpet John Walsh – trumpet Justo Almario – sax Mitch Frohman - sax *subject to change The schedule** is as follows: Day One, Monday May 22nd 5pm-9pm: Meet & Greet, and after a brief orientation, we break into individual classes. Day Two, Tuesday May 23rd 5pm-11pm: individual classes, ensemble rehearsals Day Three, Wednesday May 24th 5pm-11pm: individual and master classes, ensemble rehearsals Day Four Thursday May 25th 10am-4pm Clinics, Master Classes and dress rehearsal for the evening concert **Tentative schedule subject to change Course Materials: All students will receive a CD with the music they are expected to learn and perform as well as the printed sheet music of these songs. Individual instructors will also be providing additional materials pertaining to their class needs. All students will receive a certificate of completion signed by the instructors. Contact: Albert Torres Productions, Inc Attn: Lisa Pietruszka 2001 S. Barrington Ave. #118 Los Angeles, CA. 90025 Phone: (310) 445-9705 Fax: (310) 445-9709 To apply for financial aid please submit an application with proper documentation. Click here to download an application form (PDF reader required). |
World Salsa Championships 2006 Tour Schedule To Qualify
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The Salsa Seven Inc. In Association With ESPN International & ESPN Deportes Present 2nd Annual World Salsa Championships December 2006 Las Vegas, Nevada Las Vegas Welcomes The Best Salsa Dancers Of The Universe Competing In The TV Dance Show Of The Year Worldwide Qualifying Locations (32 Cities And Growing) 2006 Tour Schedule (Some Cities Still Need To Be Confirmed) Sydney Salsa Congress / January 27-29, 2006 Sydney, Australia / www.sydneysalsacongress.com.au Monaco International Salsa Festival / Febuary 17-19, 2006 Monaco, France / www.salsamonaco.com Salsa Festival Switzerland / Febuary 24-26, 2006 Gothenburg, Sweden / www.salsa-switzerland.ch International Hustle And Salsa Competition / April 6-9, 2006 Miami, Florida / www.hustleandsalsa.com Scandinavian Salsa Congress / April 7-9, 2006 Gothenburg, Sweden / www.salsacongressscandinavian.com Jambalaya / April 13-16, 2006 Rotorua, New Zealand / www.jambalaya.co.nz/home.htm Montreal Salsa Convention / April 20-23, 2006 Montreal, Canada / www.montrealsalsaconvention.com International Fanta Salsa Fiesta / May 12-14, 2006 Sophia, Bulgaria / www.bgsalsafiesta.com 8th Annual West Coast Salsa Congress / May 25-28, 2006 Los Angeles, California / www.alberttorresevents.com/congress/2006 Washington DC Salsa Congress / June 9-11, 2006 Washington, DC / www.washingtondcsalsacongress.com/2006 Turkey Salsa Congress / June 16-18, 2006 Istanbul, Turkey / mundolatino@mundolatinodance.com Philadelphia Salsa Congress / June 23-25, 2006 Philadelphia, Pennsylvania / www.philasalsacongress.com Spain Salsa Festival / June 29-July 2, 2006 Barcelona, Spain / www.spainsalsafestival.com Las Vegas Salsa Congress / June 30-July 2, 2006 Las Vegas, Nevada / www.sincitysalseros.com/congress Korea Salsa Congress / July 2006 Seoul, Korea / www.koreasalsa.com Orlando Salsa Congress / July 7-9, 2006 Orlando, Florida / www.orlandocongress.com International Salsa Festival In Hamburg Germany / July 21-23, 2006 Hamburg, Germany / www.salsafestival-hamburg.de 10th Annual Puerto Rico Salsa Congress / July 24-30, 2006 San Juan, Puerto Rico / www.puertoricosalsacongress.com China Salsa Congress / August 2006 Bejing, China / Annual Miami Salsa Congress / August 3-6, 2006 Miami, Florida / www.miamisalsacongress.com New York Salsa Congress / August 31-Sept 3, 2006 New York, New York / www.nycsalsacongress.com UK Salsa Congress / September 21-24, 2006 Burgis Regis, UK / www.salsa-uk.com/congress/index.htm Houston Salsa Congress / September 28-30, 2006 Houston, Texas / www.houstonsalsacongress.com Vancouver International Salsa Congress / October 5-8, 2006 Vancouver, Canada / www.vancouverinternationalsalsacongress.com Sweden Salsa Competitions / October 14, 2006 Gothenburg, Sweden / adrianasambamendes@hotmail.com Atlanta Salsa Congress / October 2006 Atlanta, Georgia / www.atlantasalsacongress.com Japan Salsa Congress / October 26-29, 2006 Tokyo, Japan / www.salsa.co.jp/infojsc_e/ San Diego Salsa Mambo Congress / October 2006 San Diego, California / www.sdsalsamambocongress.com Salsa Rueda Congress / November 9-12, 2006 Miami, Florida / www.salsaruedacongress.com San Francisco International Salsa Congress / November 16-19, 2006 San Francisco, California / www.sfsalsacongress.com NY/NJ Salsa Festival / November 23-26, 2006 NY / NJ / www.nynjsalsafestival.com Acapulco / Mexico World Salsa Congress / November 30-December 3, 2006 Acapulco, Mexico / www.mexicosalsacongress.com 2nd Annual World Salsa Championships December 2006 Las Vegas, Nevada (310) 445 9705 www.worldsalsachampionships.com www.alberttorresevents.com |
REVIEW: The 1st Annual World Salsa Championships 2005
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When I heard that this particular competition was going to be televised worldwide on ESPN, I thought to myself, “Well it’s about time the rest of the world see what we’re crazy about and addicted to! It’s about time that those that have taken Salsa dancing to an entirely new level be recognized! Albert Torres and a group of seven unnamed investors calling themselves “The Salsa Seven” put together a Salsa Competition that was unprecedented. The 2005 World Championships took place at the Orleans Hotel in Las Vegas, Nevada. Couples from all over the world qualified at various Congresses and Festivals in their countries to compete at the World Championship finals in Las Vegas, so everyone who competed was already a winner. This particular competition however, was to see who was the “Best of the Best”. You can’t deny talent. This event displayed just how far couples can take Salsa. The depth and complexity of their moves highlighted their talents as athletes in peak performance condition. These weren’t just dancers out there, these were artists – showcasing their craft to a level beyond what anyone would think possible. Because there are few rules, this dance has exploded internationally like wildfire at a feverish rate. In less than 10 years, what was once a house party dance, Salsa dancing has grown into enormous international events called Salsa Congresses. Tens of thousands of crazy Salsa-Holics attend these events virtually every weekend in some part of the world. The Styles of Salsa The differing dance styles of Salsa are country-based. Although danced to the same music, the footwork, timing, and pattern styles look and feel completely different. For example, there is a Cuban Style and Puerto Rican Style. A derived variation from Cuban Style is Miami style. Derived variations from Puerto Rican style are New York and Los Angeles style. Colombia has its own style called Salsa Cali Style, which displays a more rapid-paced type of footwork. Tricks and lifts can be added to each style. In fact, this year the couple from Cali Colombia took first place Cabaret division. The footwork variations are endless, timeless, and beautiful in their own right. To dance Salsa socially, you simply need to know the basic step; the rest is up to what style your peers in your particular city or country are dancing. There are so many different ways of dancing Salsa it can make your head spin. For example you can dance in a slot or linear fashion, or dance in a circular fashion. You can dance on the first beat of the music (On-One), on the second beat of the music (On-Two), or on any beat for that matter. It was interesting that for this particular competition, maintaining that same beat throughout the entire routine was 40% of the total score! The Judges There were four competing Divisions. On-One, On-Two, Team, and Cabaret. The select panel of judges was perfect. Through the years, we’ve all experienced bogus judges like movie celebrities that didn’t know a thing about Salsa, or ballroom pros that never frequent Salsa nightclubs, or Tango pros that have never taught, much less seen street-style Salsa. This time, the Salsa Seven chose well-known, hard core Professional Salsa dancers that have either internationally taught, performed, promoted, competed, coached, or have created instructional Salsa DVDs. Every judge chosen lives and breaths the Street Salsa scene as if it were the last thing they would ever do. Every judge chosen was well known throughout the world, and have established themselves as Ambassadors of Salsa through their many years of competing, teaching, showcasing, and promoting the business. They’ve also earned respect and reverence from their peers, worldwide. The distinguished panel of judges was: George Watabe from Japan, Spin from Korea, Nelson Flores, Jamie Josephson, and Luis Zegarra, from New York. Stacey Lopez, Tito and Tamara from Puerto Rico, and myself (Edie, The Salsa FREAK) from Los Angeles / Miami. Billy Fajardo was the head judge, and Katy Marlow was in charge of tabulating scores. It was difficult to judge what seemed at times to be apples and oranges. The judges were asked to rate each couple from 1 (lowest score) to 10 (highest score) based on various performance criteria the judging committee specified. Professional Salsa judges base their final decisions on the perfection and execution of each move. Was it a clean routine? Did they dance with the music? Were they on time? How was their visual presentation, costumes and grooming? How complex was their routine? Did the guy just stand there and spin the girl most of the time? Was she doing all the work out there? How creative was their routine? Did they compliment each other as a dance “couple”? The criteria given to us were simple, but every judge used their years of Salsa dancing experience far more than what was on that sheet of paper to base his or her final decisions. The Sport of Salsa Watching this competition was like watching an Olympic Figure Skating championship, or a Gymnastic Olympiad. The beautiful thing about Salsa dancing is its flexibility as both a social dance and a sport. The sport of it highlights the agility and flexibility of the moves, the artistic talents of the contestants, and the endurance of the athletes to maintain their energy throughout the entire number. Salsa Competitions also demonstrate the speed, control, and balance required to execute each routine flawlessly for the judges. In the Cabaret division, couples are allowed to perform death-defying lifts and tricks, wowing the audience with their flexibility and agility as athletes. The balance, strength, speed and ability is identical to Ice Skaters lifting their partners off the ice in beautiful, picturesque poses. In fact, there are many professional Salsa dancers who train world-class Olympian ice skaters in lifts and poses. The Cabaret division demonstrates the enormous strength and endurance of each couple. The Team divisions were also able to execute “off-the-floor” moves that impressed the audience and judging panel. Every couple did an outstanding performance. There were a few that got the jitters out there, whether it was from the floor, or nerves from the television cameras. It was unusual for these couples to be showcased in such a large arena. The dance floor was enormous, and the arena could house well over 5,000 people. To earn first place in the On-One and On-Two divisions, you had to be head and shoulders above the rest. In other words, there were the winners, and then there was a gap, and then there was the rest. You could see the depth and quantity of hours dancing together in the winning routines. I always say, that a quality routine is based on the quantity of time you spend together, rather than the quality of time. Luda and Oliver (On-Two winners - Australia) have been dancing together now for ten years and have competed many times before. Abel and Ziomara (On-One winners – Los Angeles) have been together now for two years, and rehearse virtually every day. It helps to have a deep, mature partnership. It was interesting that both couples that won first place are not married to each other, nor are in a dating relationship together. They are strictly dance and business partners that share a love for the music and competing. The Team division was more difficult to judge during the preliminaries because each team had timing issues. Timing in the Team division meant that one or more couple was not in sync with the rest of the group. In a Team competition, you are only as strong as your weakest link. It wasn’t until the finals on Saturday, that the team called “Pretty Boys and Girls” from San Francisco showed their true colors – literally. They came out with the flashiest, most beautiful costumes, and executed a nearly flawless routine. The Cabaret division was the most difficult to judge. The top three were Jhesus and Marielys from Puerto Rico, Rodrigo and Yesenia from Los Angeles, and Ricardo and Viviana from Cali Colombia. Each one of them could have taken first place. In the preliminary rounds, one couple didn’t display enough Salsa dancing, as part of the rules were that over 50% of the routine had to be recognizable Salsa. The judging criteria specified that a proper representation of Salsa dancing with lifts should clearly distinguish it from other gymnast-type of sports. The couple from Colombia clearly represented Salsa dancing with a few lifts and tricks both at the preliminary and final rounds. The other couples either made major mistakes in their routines or did not dance enough Salsa during the preliminary rounds that cost them the title at the finals. Edie’s Personal Thoughts… Cut the Fake and Stiff Left Arm While Walking Onstage. I know this was an event for television, but the way the girls came out on the dance floor looked too much like a Ballroom competition. Their left arms pointed out looked too fake, and too stiff. Instead of Salseras trying to “copy” what the ballroom dancers do, we should come out with our own Salsa Style of walking out the dance floor. After speaking to a few social dancers each night after the competition, many were taken aback by this type of presentation. I personally would have liked to see a less stiff, more relaxed flowing movement of the hands; a more flowing, stylish, comfortable caress in the air, in and out, softly brushing the hip, up and out, with beautiful arm and finger styling. Why not let the ballroom women take a look at how “We Salseras” grace the stage prior to performing, and have THEM copy US for a change. Audience should be allowed to social dance prior to the competition and between divisions. It would have made the contest seem much less shorter if we took a “social dance” break for a song or two between divisions, and had social dancing start early in the evening before the competition started. We judged for literally four hours. Prior to the competition, DJ Frank from Los Angeles was playing some KILLER Salsa music. There was an exquisite dance floor, stunning music, and Salseros just SITTING THERE in the bleachers waiting for the competition to begin. I was in shock. I wanted to get up and dance so bad, but I had the feeling that I would have been the only one, and stared down by everyone! I think that most people felt they “weren’t allowed to dance” or something. Make the Final, the "Final". Eliminate point accumulation. Again, this is my personal opinion, but I feel that an accumulation of points over two days is not necessary, nor fair. The way couples dance at the finals should be the final decision, period. Judges should judge solely on how the couple does that night – not try to remember how much better they performed from the night before, or accumulate points from the night before. As in the Olympics, you only get one chance for that gold. Not an accumulation over time. This makes for a less controversial event, especially if only the finals are shown on television, or if people can only make it to the finals on Saturday, missing the preliminaries. Where were the New York competitors in the On-Two Division? Hm? What's up with that NEW YORK??? No comment. .:( Even if they don’t change a thing, it was a fabulous, well-run, professional event. It was an honor and privilege to be asked to judge this competition. The social dancing afterward was to die for. The Salseros from Las Vegas ROCK’D MY WORLD!!! They are really, REALLY good! It’s about time that those that have taken Salsa dancing to its highest level be recognized throughout the world on ESPN. Who knows where this will go… Salsa, “Cirque du Soleil” style…? The possibilities are endless. 2005 WORLD CHAMPIONS ON "ONE" - 1st Place - Abel Pena and Ziomara Torres!! - Los Angeles, California USA 2nd Place - Erica and Joel!! - Oaxaca, Mexico 3rd Place - Rafael Arenas Jr and Maria Jossee Strazero!! - Montreal, Canada ON "TWO" - 1st Place - Oliver Pineda and Luda Kroitor!! - Sydney, Australia 2nd Place - Junior and Emily Aliva!! - San Francisco, California USA 3rd Place - John Navarez and Liz Rojas!! - San Francisco, California USA "CABARET" DIVISION - 1st Place - Ricardo Murillo and Viviana Vargas!! - Cali, Colombia 2nd Place - Rodrigo Guzman and Yesenia Adame!! - Los Angeles, California USA 3rd Place - Jhesus Aponte and Marielys Molina - New York, Puerto Rico and Venezuela "TEAM" DIVISION - 1st Place - Pretty Boys &Girls!! - Bay Area, California USA 2nd Place - Salsamania!! - San Francisco, California USA 3rd Place - San Tropez!! - Montreal, Canada EXHIBITIONS BY: Billy Fajardo and Katie Marlow / Miami, Florida USA Tito and Tamara / Puerto Rico Los Rumberos / Los Angeles, California USA and Guadalajara, Mexico Swing Guys / Milan, Italy Victor and Gaby / Mexico City, Mexico Brandon and Serena / Chicago, Illinois USA Nicolas and Patty / Valencia, Spain and Manchester, United Kingdom ESPN showing: April, 2006 Next Years' Event: see www.atpevents.com for complete details! |
Interview - Juan Matos ,N.Y.
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Johnny: First I would like to thank you for giving me a chance to interview you for my project. You are definitely one of my personal favorites whether it's instructing, performing, or social dancing. I definitely feel like you are an innovator within the mambo community; and I receive the same feedback from a lot of world-renown dancers. Your name always pops up as one of the most respected dancers on the scene. You have The Forgarate Project, you've performed with Santo Rico, you've traveled all around the world performing and teaching Salsa. Ironically, a lot of people are not familiar with your dance background. If you don't mind, can you give us a brief summary of how you reached this point in your dance career? Click here to check out Juan performing with Forgarate! Click here to listen to audio clips of Juan's Interview! Juan: First of all I would like to say that I am blessed by God for giving me the opportunity to do what I am doing. If it wasn’t for him I would not be at the point that I am at right now. When it comes to who I trained with my story is kind of different. I started going to salsa classes because of a girl. In my country, Santo Domingo, there were no salsa classes. So when you talk about taking a dance class out there it was just ballet, modern and stuff like that. So when I got here, I was in this club and there was this girl and she was cute and she told me “the only way you could see me is in my salsa class” and I was like “salsa class, what the hell is that.” So I went to the class and at the time it was Vittico “La Magia” Pacheco teaching. I took a month of classes with him, but it was only one class per week. During that month we became friends and we started hanging out. So I started taking his advance classes, learning what he was teaching, and he told me to keep coming to the class and I would not have to pay because I had talent (although I didn’t know what he was talking about at the time). So then we started hanging out and I started watching other Dominican dancers (thinking to myself.. Wow) But then I had a car accident and I could not walk or dance for almost a year but I still hung out with them and watched them dance in clubs sometimes until 7 and 8 in the morning. I learned so much during that time of watching and listening to their advice and hearing them talk about dancing. That was better to going to a class and learning a turn pattern. And that’s how it started, that was my beginning. Johnny: It seems like more of the world-renown dancers are beginning to move over overseas. You recently moved to Italy, can you talk a little bit about what prompted that decision? Juan: Basically I’m in Europe more than I am in the US and I have never had a full class going on in the US. Not because I didn’t want to, it’s just that most of the time I am in Europe. I moved to Italy because I believe that Italy has a bigger market. Most of the dancers moving to Italy are from the West Coast. No one from New York has really moved and established themselves in Europe. The people out there still dance mainly on1 or still dance Cuban style but now they are ready to broaden their horizons. They want to learn on2 because for them it is a different feeling, something brand new. So I am moving over there to open up my boundaries and to start something new in my career. I don’t think I will be dancing for the next 10 years, in fact I think I will only do this for another 2 or 3 years then retire and continue taking care of my business in my country and in New York. That’s really it. I just want to go out there and help grow the scene and represent us. Johnny: I think it will be great for the European market to have your presence out there regularly. Your response prompts another question. Since you only see yourself dancing 2 or 3 more years; what do you see yourself doing 5 or 6 years from now? Juan: The Juan Matos that people know is just the Juan Matos who is a good dancer that knows how to dress well and wears glasses at night time. That’s the Juan Matos that people know. But I have businesses and family stuff going on that is more important because that’s my future. I am not planning to dance for 5 years; the most is 3 years. In my family, everybody takes care of everybody and decisions are made for everybody. So my family is letting me do this because of the travel, they want me to see the world. Because with what I do, it would take a person a lifetime to collect the money to visit the places I go to, and I go for free and get paid to dance and teach. So for me this is a blessing. Like I said earlier, I thank God that I am able to do this and experience so many different cultures. That is my payment; it’s not about fame or money, it’s about the experience. I am not going to win an Oscar for doing this; however my reward is getting to know all these beautiful people that appreciate me for visiting their country and appreciate what I have to offer. The opportunity to gain these experiences and return that appreciation is my reward. Johnny: I frequently hear people mention your project, Forgarate, as their favorite group. What’s the status with this project? (Juan corrects my pronunciation) Juan: For us it’s a family thing. When we come together for a rehearsal or performance, we enjoy being together and hanging out more than doing a show. I have worked with so many beautiful people through that group.. or project. Actually, I don’t call it a group because I have so many different people from so many different groups from different areas coming together to perform. That was my plan… not to have a group and rehearse 10 times a week and do shows everywhere. Forgarate has not done that many performances, but when we come together, we mainly enjoy ourselves. Let me tell you something, the talent that I have for this project is simply amazing! It is incredible! And it will keep growing because when I move to Europe I will still have the Forgarate name and work with old members, but I will also begin working with new members from Europe and make the project bigger and better. We will continue to try to do better things, better shows, combine styles because that is what it is.. Forgarate is a combination of different styles and different nationalities. That’s what Forgarate is about, having love and appreciation for what you do and for those around you. People say Forgarate is their favorite group and I appreciate the compliment. Ironically we haven’t been working hard because it so hard to get all these talented people together to continue to developing ourselves and creating new routines. Me.. I basically live in Italy.. actually I live in a plane. Truthfully, I am in a plane more than I am in my house; so it’s really hard to schedule to time work with everyone. So whatever performances you see out there, it was really hard to come together and get it done due to schedule conflicts. But I believe the love and chemistry between all of us makes it look and feel good on stage. Johnny: Now I would definitely say one of the best mambo couples that I’ve seen on stage, by far, was you and Ms. Kimberli Flores. Frequently a lot of people ask and want to know what happen to this partnership? Juan: I am still in shock at what happened with me and Kimberli because outside of dancing, we were really good friends.. that was my sister. All of sudden she just told me that she was going to stop dancing. For what reason, I don’t know. And whoever is reading this interview and hears me talking about Kimberli; that is really my friend and really knows how Kimberli and I used to be…. They know how Kimberli and I used to be. We were way more than just dance partners and to this day I still ask myself what I did wrong and what happened. It was shocking and it was a tough lost for me because Kimberli is one of the most talented dancers that I have ever seen. Because like my other dance partners (Jessica Ortiz and my sister Burju Hurturk) Kimberli brought the best out of me. And Kimberli and I had such good chemistry as friends that we developed that same chemistry on stage. So to tell you the truth I really do not know exactly what happened. After that she disappeared, I haven’t heard from her. I heard from some people that she moved out of New York. So I would like to know, I would like to have a conversation with her. More so to know how she is doing, to see if she is ok, and too see how things are going in her life. Because we used to take care of each other, but things happen; hopefully we will see each other again soon. Johnny: Well I know the mambo community would love to see you guys work together again. On another note, we kinda talked about this off the record, but this is something that I definitely wanted to ask you about being that you are one of the biggest salsa stars on the scene right now. It seems like when people get a lot of success in the scene they become less social. Now you are one of the biggest salsa stars out here, yet at congresses you are still out there socializing, dancing and being apart of the community; and that’s really what people come for. They don’t come just to see a show, they would also like to interact with the stars, whether it’s socializing or dancing. What are thoughts or advice on this issue? Juan: I’m going to give my comments and advice to everyone that goes to your website that is a dancer and a performer. Let me start with the advice…People, this is just dancing. Like I said earlier, you will not win an Oscar because of this. You could possibly become a millionaire, but you would have to teach a lot of privates and sell a lot of videos. This is just dancing. It is about having fun. If you are popular, if you are a good instructor, if you are a good performer, you are there and people respect you and because the people put you there. Because the people think you are, not because you think you are, because the people think you are. So it is all about the people. The people will go and take your classes, the people will take your privates, the people will buy your videos.. you know what I mean. It is all about having fun, it’s all about dancing. You can be big, you can be bad, you can be the best in the whole world, you can fly in the air and do a Suzzy Q….but it’s still just dancing. Get that through your heads. You can get as much fame, money, and girls or boys as you want… but it’s still just dancing. Be humble. That’s the only way you can make it. It’s a lot big names out there, individual and groups, but right now because they are not social and humble, they are beginning to come down. Getting to the top is not the hard thing… maintaining yourself at the top is the hard thing. You get up there by being a good dancer and instructor, but more importantly if you are a good person, you will stay up there until the day you decide to stop doing a “123, 567” or whatever numbers you count.. abc.. whatever.. Just stay humble my people. I truly believe people like me more because of my personality. You don’t have to dance all night, you don’t have to dance with 20,000 people in one night…just be there, be humble. Right now, people want to ask more questions, they want to feel your vibe, and they want to see you dance. People will watch you social dance and they will record your dancing and put it in a performance (lol) And you know it’s true. Everybody, wake up, open your eyes and talk about it. But you cannot tell people “don’t record me” because then you are getting a big head. Keep in mind, this is just dancing. Just keep creating and innovating yourself and coming out with new things. I know it hard, but try it. That is the only way to make your self different from everyone else. Because right now, everything seems like it has been done; so just keep creating; So Stay humble, have a beer, have a drink, do something…. Just don’t get a bad attitude problem and don’t get a big head….just be humble. I truly believe that’s why promoters keep bringing me back. Johnny: As you know, there are a lot of “good” dancers and performers out here, but there are not a lot of “great” dancers and performers. You would undoubtedly be considered a great dancer and performer. In your opinion, what makes someone great? Juan: It depends how you develop yourself on stage when it comes to performing. There are a lot of rules and stuff when it comes to dancing. So it helps to have a background in dance. But I believe what makes me different is that I don’t think within the rules of dance when I’m performing. I’m just trying to have a good time and give myself to the audience. I could do a show today, a show tomorrow and a show next year. It would be the same show, but I would do it differently because it’s the way that I feel in that moment. So that’s one of the ways that I differentiate myself. It’s a lot of great performers that would do a show today, tomorrow and next year and it would be the exact same show, because they follow lines…. they follow choreography. For me and whoever has worked with me or even taken a class with me… my steps, my turn patterns, the way I create stuff is by feeling, not by numbers. I add the numbers to the feeling. So when I perform, it’s the same concept and that’s probably what makes me great. It’s not that I want to be different, it’s probably that I feel different from everybody else and when I perform I try to give my best. Johnny: Now you are definitely one of the most stylish guys on the mambo scene. Style is sometimes a matter of interpretation, but sometimes you can spot an individual that obviously has style. In your opinion, individually, as well as in your dancing, what do you define as having style? Juan: For me, I try to be sexy (lol). I’m not a good looking guy, but I try to be sexy (lol). I try to dress good. I spend all of my congress checks on glasses, shoes and clothes. I try my best to look good. By the way that’s my second love…fashion. A lot of people know that fashion is my second love. I go to catwalks, I go to fashion shows, I buy magazines. I have over 350 GQ magazines in my collection. I love that, I love fashion. At that’s where it comes from. My style probably comes from the way I dress and the way I think because when you look good, you feel good and I try my best to be sexy (lol). I try to make the ladies like me (lol). In regard to dancing, I try to keep it street, I believe in my streets. I believe in where I came from. I saw this type of dancing in the streets and I try to keep it street. I have a couple of routines where I’m classy and jazzy but at the same time you can still see the street behind it. I have never taken a class for another dance…..never. But I have seen Broadway shows, I have bought videos featuring some of the top jazz dancers and I just try to take things from there and develop it in my own way and I think that is the way that I have created my style. But I don’t believe I have a set style because I can take a performance and do it totally different, just how I feel at the moment. If I’m drunk I will rip it, if I am attracted to a young lady I will dance in a romantic way. So those are different styles. On another note, I respect whoever has gets on a stage and performs, whether it’s a beginner or someone that has been dancing 27 years. I respect whoever gets in front of a group of people and teaches them. When we perform, I believe that we stop being dancers and we become entertainers. A dancer in my mind is a ballroom dancer, a jazz dancer, a ballet dancer….we are entertainers because we need to entertain our audience and encourage them to learn what we do or to develop themselves to be like us or better than us. There are some people with some big names out there that have followers that look exactly like them. It’s hard to spot someone that looks exactly like me and I have people tell me all the time that some people are easy to copy but that I am not easy to copy because one day I do a suzy q one way they next day it’s different. The other guy does it the same way every time. So I don’t believe I have a set style in my dancing, it’s just about how I feel at the moment. Also, I believe all that my feeling and good aura in my personality comes of my Dad. To this day, he is my best friend. He is 39 years old and I’m 27, can you believe that! He was 12, so you know he got a lot of flava! But he’s my best friend and he always gives me good advice and I believe I got a lot of my personality from him. So to my father God Bless you. Johnny: You know I couldn’t let you get away without asking you the question everyone hates to answer. If you had to name a couple of dancers off the top of your head the have influenced you or that standout in anyway, who would they be? Juan: Oh boy… we are going to have a problem here. If you want to know my answer you are going to have to get another website to write all down all of this. Look, it’s like I mentioned earlier, I respect whoever gets on a stage and performs and whoever teaches in front of a group of people. But I can give you some names. I have to start with my Dominican people because I was born and raised around them and I will always respect them for teaching and showing me this dance. I have to start with Vittico “La Magia” Pacheco. For me he is still my favorite, for me he is still the best dancer there is when it comes to salsa/mambo. I call him my father when it comes to this and all the Dominicans out there because that’s my type, that’s my feeling, those are my people… Osmar Perrones, the one that put me on track to be a dancer; Thomas Guerrerro… I learned so much when I was in Santo Rico, I learned how to break down things, I learned how to do choreography, I learned how to count. Victor Mayovanex from Karisma; Franklin Diaz, even though we’re not as close, he is one of the most talented dancers that I have ever seen; Also Jhesus Aponte, that’s like my second cousin and one of the best dancers in the world. Ismael Otero, my brother from another island; And of course Mr. Eddie Torres, what can I say that has not already been said about Eddie Torres. Getting respect from Eddie Torres for me is something I can’t even put it words. Frankie Martinez, one of the guys who open the doors throughout the world for a lot of the On2 instructors. A lot people in general danced more on the one and Frankie was one the guys that opened their eyes to the two and open to doors for guys like me to travel to all over the world; and the relationship between me and Frankie is more outside of dance. We talk about movies; we don’t even talk about dancing. A lot of people always compare us and sometimes they see us together and are like “Oh my God, you guys are friends” because people think we are enemies…no we are not, we’re mad cool. We’re always arguing about movies and stuff, not about dancing. Of course my Forgarate people, my family, Victor and Burju (Hacha Y Machete and all of their dancers) that's my blood running through their. They say that I inspire them, no they inspire me. They are so incredible. Carlos Jimenez, my other side, that’s my other half. That’s my family. It's like I told you, there are so many dancers out there that I respect out there. When it comes to the females I have to give it up to all the partners that I have had that were next to me during my growth and when I became who I am. Jessica Ortiz, Burju Hurturk, Kimberli Flores, my partner now, Candy Mena, one the few Dominican females who is out here making it; Of course, Yesenia Peralta, Griselle Ponce (Griselle is the type of dancer who can just get on a stage a smile and she would get a standing ovation), Amanda Estilo, another Dominican dancer out there. All of the up and coming talent...the Santo Rico girls, I just get dizzy by seeing those girls dance, they spin so fast...Thomas is crazy, he makes those girls fly and they are some of the best out there. Also on the West Coast…Joby Martinez, Melissa Fernandez (that girl is crazy and incredible too). Junior and Emily, Ceasar, Darlin, the Dominican On1, another big talent coming up; Man it’s so much talent out here. Also Gordon, Sekou, and Troy (that’s my boy right there); And Boston, you know Boston was my first gig outside of New York, so definitely all the dancers out of Boston, Salsa Y Control and Ana and Joel much respect. Oh I have to go to my other side, my other family the Vasquez Brothers; Mexicans and Dominicans are really alike because we drink and party like crazy. Johnny, Ramon, Francisco, Luis... that’s my other family. Rogelio Moreno, my cousin… you know what I mean. Al Espinosa, (Al is crazy). The Puerto Rican dancers Jason Molina, Tito and Tamara, Jorge Santana, Vickie all of them; Victor and Gaby from Mexico, they are crazy. And Europe… it so much talent in Europe that it’s incredible and those people are very dedicated; If I go on and on this would be a lot longer because there are so many people in Europe alone. Tropical Gem, most of them are not latin but they are the best group in the world right now and they are really good friends of mine. Oh yeah, Marchant from London. He is the clean version of me! I’m telling you, this guy is coming up fast… Look out. Also, Mike and Erell from France; I want to keep mentioning names because you always need to give props when people deserve props and I try to name a lot of dancers because a lot of dancers show me love. There are a lot of people that will see a great show and be like...”Ahh that was ok.” No…go up them, huge them and kiss them tell them “that was very nice.” It so many people out there that I respect, if they read this they know who they are because they show me love and I show them love back and I believe I have more chemistry with a lot of individuals more so as a person than as a dancer; but unfortunately I can’t mention everyone, because we are on a cruise right now and I am seeing a lot of beautiful things, so it's hard to focus. Johnny: Would you like to leave our readers with any final comments: Juan: Yes, one more time…it’s just dancing people, you will not get an Oscar; You can probably get rich, but you will have to sell a lot of videos, teach a lot of privates, and do a lot of congresses. Keep it humble.. don’t let this go to your head. This is just dancing, go out to the clubs, support the clubs; if you are in a congress, go to the party...don’t go to sleep after your performance, have a drink, that will encourage you to dance, trust me... keep it humble. Thank you very much Mr. La Voz Del Mambo Guy..it took you a long time but we finally did it and I appreciate the opportunity man. |
Interview -Junior Alabi, San Francisco
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Johnny: First and foremost, thank you for doing this interview with LVM. You and your sister are phenomenal dancers and performers! You’ll direct The Amicitia Dance Company and you guys have traveled the world teaching and performing salsa; despite the fact that you’re both pretty young. During a discussion, I referred to you and your sister as the future of salsa and Victor, from Hacha Y Machete, corrected me and said, “No, they’re the present!” -->VIDEOclip from the 2003 San Francisco Competition - Winners On2
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RESULTS: World Salsa Championships 2005
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World Salsa Championships® !! December 14-17,Las Vegas, NV --- Congrats To All The Dancers That Participated In The 1st Annual World Salsa Championships. Las week Las Vegas was the scene for the most important and dramatic Salsa dancing event in the history. Also, A Special Thanks To All The Promoters Worldwide That Supported This Event By Having Qualifying Rounds At Their Events. Due to the success We Have Already Received Over 10 Additional Countries Interested In Participating Next Year. 1st Annual World Salsa Championships!!! Las Vegas, Nevada December 14-17, 2005 To Be Broadcast On ESPN Deportes & ESPN International Worldwide In April Of 2006. For Broadcasting Dates, Go To www.alberttorresevents.com or www.worldsalsachampionships.com Thank You For Your Support In Being Part Of History. RESULTS BY DIVISION ON "ONE" - 1st Place - Abel Pena and Ziomara Torres!! - Los Angeles, California US 2nd Place - Erica and Joel!! - Oaxaca, Mexico 3rd Place - Rafael Arenas Jr and Maria Jossee Strazero!! - Montreal, Canada ON "TWO" - 1st Place - Oliver Pineda and Luda Kroitor!! Sydney, Australia 2nd Place - Junior and Emily Alabi!! - San Francisco, California USA 3rd Place - John Navarez and Liz Rojas!! - San Francisco, California USA "CABARET" DIVISION - 1st Place - Ricardo Murillo and Viviana Vargas!! - Cali, Columbia 2nd Place - Rodrigo Guzman and Yesenia Adame!! - Los Angeles, California USA 3rd Place - Jhesus Aponte and Marielys Molina - New York, Puerto Rico and Venezuela "TEAM" DIVISION - 1st Place - Pretty Boys &Girls!! - Bay Area, California USA 2nd Place - Salsamania!! - San Francisco, California USA 3rd Place - San Tropez!! - Montreal, Canada EXHIBITIONS BY: Billy Fajardo and Katie Marlow / Miami, Florida USA Tito and Tamara / Puerto Rico Los Rumberos / Los Angeles, California USA and Guadalajara, Mexico Swing Guys / Milan, Italy Victor and Gaby / Mexico City, Mexico Brandon and Serena / Chicago, Illinois USA Nicolas and Patty / Valencia, Spain and Manchester, United Kingdom SEMINARS/WORKSHOPS AT THE 1st ANNUAL WORLD SALSA CHAMPIONSHIPS Edie "The Salsa Freak" / Wednesday December, 14, 2005 Swing Guys / Thursday, December 15, 2005 Rhumba Seminar - Friday December 16, 2005 Conducted By The Cast Of Havana Night Show Presenting Itself At The Stardust Hotel In Las Vegas, Nevada. Special Thanks To ND, the creator, director and producer of this great show. Also special thanks to Ariel Machado and the cast for their support in attending this event *************ALSO SPECIAL THANKS TO: Jose Mendoza for coordinating the event and all Musicians who performed:Victor Manuelle,Michael Stuart,Sully Diaz,Johnny Polanco,Rey de la Paz,Herman Oliveras,Frankie Morales,etc. |
Lopez & Anthony Evacuated From Film Set
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NOTE: Film to be released in the Fall of 2006. Hollywood couple JENNIFER LOPEZ and MARC ANTHONY were forced to flee the New York set of their new movie EL CANTANTE after a fire broke out close to their trailers. |
Big Lights, Big Salsa
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Etownsalsa.com Note: Kevin, thank-you for your kind words and support. Let's keep the fever going!. Times have changed in the last few years in Edmonton's salsa nightlife, and it seems to have taken a turn for the better. Look at the lineups that we have and are going to see over the next few months, and one could only hope it merely the tip of the iceberg. Marco Claveria en VivoWe look back at some of the recent changes in music alone around Edmonton. Bomba, one of the jems on the salsa scene, have re-emerged with a new line up and a more collaborative approach, while former frontman Marco Claveria has embarked on a fusion of small and big band efforts. Similar changes have been noticed with the band Combo Re, spawned from former local bands that had become a not so exciting draw to the clubs. And that's not all. With the recent emergence of the Latin Cultural Society, Edmonton has shown it can really throw a party! As their first event participation the presentation of Cuba's premiere band 'Charanga Habanera', they have indeed raised the bar when it comes to putting on a real 'Salsa Night' for all us salsa lovers around Edmonton.
With that, we look forward to what Edmonton and the local salsa crowd will be cooking up for the next few months and a very bright future in our new year. |
A Dance That Spans the World
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Published: November 4, 2005
THE infectious rhythm of Latin music has created salsa-dancing aficionados across the globe. Here in the United States, salsa congresses and festivals are generating tropical heat as the winter months draw near. Salsa is an umbrella term for many styles of Latin dance, all of which will be taught in workshops and performed when dancers from all over the world come together for celebrations in Miami, the San Francisco Bay Area and New York. The basic rhythm of salsa originated in Cuba with the clave, or two sticks tapped together in Cuban son, the music made internationally popular by the documentary "Buena Vista Social Club." But salsa itself emerged in the 70's in New York, where jazz and rhythm-and-blues musicians of different ethnic backgrounds formed bands that expanded on the son style. Puerto Ricans in New York, and then back in Puerto Rico itself, soon developed a style of their own and made salsa central to their identity. IN STEP Dancing at each session of the San Francisco Bay Area Salsa Congress will go on until 3 a.m. Daily attendance of 2,000 is expected. In the United States, there are two styles of salsa dancing: the Los Angeles style known as "on 1" and the New York style, "on 2." This essentially means that West Coast dancers are breaking on the first beat and New Yorkers on the second. A third, Cuban-inflected style, casino, is widely danced in Miami. All these forms will be performed at the various congresses. The second annual Salsa Rueda Congress of the Americas, held at the Radisson Hotel Miami from Nov. 11 to 13, will feature popular dance styles from Cuba, including casino, rueda and cha-cha-cha. Salseros and salseras from as far away as Israel and Japan will compete for spots in the first annual World Salsa Championship, to be held in Las Vegas in December. For those who come to the Miami congress to improve their dance skills, workshops will be held for all levels in different styles, from Dominican bachata to Cuban rumba to salsa Colombian style. "Posthurricane energy is already coming back to Miami," said Billy Fajardo, the co-producer of the congress and a professional salsa dancer. "Flights are arriving, and the hotel is fine, so all the international dancers will still make it. We worry that the people in Miami might have more pressing things to spend their money on. But people in this city love to dance, and they'll really need it by then." At the San Francisco Bay Area Salsa Congress from Nov. 17 to 20 at the Oakland Marriott, the dancing will go on till 3 a.m. at each session. Weekend packages include three nights at the hotel and a pass to lessons, shows, performances and socials, most of which will take place on premises. The organizers expect about 2,000 people a day to pass through for lessons and to hear the salsa star Jose Alberto, who is known as El Canario, and the legendary Venezuelan vocalist and composer Oscar D'Leon. Competing dance troupes and couples will also compete for a spot in Las Vegas, and beginning and intermediate dancers can perfect their moves in workshops, then dance all night. This is the fourth year for the salsa congress in the Bay Area, and Ricardo Sanchez, a producer of the event, thinks salsa's popularity there will just keep growing. "Technically, the salsa community here is young," Mr. Sanchez said, "but we're getting better faster, developing our own style, and we really encourage people starting out." Then there's the NY/NJ Salsa Festival 2005 from Nov. 22 to 29. The festival, which is in its second year, was originally scheduled for a long weekend, but organizers estimate that more than 500 people from Europe alone are coming, so they are making an entire week of it. "People want to come here to dance because it is New York City, the capital of salsa," said Luis Zegarra, a producer of the festival and its artistic director. The festivities start at the Copacabana nightclub, with El Gran Combo de Puerto Rico playing. There will also be a Thanksgiving night salsa cruise on the Hudson, with party boats boarding at Pier 61 in the Chelsea Piers recreational complex. Most of the events and workshops will be held at the Marriott Hotel in downtown Brooklyn, not far from the Brooklyn Bridge. These include a dinner-theater performance, dance performances, competitions, social dances and workshops for all levels in salsa, Latin hustle, jazz, flamenco and Afro-Cuban dance. Lessons for children will also be held. Nelson Flores, a producer of the festival and founder of Time2Dance Academy in the Bronx, believes it is important for children and teenagers to dance. "It's the kids of this city's culture and heritage," he said. "We've got a lot of little girls interested, but the boys don't like to partner-dance when they're 9 or 10 years old. They don't like girls. That changes, though. And when it does, they all wished they learned how to salsa-dance." The Details MIAMI Salsa Rueda Congress of the Americas, the Radisson Hotel Miami, 1601 Biscayne Boulevard; (305) 374-0000; www.salsaruedacongress.com. When: Nov. 11-13.
OAKLAND San Francisco Bay Area Salsa Congress, the Oakland Marriott City Center, 1001 Broadway;
NEW YORK The NY/NJ Salsa Festival 2005, the New York Marriott at the Brooklyn Bridge, 333 Adams Street, Brooklyn;
LAS VEGAS The World Salsa Championship, the Orleans Arena; |
COMIC RELIEF - Pinky the Cat
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This is to add some laughter to your day. Nothing to do with Salsa but I just cracked up when I saw this one.
You'll need quicktime for this video clip.
This is Pinky, he's a male cat...available for adoption...a very loving cat... |
Interview with Melissa Fernandez and Luis Vasquez - LA
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LVM would like to thank SOS for their continued support! Johnny: First and foremost, thank you for granting www.lavozdelambo.com this opportunity to interview you. Individually and collectively you guys are extraordinary teachers and performers. I frequently hear the name Salsa Brava, when people name off some of their favorite performance groups of all-time. Although it may be difficult to believe, there are some individuals that dance salsa who may not have been exposed to your tremendous talents. For those who may not know, how did you’ll get into teaching and performing salsa at such a high level? Luis and Melissa: Thank you for the giving us the opportunity to share our passion and knowledge with La Voz Del Mambo. Melissa: I started teaching for Luis and Joby when they needed help in their Basic Class and little by little, through trial and error and guidance from them, it helped me become an effective instructor. Even now, the more the travel, the more we learn from other instructor’s teaching methods. As far as performing, I push myself to become a better performer every time. My biggest challenge is and always will be…myself. I’m only as good as I allow myself to be. Luis: People use to ask me at the clubs if I was an instructor and I use to tell them no and really it’s more like the people that got me into this. At that moment there was only like 3 instructors. As far as performing, I began performing for weddings, local gigs, and clubs; then it became something more serious after the first salsa congress in Puerto rico 1997 Johnny: You two have come together to form Mas Salsa Brava. What can the salsa scene expect from this new endeavor? How will this differ from Salsa Brava? Melissa: Mas Salsa Brava brings you a lot of new ideas and energy but it still also represents a lot of the previous Salsa Brava because don’t forget that Luis was one of the creators of Salsa Brava and one of the Vazquez Brothers that helped influence Salsa to what it is now. Johnny: Luis, you are a world-renown dancer, performer, instructor and pioneer; In addition, your brothers are just as world-renown and famous. How would you describe growing up around Johnny and Francisco? How have they influenced your as a dancer and individual? Luis: Oh my God! Johnny and Francisco…CRAZY but very inspiring. I think I’m very lucky to be born into this family. They both have influenced in numerous ways, by watching their creativity and their hard core habits. All types of dancing has influenced my style of dancing….cuban salsa, on 2, hip hop, swing, to this day, I am constantly evolving my style and I will always be inspirited by others. Johnny: Melissa, Ismael Otero is quoted as saying Melissa Fernandez “is bringing the fire and excitement back into Salsa dancing.” Where does your fierce and exciting style of dancing salsa come from? Melissa: Thanks Ismael! It makes me feel great. I value and admire Ismael in many ways and I feel honored that Ismael thinks that I bring that fire back. Yes! I am passionate and I love to dance. Where does my fire come from? Johnny, that’s a good question. My fire and energy comes from everything around us. I get my energy from the music, from the person I’m dancing with, from the mood I’m in. I think my style of dancing characterizes a lot of my personality. Johnny: One of the objectives of Mas Salsa Brava is to help revitalize the Salsa Revolution. In what ways do you’ll plan to contribute toward revitalizing the Salsa Revolution? Melissa: In every way we can contribute, whether it’s our teaching techniques, our performance, our energy. As humans and people, we are always revitalizing. We learn from our past and mistakes and only move forward and always trying to offer our students the best we can give. Mas Salsa Brava never holds back information or knowledge. We want to share everything we know with the world. Johnny: Melissa, during your first competition, you won first place with Gordon Neil, a good friend of mine. At what point did you realize you had a gift for performing salsa? Melissa: AHHH!!! It’s still so cool to say that we won 1st place at that competition…that was a long time ago. He he. I still don’t admit that I have a gift for performing salsa. I see it as ‘I’m doing something I love to do!’ Now I’m dancing, performing and teaching on an international level and I still have so much to learn and conquer. I’m only tapping into the iceberg and I’m hungry to absorb as much as I can. I’m glad I can make people happy. Johnny: Melissa, In addition to performing and co-directing, you have been doing some choreography for the L.A salsa kids. Is it more rewarding to offer your talents to the youth? Do you have plans to continue do choreography for youth salsa groups? Melissa: I LOVE to choreograph! I want to say YES, but at this moment in time, Luis and I are so busy with our Tours and choreograph that we can’t focus on working with youth. But it is something we want to do in the future. We grow old, just like our idols and legends and the youth are going to be able to carry the fire of salsa. Circle of life. They are so innocent and carry an untouched fire and passion when they dance. It’s something real special to work with the future. Johnny: Luis, you are a LA Salsa pioneer, you help to create one of the most world-renown salsa groups on the performance scene. Although you have already attained a lifetime worth of achievements already, what are some of your short-term goals as a choreographer, performer, and instructor? Luis: To continue to choreograph and perform with my brothers Johnny, Francisco and Ramon and somehow to bring back to Los Angeles that inspiration that was once here before and to keep growing as an instructor. I believe that you never know it all, that there is always space to learn. Johnny: Luis, you started dancing salsa in 1992. I’m sure a lot of things have changed since then. What has been the most notable change from the time you started dancing to the current state? Luis: WOW! You know what I can say that almost 90% has changed…hehehe I wish I could show you footage of when we all started dancing, there were no double turns, no styling, there was no hungry to get better…but now its totally different, for the better. There are more styles to appreciate now, the NYon2, and even different forms of dance that has greatly influenced what salsa is now, for example, tango, flamenco, hip hop, swing and it will still keep evolving in so many different ways. Johnny: Melissa, What advice do you offer to ladies that want to add a little excitement to their style and improve on their styling? Melissa: The first thing I would have to say is confidence. Enjoy what you like to do and take it a step at a time. For example, master a combination you like and do it on the dance floor. It will make you more confident with your styling…little by little your styling will improve because your body will want a new challenge. But more importantly, listen to what the music asks of you. Be soft and sexy when you have the latin jazz salsa playing and also be able to funk it up with stylish footwork when the Descarga is playing. Also, don’t just learn from one instructor and try to imitate them. Learn from EVERYONE and your own style will slowly evolve. Johnny: Who are some of your favorite dancers on the salsa scene? Luis: Juan Matos, Eddie Torres, my brothers and I can continue with the list but you don’t have enough space on your web site…he he he Melissa: Juan Matos, Franklin Diaz, the females from Papa Tambor, Johnny and Francisco Vazquez Johnny: What message do you send to aspiring dancers who are trying to attain some of the goals that you guys have been able to achieve? Luis: To keep practicing! You will never know what you can do until you try it. We need these types of people for the salsa community. They are the future and they will be the ones to inspire others just the way they are being inspired now. Melissa: To never give up. Frustration with oneself can be a good thing. ALWAYS STAY HUMBLE and when you get to a certain level of achievement don’t pretend you know it all. :) Keep practicing and keep taking lessons, be creative and to try new things. I’ve always believed that fear is the only thing that holds people back. Also, we will be moving to Italy early next year, 2006 for a year. Come and visit us in Europe, of course you’ll have to pay for your airfare, but maybe we’ll treat you to McDonalds when you get there… (he he he)Otherwise you can take us out to a nice Italian Restaurant! Please visit our web site www.massalsabrava.com and www.melissafernandez.com hehehehe We need the hits! :) Don’t forget that life is precious…enjoy it and don’t forget that you can always make a difference in someone’s life. Keep Salsa Alive!
Thank you LA VOZ DEL MAMBO! Keep doing what ur doing! You’re spending the love of salsa. PEACE OUT EVERYONE!!!! HAVE A BEAUTIFUL DANCING DAY!
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DJ Fuego Retires Clubscene
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ETOWN Note: When you get a chance, please ,even if its just a "THANK-YOU", express it directly to this talented Edmonton Latin DJ who put his passion and heart to give you all the music that YOU wanted played. You can email him at fuegomusic@hotmail.com to pass on your message. THANK-YOU! Fuegito and we'll miss you. Effective inmediately I would like to announce my retirement as a club dj and I would truly like to thank everyone that has been there in the past 9 years of my dj career in clubs. I'd also like to thank the owners of the following clubs were I dj'd before, The original LA HABANA LATIN NIGHT CLUB were I started my career as a dj 9 years ago. All the fun began there along with DJ JOSE JOSE, who helped me start out as a dj and guided me. CALIENTE LATIN CLUB - That was the year that was truly fun because both Caliente and La Habana were open at the same time and both clubs had to turn people away becuse they were both getting the support of both the latin community and non-latin community. That was the year when we used to see 75% of the crowd latin and the remaining 25% non-latin (now a days latins are out number be a big margin, I would say now latin support is around less than 25% and the non-latin support is at 75% or greater ) I don't see the latin support happening the way it use to be here in Edmonton but i hope one day it comes back strong and that all latinos born here OR NOT, get proud of our latin heritage and support our beautiful music like other cities around Canada and around the world do, MAMBO LATIN CLUB, MEZZA LUNA LATIN CLUB, LONG RIDERS ( a.k.a AZUCAR now ), AZUCAR LATIN CLUB and HAVANA CLUB & RESTAURANT and most importanly YOU THE PUBLIC as crowd goers for our past and present latin clubs. I thank you for all your support that you have shown and will keep showing to our present and future latin clubs. Some of you may ask why ? There are many reasons but I believe I'm not having as much fun dj at clubs like I once did and when you are not having fun or not at a level that you think you should be having fun at that tells you ( me in this case ) that its time to move on. I also want to concentrate on other aspects of my life that are important as I'm not getting any younger and need to think about future among other reasons.
Once again thank you for all your support shown during my career as a club dj ( you may see me again at a club for special events ) thanks to all the latin clubs I had the honor of working for and to all the club goers thanks for supporting us djs and clubs.
Thank you.
Denis Arnoldo Rivas.
DJ. FUEGO
( 780 ) 708 - 4206
fuegomusic@hotmail.com
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1st Annual Mexico World Salsa Congress
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Victor Burgos & Gaby Bernal, the most important Mexico's salsa dancers & promoters, in association with Albert Torres, the most important salsa promoter around the world, present... QUICK INFO:
ACCOMMODATION INFO: --> CLICK HERE BANDS INCLUDE: Jimmy Bosch (New York, USA)
DJ'S INCLUDE:
DJ Armando (Portland, USA)
INTERNATIONAL INSTRUCTORS INCLUDE: Francisco Vasquez ((Los Angeles, USA) Waiting confirmation INTERNATIONAL PERFORMERS INCLUDE:
Eric, Kelly & David / Salsa Rica (Calgary, Canada)
Further Details: --> CLICK HERE FOR WEBSITE - www.mexicosalsacongress.com
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Interview with Mr. Oscar Hernandez
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An Interview with Mr. Oscar Hernandez by Ms. Sharon German
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-->CLICK HERE for quicktime video of Spanish Harlem Orchestra with Ruben Blades on vocals (courtesy of maestravida.com)
- [ PART II ] Sharon: First and foremost thank you for giving www.lavozdelmambo.com an opportunity to interview you. I feel very privileged in doing an interview with such an exceptional artist like your self. "La Voz del Mambo" would like to say thank you for taking out your time to do this interview. We feel immensely honored. Oscar Hernandez, you have long been considered one of the most gifted and prominent pianist and arrangers in the contemporary Latin, Latin-Jazz and salsa music scene. How does this make you feel? Oscar: Well Sharon, I think that this kind of speaks about my longevity in this business, the people I have played with and the record labels I have worked with. It feels very nice. Sharon: You have produced such artist such as Ruben Blades, Willie Colón, Daniel Ponce, Rafael De Jesus, Eddie Torres, Phil Hernandez, Steve Kroon, and "The Spanish Harlem Orchestra", just to name a few. Can you just sight a potential successful artist or band? Oscar: Well, yeah. However, I think in this business you never know who’s going to be a star. I don’t doubt that I’m able to recognize talent after working with people for so many years, but you never know sometimes. Sharon: In addition to being Rubén Blades pianist, arranger and musical director, you have enjoyed a prolific musical career recording and performing with such world renown artists as Latin music king Tito Puente, Queen of Salsa Music Celia Cruz, Latin Pop Star Julio Iglesias, Juan Luis Guerra, Ray Barreto, Earl Klugh, Dave Valentin, Johnny Pacheco, Ismael Miranda, Pete “Conde” Rodríquez, Oscar De'leon, Luis “Perico” Ortiz, “Libre,” Grupo Folkorico Experimental,” Willie Colón, Kirsty MacColl, as well as many others. What can you say is the gift in working with such exceptional artist? Oscar: I don’t look at it as a gift, I think it is a blessing and that in it self is the gift in working with people who are talented. Sharon: More recently your musical exploits include working as musical director/conductor, arranging and producing the music for “The Cape Man” pop-rock icon Paul Simon’s Broadway musical. What would you say are the major differences in directing a band and directing a musical? Oscar: Well, in a musical you are working with actors and dancers. In directing a band you are working with singers. It is a whole different art to put musical theatre together. It is kind of interesting because, theatre is not really what I like to do, but I can do well on it. I guess I would have to say the biggest difference is that when you are putting together theatre there is no room for creativity, it is what it is. Sharon: I’m extremely impress with your talents. How can one individual be able to master all the areas that involve the art of music? Oscar: Sharon, I think when you love what you do any aspect of what you are doing, in this case music, you learn to adapt to different situations. I would say I’m pretty good in accessing different roles and doing the different jobs necessary to meet those goals in what ever it may be as of in the invention of music. I think the more experience you have, the better you will be in dealing with people and personalities. Sharon: Your work as a studio session player can also be heard on numerous commercial jingles, some of which you have written and arranged your self. Among those are the hit show "Sex And The City," Dunkin Donuts, Waldbaums, General Motors, again just to name a few. How does it feel to just randomly one day turn on your television and here your own work? Oscar: It’s pretty interesting. I just did a commercial for Cover Girl. The other day I came home, turned on the T.V. and seen the commercial. It’s pretty cool. The way I look at it, is that a commercial is only a 30 second piece of music and that’s an easy thing for me to invent. It is all about accessing what the client wants for the commercial. Sharon: You are now expanding your horizons and working on film. You have recently completed music for some film documentaries. Where are your limits, if any? Oscar: My outlook is not about having limits. I mean, there are certain music that I don’t excel in, but I just look at everything as a challenge and I try to meet those challenges, sometimes it is not always an easy thing to do. I just try to get creative. I would say certain things are out of my league and that can give me a difficult time, but I would just try to attack that challenge to the best of my ability. Sharon: You are the founder, musical director and pianist for “The Spanish Harlem Orchestra”, one of my favorite bands. This band also has some of my favorite artist such as Ray de La Paz and Jimmy Bosch. In the commencement of forming this group what were your visions and intensions? Oscar: I didn’t have any to begin with. I had ran into music producer Erin Levinson, who had a contract with Warner Brothers and we came up with an idea. It wasn’t until we released the album the whole thing came to life. Sharon: “The Spanish Harlem Orchestra” was:
-The 2005 Grammy Winner Award for “Best Salsa Album” In just one year you guys have managed to enter the hearts of a massive amount of salsa lovers. What is the secret in being so successful and achieving awards like these? Oscar: I don’t think people have their finger on it. I mean if there was a secret and everyone knew the secret, everyone would be doing right now. It is just a matter of different aspects coming together and being a little lucky as well. It is being good and doing something at the right time. I also have a lot of experience in going into this and making things boom. Sharon: What message to do you send to the salsa community? Oscar: It is important they support music and live music. There are a lot of dancers that love music. I mean salsa music is beautiful, just the arrangement of the rhythms alone. Salsa is being heard all over the world and you know where are we going next. The support of the people is what keeps us flowing, it keeps the energy, the happiness and the support is what’s vital for people to continue to create salsa. Success comes from the people’s support and it enforces people to do it again and again and again. I thank the salsa community for supporting us and especially the “Spanish Harlem Orchestra.” Sharon: Thank you Oscar so much for this interview. You are a musical genius. You are also a very calm and trust worthy individual. I respect you for more than just your talents but I also respect you for who you are as an individual. Oscar: Thank You Sharon, really. It was my pleasure giving you an interview for “La Voz del Mambo.” |
Announcing the 2005 Vancouver International Salsa Congress
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(EtownSalsa note: In addition to all the amazing salsa talent here , you will see Calgary's SalsaRica, Mambo Productions, and Edmonton's Salsaddiction Dance Company. They will be performing and competing in this years congress!) Vancouver is alive with hot, sexy Latin rhythms - played by both well established bands and talented DJs, and danced to almost any night of the week by hundreds of Salseros and Salseras (People who Salsa) of every age, race, religion, and occupation... although you'd never know it. Salsa is the biggest thing you've never heard of! Only with the advent of Box Office hits starring Jennifer Lopez learning to dance with Richard Gere, and reality television programs like "Dancing with the Stars" and "So you think you can Dance", has Salsa received any attention by mainstream media. In reality, people who like Salsa like it a lot; dancing almost every night of the week, taking regular dance classes, attending additional dance workshops, vacationing around the world in order to attend international parties and events, and practicing their basic step any time they get a spare moment. In response to this huge underground movement, Latin dance party promoters the world over have begun putting on large-scale events to give their dancers somewhere to showcase their talent year after year. In the Salsa Community, this type of large-scale event is called a Salsa Congress. A Salsa Congress is a city, state, or country's opportunity to bring together talented Latin dance artists, performers, instructors and competitors to showcase and celebrate their unique craft and heritage - with the hope of drawing every dance student and enthusiast within e-mail range. Since 1995, Ran Ben-Nissim has been a driving force in the Vancouver Salsa community, often working together with many of the other local promoters to put on Vancouver's greatest nights of Latin dancing. After having founded CitySalsaVibe Inc. in March of this year, Ran has brought a new professionalism to the community, and is proud to host the 2005 Vancouver International Salsa Congress in conjunction with Albert Torres Productions Inc. This year's Congress in Vancouver is a 4-day Latin dance extravaganza beginning on October 7th, when Congress artists and guests will pour into the city from as far away as France, Mexico, and Japan to attend 4 evening dance parties, more than 30 daytime workshops (including Salsa On1, Salsa On2, Cha-Cha-Cha, and Bachata.), 2 nights of live dance shows and performances, and a qualifying round competition for the 1st Annual World Salsa Championships. Some of our better known talent this year includes Rodrigo Guzman & Yesenia Adame, who were recently featured in the top 50 of the reality television program So you think you can Dance, Mexicos Victor Burgos & Gaby Bernal of Salsa Con Clave, Herve Susan and the Uforia Dance Company from France, Liz Lira The Rose of Salsa who was recently featured on FOX TVs Renovate My Family, both Rico and Johnny Bravo and Bravos de la Rumba from Seattle, Andre Mintz of New York, Ashkan Jabarianha of Los Rumberos who is also the reigning Vancouver Salsa Champion and as such is featured on the 2005 Congress Logo with his partner Elyshia, and last but certainly not least is Josie Neglia The Princess of Salsa. In addition, many other highly talented Canadian and American artists from the West Coast and Alberta will participate as instructors, performers and/or competitors at the Congress. Having been previously been hosted all over the city in venues such as the Commodore Ballroom and Plush Nightclub at the Plaza of Nations, were proud this year to have the 4-diamond Hilton Vancouver Metrotown as the home of the Congress. The Congress Main Events are centered at the stunning Hilton Vancouver Metrotown in the Crystal Ballroom with the Welcome and Farewell parties plus a final day of workshops held at the exclusive Vancouver Rowing Club in Stanley Park overlooking downtown Vancouver and Coal Harbour. For more information about the 2005 Vancouver International Salsa Congress or CitySalsaVibe Inc. please contact Ran Ben-Nissim at 604-999-5588 or email Ran@CitySalsaVibe.com, or you can visit us online at www.VancouverInternationalSalsaCongress.com or www.CitySalsaVibe.com. Also attached to this message are a number of documents for your review that further describe Salsa in Vancouver, CitySalsaVibe Inc., and the Vancouver International Salsa Congress. For Media Passes or additional information please contact myself at 778-883-3374 or email Marketing@CitySalsaVibe.com. This years Media Pass includes one free Latin dance workshop, and 2 passes to each Main Event night at the Hilton Vancouver Metrotown. Please note: Only a limited number of Media Passes are available for those with Media credentials on a first come, first served basis. Thank you for your time and attention. We, the Vancouver International Salsa Congress Committee, look forward to speaking with you at your earliest convenience, and are excited at the prospect of meeting you at the Congress this October between the 7th and the 10th, 2005. Kind Regards,
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CitySalsaVibe Inc. Registration for Current and Former Salsaddiction Students Press Release - Return of the Vancouver International Salsa Congress |
'For The Love of Salsa' Concert & Dance
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History in the making!! The best Salsa artists from yesterday and today will gather in Philadelphia. All under one roof to bring you the best in Salsa entertainment. Don't forget to mark your calendar for this area's Salsa show of the year!
"For The Love Of Salsa". A six hour hisorical Dance and concert. Honorees include Former singer of Roberto Roena's Apollo Sound Sammy Gonzalez and Musical Director Richie Gonzalez's Orquestra "Copa". One night extravaganza featuring amazing artists and bands such as: Grupo Niche, Adalberto Santiago, Herman Oliveras, Yolanda Rivera, Ismael Miranda, Luigi Texidor, Paquito Guzman, Michael Stuart, Luisito Carrion, Vianca, Dominic and guest performers Alfredo De La Fe and Pupi Lagaretta. If your in the Philadelphia area this concert will be held at the Liacouras Center on Saturday October 22nd 2005 from 7pm to 1am. |
September 11, 2001
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(Etown Note: In rememberance of the 9/11 event. Hopefully this happy ending will encourage others to help those less fortunate, especially with natural disasters and other misfortunate events happening around the world. A prayer to those in the wake of recent events in Louisiana,USA and Beijing China.) September 11, 2001 - It was a beautiful late summer morning just before 7:30 a.m. I gave my girlfriend, who had spent the night with me, a hug and a kiss, we exchanged "I love you’s”, wished each other a good day and parted ways. Little did we know it would be a day we’d never forget. I hopped on my motorcycle and enjoyed a nice ride to work. I owned a brand new green Kawasaki Ninja ZX-6R. I arrived at my office as usual at 8am, to prepare my cup of coffee and look out my window. It was a pleasant morning routine. Even more pleasant was simply working there, it felt as if I were on top on the world. Minutes later, two of my coworkers had made their way into the office. Soon we were conversing over coffee. As Tim and I are chatting, we heard this sudden swoosh, like that of a rocket and then a large explosion. The sound was so fast, we did not have time to look to see what it was. The explosion shook the building as if it were going to collapse. We looked at each other in amazement and quickly ran to the center of the office - away from the windows. Looking out the window we saw there was fire, debris, and smoke coming from the floors above us. I’ll never forget the look on Tim’s face. We dashed back to our desks, collected some personal belongings and began our exit. We were 85 floors up on Tower One of the World Trade Center. There would be no easy way down. Before even seeing the conditions in the hallway, we knew we were going to take the stairs. As we grabbed our belongings a man came running into our office screaming for help, and the exit. He was hysterical. Later I found out he was in the bathroom when the plane hit. I told him to calm down, and that I knew where the exit was. Our office had double doors. The left one tightly secured, and the right one locked by a security magnet. Both doors were blown open by the impact. The nearest exit was to the left, adjacent to our office door. As I rushed towards the door, I noticed the hallway was dark and there was a very strong smell of smoke and burnt fuel. I ducked down and ran to the exit. I ran fast. I looked briefly over my shoulder down the long hall and all I could see was complete darkness. It was pitch black; no lights, no emergency lights, no sprinklers, only smoke. I quickly ran into the stairwell where conditions were completely different; there were air conditioning, light and fresh air. We ran down four or five flights of empty stairs as fast as we could. At approximately the 80th floor, we came to a complete stop. There were a so many people... we screamed for them to move on, but they did not. They politely told us the line was moving, slowly, but moving nonetheless. We quickly became patient and joined them in their decent. There was an embankment on the 78th floor, where express elevator that went up the first 78 floors without stopping, and then other elevators would incrementally go up to the top. Here we switched to another set of stairs which took us to the 85th floor. As we crossed over, I noticed the elevator banks looked like they had exploded. The marble walls were shattered and the elevator doors were bulging out. We quickly moved across that floor to another stairwell. At that time, I noticed a blind gentleman I had seen many times before; he was accompanied by his guide dog. Someone had him by the arm and was leading him to the same stairwell we were going to take. I have since read in the newspaper that he made it out ok. The next 30 fights were stop and go. At about the 40th floor, we came to a dead stop. There was a closed door and a fire on that floor. That was a very scary moment. Someone behind us yelled out that he had the key. When he got to the door, it was the wrong key. I thought to my self, "I don’t want to burn to death". The group quickly looked for another way out. We moved back up one floor to another nearby stairwell. We made it down another 20 flights in the same manner, stop and go. All the while people were very orderly; we kept our calm. Many of us didn’t know what had happened. I, for one, thought it was a helicopter or a small plane that had collided with the building. I was told it was an airliner. I quickly associated the sound I heard with the size of an airliner, no helicopter or small plane could have made the sound that I heard. Thoughts of a rocket or missile had crossed my mind. But I knew U.S. defenses would not allow that to happen. Later, someone said it was a terrorist attack, and both towers had been hit by passenger airplanes. That was another scary moment. I knew then I was in the middle of a terrorist attack. At about the 22nd floor, we came across the first firemen. It was a relief to see these men. They assured us we were going to be ok, and that everything below us was ok. I recall one fireman saying "It’s smooth sailing from here on, so walk quickly, but safely." That was a very reassuring moment. Many of these firefighters were out of breath. They were tired, drenched in sweat and some were even on the floor resting. Image running up 20 flights of stairs with an oxygen tank on the back, an axe, a metal rod, a hose, and all their protective clothing! That must be over a hundred pounds of gear. The rest of the way down was truly fast; so fast it was unexpected. Suddenly we saw daylight, yet another relief. We exited the stairs on the second floor which surprised me; I thought we’d get out on the first floor. The second floor is actually ground or street level. The first floor is one flight below the ground. There were firemen and police everywhere. I looked through the glass and saw debris everywhere. There were about half a dozen bodies spread out as well, albeit they looked more like globs of red gelatin. Later I learned they were the bodies of folks who had jumped from the floors above mine… a horrific sight. The authorities lead us to the Concourse level, which is underground. This area had many stores, such as The Gap, Banana Republic, The Body Shop, etc; basically, it was a mall. Firemen and police instructed us to move quickly through that area. We came up at the other end of the mall, about a block away from the towers. All in all, it took us about an hour to get out of the building. As soon as I was outside, the first thing I did was look up. To my amazement, both towers were on fire. Tower One was ablaze about 3/4th of the way up and Tower Two was ablaze about half way up. It looked like something out of a movie. Officials instructed us to walk east. About 30 seconds after we came outside, I heard this crackling sound. I looked up and Tower Two was collapsing. I thought, "Oh my God. RUN!!!" That's exactly what I did. During the whole walk down, I was together with my two coworkers, but this time all I could think was "run for your own life." I ran as fast as I could. I left my two coworkers behind. I ran straight ahead. I looked back and I saw this HUGE dust cloud coming towards me VERY FAST! As I crossed an intersection, there was another dust cloud that had cut me off from the right. I had my motorcycle helmet in my hands so I put it on just as I was engulfed in the dust. The helmet did not help. The dust made its way up the chin area and filled my nose. I ripped the helmet off and couldn’t see a thing. Everything had turned to night. It was so dark. I could not breathe, see, or hear anything. I tried to breathe though my mouth; all I did was fill my mouth with dust so I had to hold my breath. As I was running, I remember I seeing a building to my left. People were rushing inside before the dust cloud hit. Through the darkness, I made it to the doors of that building. They were glass doors, and, to my misfortune, they were closed. I tried to shatter the glass with my motorcycle helmet. That did not work. Things were very confusing. I managed to open my eyes a little and noticed people inside. I felt around to my right and found the opening to a set of revolving doors. I pushed and was able to make it inside. Once there, I coughed very hard trying to get that dust out of my throat. Finally, I was able to take a breath. However, the dust would not remove itself from my throat. Nonetheless, I was safe for the moment, and I could breath. There were about a hundred people in the lobby of that building. The majority had sought refuge, as I had. It was mayhem- confusion everywhere. People did not feel safe; they were looking for a way out of that building also. They moved like sheep, all together and in the same direction. I moved in my own direction, opposite theirs. I found someone’s Dunkin Donuts coffee; I grabbed it and gargled with it. That removed about 50% of the dust from my throat. I kept the coffee until I had removed all the muck. As I coughed, someone grabbed me and sat me at the security guards office. I told him I was ok, while another woman handed me some napkins and turned away. As I looked outside, the darkness was subsiding and daylight light was coming back. For me, that was a sign that I had to get out of there. I needed to get away from downtown as fast as possible. I noticed a phone. I grabbed it and called home. My younger brother picked up the phone. He was so calm, as if he did not know what was happening. I told him to put on my mother on the phone. When she heard my voice, she broke down, she was hysterical. I told her to calm down, obviously I was ok, she, however, did not understand that. She mentioned my girlfriend was there. I spoke to her also. She too was in a state of hysteria. I reassured her and hung up the phone. I made my way to a bathroom. I washed my face, hands, and mouth. I grabbed an orange juice from the rack, and walked outside. No, I did not pay for it, neither were there cashiers to collect any money even if I wanted to. Once outside, there was about 2-1/2 inches of dust on the floor. It looked as if it had snowed. Police and other officials were confused. People walked like zombies and everything was silent: no sirens, no talking, no birds, nothing but confusion. Folks, what you see in the movies is as close to reality as I would suggest you get. It is very spooky. I started to make my way north. I found a bus that would take people uptown. It was full of people, but I managed to find a seat. I met up with a gentleman who was in the stairwell with me. He told me his wife was in Tower Two. He was trying desperately to call her on her cell phone, but cell phone were not working. In my mind I doubted she was alive, but I kept that to myself. The bus moved about three blocks and stopped-- traffic was not moving. Everyone on the bus decided to leave the bus and walk. As we walked uptown, Tower One collapsed. We were now about 10 blocks from the towers, but fear and uncertainty made us run for our lives yet again. This time the dust cloud did not come near us, but it was a scare nonetheless. Soon after I met up with Carlos, my mom’s husband. We walked together to 42nd street and 12th avenue where a ferry was transporting NJ residents across the Hudson River. There was a 2-1/2 hour wait to board that ferry. But I had a means of getting on that boat faster than anyone else. I was covered from head to toe in white dust. I asked a police officer to get me on the boat because I needed to see a doctor. He agreed and got me and Carlos on. We walked from the ferry port to my house, about a 25 minute walk. When I took that first step onto the stairs of my house, a shiver went down my spine. I finally felt safe. When I waked inside, my mother greeted me with an unbelievable hug. It felt like I had died and came back to give her one last hug - that was an intense moment. Everyone in my immediate family was there, including my girlfriend. That’s when I realized that my life had been in danger. Up until that moment, I was on survival mode. During all this time, I did not comprehend that I had escaped death. I guess you could say I was in sort of shock. I insisted we go to the hospital. The doctors were amazed that I had made it out ok. They gave me a clean bill of health and let me go home. Suffice to say, things have not been the same. I have recuperated as much as possible. I still dance; I am still the same person I was; only I see the world with new eyes. There will be no getting back to normal. Normal will never return. I’ve begun a new life. Jareau Almeyda (written in September of 2001. Sorry about the errors, I'll fix them when i can). |
Interview with Sasha Jimenez (Boston)
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Johnny: Greetings Sasha, thank you for granting La Voz Del Mambo an opportunity to interview you. I was first exposed to your tremendous talents during one of Hacha Y Machete’s dance routines. Although I thought you were a great dancer, I was not blown away until Victor told me how old you were. At first I thought he was kidding, but when I realized he was serious, I gained a new perspective on your talent. I am amazed that you as good as you are at the age of 14. For those who may be unaware, how did you get into performing salsa? V I D E O S --------> CHECK OUT Sasha (left couple) performing with Hacha y Machete at the 2004 LA Congress - Video courtesy of Mamboston2.com Johnny: Who are some of your favorite dancers and performers? Sahsa: My favorite female dancer right now is Burju. She is so amazing. She has been my inspiration. I also like Emily Alabi (from SF). It's hard to believe that she's 15! My favorite male dancer is Juan Matos. He is so incredible. I also love Frankie Martinez. Johnny: Where would you like to see yourself 5 years from now, in regards to salsa and life in general? Sahsa: Well, 5 years from now, I'll be entering college to study and prepare for my career as a doctor. I know that I'll definitely still be dancing (with Hacha). I would hope to still be traveling, and meeting new people in salsa congresses/festivals (etc.)from all over the world. Johnny: Any additional comments: Sahsa: Well Johnny, I'd like to thank you for taking the time to interview me for LVM. It was truly an honor. I hope to hear from you soon...and I'll see you on the dance floor!!! Sasha Jimenez --> CHECK out www.HYMSTYLE.com |
Interview with Jhesus Aponte (New York)
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Johnny: First and foremost, thank you for granting La Voz del Mambo an opportunity to interview you. You possess extraordinary dance talent and experience. This experience includes dancing alongside with Michael Jackson, Macy Gray, Tamia, Sonique (Tour), Paulina Rubio and Gloria Stefan; along with doing choreography for Jose Alberto, Gilberto Santa Rosa, Latin Madness, and Victor Manuelle; just to name a few. With all this dance talent and experience, what keeps you involved with salsa dancing? CLICK HERE FOR VIDEO OF JHESUS APONTE and MARIELLYS MOLINA - courtesy of mamboston2.com Jhesus: First of all, thank you for taking your time to interview me. For me it's an honor. What keeps me involved in salsa dancing is first my heart, blood and soul and of course the money. I make money, while I'm doing what I love. I've been dancing salsa since I was 3. I come from a musician's family and of course salsa was always "El Pan nuestro de cada dia" (like a prayer). I'm a versatile dancer, so I divide my career amongst, salsa, jazz, hip-hop, musical theatre, choreography, and teaching; so I don't get bored and can continue loving my job. Johnny: How did you get into dancing and performing salsa? Jhesus: I've been dancing salsa, since I was a kid, my sister and my parents used to take me to Fiestas Patronales in Puerto Rico (Every Town has a Saint Patron) and they used to celebrate these for 10 days, every night there would be different Salsa bands. So everyone used to go and dance and challenge each other. When I was dancing, everyone used to gather around and the women used to tackle each other to dance with me. For me it was like performing all the time. It was so much fun. They used to say, that's the kid from Carolina, (where I grew up, most of the best salsa dancers in PR where from Carolina). Most people think I'm from there but my mom was born there. As a professional my first show was with the Latin Star Wilkins (He sings the song "Margarita"). I replaced one of his dancers. His choreographer was my teacher at Bailos dance co. where I started training as PD., after that Stacy Lopez called me for Gilberto Santa Rosa, other choreographers for Deddie Romero (Willie Rosado), Sonora Poncena(the late Papito jala jala), El Gran Combo (Felipe Polanco) etc. Eventually I started dancing internationally with my own company (Jhesus Aponte and Salsor Latino dancers), I haven't stop since then. Johnny: Amongst all of your tremendous dance experiences, which are the most memorable? Jhesus: I love what I do and what I've done. I always go back and have those flashbacks about my career. The most memorable has been my own tour. I've been the main Artist and I don't have back up dancers. It's great when you see your face, name and pictures on posters, flyers, promos, videos, and your fans around the world (which I have to thank for their great love and support), That's definitely been memorable Johnny: How would you describe life of a professional dancer? Jhesus: Very hard, but not impossible to make it big. You have to be discipline (mind and body), meditate, mind your business, study all type of dances, go to theatre, see shows, and invest money. After all, this is your career... Johnny: If you could change anything about your dance career what would it be? Jhesus: I always thought that I wanted to be a trained dancer since my early days but maybe I wouldn't be as successful as I am now if I was trained very early on. It's been wonderful and every single experience counts. Meeting new people, learning everyday, being admired, copied, and being an example for others. The highs and lows; when you have to go through all these moments and meditate to recharge your batteries, in order to get ready; Ready to go again to the battle. A fabulous battle of something that you dreamed of, but you really believe you can do. Johnny: Who are some of your favorite performers outside of salsa? Jhesus: Outside salsa, dancers like the late Eddie Vega (impresive), Billy Fajardo, some dancers from Alvin Aley co; also dancers from Andanzas from PR. Johnny: Who are some of your favorite salsa dancers? Jhesus: Felipe Polanco, Tito Ortos, Tania Santiago, Nancy Ortiz, Candy Mena, Frankie Martinez, Juan Matos, Vazquez Brothers,Franklyn Diaz Eddie and Maria Torres, the Late Papito jala jala, and Marielys Molina (my soul mate). These are my top dancers, but I have favorites that I really enjoy watching. Johnny: As you may know, dancing socially and performing on stage are two totally different experiences. For those aspiring to be great performers, what advice do you offer? Jhesus: Please, learn from everyone, but don't be a copy cat. Be original, try to be unique. You can take a bit from your favorites, from your teachers but... don't. Train in jazz, hip-hop, ballet, stage presence, take coaching, acting. That will give you the tools and more material to look like a real professional, whether you decide to keep your raw style or not. Johnny: As a profession dancer, do you still get nervous before a performance? Jhesus: Off stage, I get very anxious hoping that the audience will like my performance and that I won't forget my steps. Most of the time I have tricks and lifts that are really difficult and I want them perfect. My stomach gets butterflies and my hands sweat.:-D Johnny: Where would you like to see salsa dancing 5 years from now? Jhesus: I would like to see more respect for the salsa ambassadors. They are the ones that promote the salsa where the real singers and bands can't go. But it has to be also vice-versa. Give respect and get respect. I would like to see everyone at least learning how to dance SALSA. Johnny: Any additional comments: Jhesus: I really appreciate you're bringing this forum and you are giving us (performers, instructors) the opportunity to be informed of what is out there in our Salsa World. Keep doing it!!! y Que Viva la Salsa |
Interview with Amanda Estilo – NY
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Johnny: Thank you for taking time out to interview with La Voz del Mambo. Your presence on the dance floor is amazing! I was first exposed to your tremendous talent at Club Babalu’s in Chicago when you and Seaon were in town. You guys were amazing! I have admired you ever since. You are a very classy lady and nice person possessing a style of dance admired by so many people around the world. With that said, how did you begin dancing and performing salsa? V I D E O S -------------------> Checkout Amanda social dancing @ NY Congress 2004 - video courtesy of mamboston2.com --> Checkout Amanda with David Stein(Whiteboy Wonder) ,Beto then Oliver Pineda(Latin Motion, Australia)at the LA Congress 2004 - [ Part II ] [ Part III ] |
And The Salsa Beat Goes On
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And The Salsa Beat Goes On - Genre's Alleged Death Greatly Exaggerated By Ernesto Lechyner, Special to the Tribune Salsa is dead. Gone. Kaput. Forget about it. A comatose genre swallowed alive by other styles of Latin music: rock en espanol and hip-hop, reggaeton and norteno. Salsa is dead. Or is it? For the last few years, the alleged death of salsa has been morbidly discussed in publications across the Americas. Much like the death of rock (or jazz, or punk or reggae), the subject has become a cliche, focusing on the limited commercial success of contemporary salsa in terms of record sales and mainstream recognition. Take a look at the vibrant salsa community that continues to flourish in the U.S. and Latin America, however, and a different picture begins to emerge. "Those statements about the death of salsa are made by people who clearly know absolutely nothing about this music," says Rudy Mangual, publisher of Latin Beat, a West Coast-based monthly magazine that for the 14 years has been covering Afro-Caribbean music. "Salsa is just like rock," Mangual adds. "It has its highs and lows, but it is too established a style to just die. "For us, salsa is not just music. It's a way of life. It's part of our culture. We grew up with it and we will die with it." "I think salsa is tremendously alive," says Albert Torres, a Los Angeles-based promoter who travels around the world organizing salsa festivals. "You go to the clubs here in L.A. and they're full of new faces. Musicians like Jimmy Bosch and the Spanish Harlem Orchestra have new albums out that are just incredible. What else do people need to see in order to realize that this music is far from dead?" Still thriving In artistic terms, at least, salsa is definitely far from moribund. An umbrella term that encompasses a number of Cuban-based dance formats such as the guaracha and the son montuno, the music known today as salsa experienced an artistic and creative peak in New York City during the '60s and '70s by combining Afro-Caribbean roots with the electrifying swing of big band jazz and a hint of gritty R&B. From New York, salsa spread all over the Americas, particularly in Colombia and Puerto Rico. Although some of the genre's biggest artists are no longer with us (Tito Puente, Celia Cruz and singer Hector Lavoe, to name a few), most continue touring and releasing albums. This year saw the release of excellent new collections by veterans such as Puerto Rico's El Gran Combo and La Sonora Poncena; Colombia's Joe Arroyo, Fruko y sus Tesos, Grupo Niche and Son De Cali; and Venezuela's Oscar D'Leon. Ruben Blades, salsa's most talented songwriter, also returned to the genre that made him famous by collaborating with the Spanish Harlem Orchestra, a collective of notable session players. And trombonist Jimmy Bosch continues on a crusade to resurrect the hardcore sound of the '70s on his third album, El Avion de la Salsa, aided by the stunning vocalizing of Ecuadorian singer Ray Bayona. Commercially speaking, salsa still boasts its share of viable artists, namely Marc Anthony, Victor Manuelle and Gilberto Santa Rosa. But it cannot possibly compete against the regional Mexican field, which dominates Latin music in this country. "The groups that you mention are fine, but salsa as we know it is a vertical niche," says Bruce Polin, owner of Descarga, a New York-based mail-order service that specializes in hard-to-find Afro-Caribbean music. "There is nothing wrong with niche markets, and my business is certainly based on that model. But the days of chart-busting salsa appear to be gone." Late '70s Those long-gone days of alleged chart busting salsa were the late '70s, when the New York-based Fania label (think of it as the Motown of salsa) monopolized the market with seminal recordings by the likes of Blades, Cruz and Willie Colon. Blades' 1978 masterpiece, "Siembra," became the genre's best-selling album, a record it held for a long time. (Due to the proliferation of mom-and-pop stores that cater to the Latino community, it is difficult to tabulate exact figures for old tropical music recordings.) "Back then, I would go and buy the latest Fania album every week," recalls Torres, who lived in New York at the time. "I would spend every penny I had on the new LP by Hector Lavoe or Johnny Pacheco." Still, many insiders believe the salsa explosion of the '70s is heavily idealized when it comes to actual sales figures. "I'll even go further and say that salsa in its '70s heyday was a marginal market in the overall music industry," offers Descarga's Polin. "A few labels like Fania did well, but perhaps only because they paid their artists nothing. Most of those guys -- and I'm talking great talents -- had day jobs. Try developing an artist today and pay them fairly. See how far you get." "There's a huge misconception about salsa," Mangual says. "It was never a big moneymaker. Maybe two or three artists did well, like Blades, Celia Cruz and Tito Puente. But even Celia didn't sell that many records to begin with. She was famous for her shows. In fact, I think salsa sells more now than it did before, especially in South America. There are more salsa groups in Colombia than in Puerto Rico these days. This music is sacred to them." Old formulas Detractors of contemporary salsa decry the music's reliance on proven old formulas that have remained pretty much unchanged for the last three decades. Indeed, most of the previously mentioned salsa albums released in 2004 deliver the carefully calibrated elements that die-hard salseros expect to find in their music: over-the-top brass riffs, flavorful piano lines and a rhythmic crescendo that builds up to an explosive chorus and forces you to get up and dance. "There's a lot of recycling going on," Mangual admits. "The new Jimmy Bosch album may have original compositions, but most of them are based on old numbers from the '70s. I respect the new bands like Colombia's Sonora Carruseles, though. At least they're trying to keep the old spirit alive." The new album by powerhouse D'Leon is a good example of this tendency. His first release as part of a new deal with Sony, the collection is titled "Asi Soy" -- "This Is The Way I Am." It signifies a comeback of sorts for the singer because it returns to the formula he exploited with huge success during the '80s: exuberant singing, a strong Cuban influence on the arrangements and the inclusion of soulful boleros (at which he is particularly adept) to create a punchy contrast with the fast-paced numbers. "Artists like the Spanish Harlem Orchestra and the Buena Vista Social Club appeal to our need for nostalgia and retro inclinations," Polin says. "It also happens to be great music, but that's tangential." Tangential or not, salsa will continue to blossom as long as new generations of listeners fall under its spell. "I don't have enough hours in the day to honor all of the requests I get," says Torres, whose 2005 agenda includes organizing salsa congresses in Australia, Bulgaria, Japan and a dozen other countries. "If something is dying, then why does it keep growing every day?" "Is salsa dead? Depends on who you ask," Polin says. "I can say it is, but so what? So is jazz, good food, good theater. That doesn't mean it's not worth seeking out." Want to try some salsa? Here are 8 albums to get you started... Eddie Palmieri: Azucar Pa'Ti (1965, Tico) A visionary keyboardist, Palmieri has done it all: old-fashioned salsa, thorny Latin jazz, dissonant experimentation. His grooves are devastatingly intense. His choice of singers, impeccable. This one includes "Azucar," one of the quintessential Afro-Caribbean anthems of all time. Sticky indeed. Celia Cruz and Johnny Pacheco: Celia & Johnny (1974, Vaya) From the poppy sounds of Cuba's Sonora Matancera and a stint with bandleader Tito Puente, Cruz graduated into the school of hard salsa on this exuberant date with Dominican flutist Pacheco. The tribal "Quimbara" says it all: pure, joyous Afro-Cuban fever. Hector Lavoe: De Ti Depende (Fania, 1976) The singer of all singers, Lavoe died of AIDS in 1993 at age 46. He left behind a legacy of stunning albums recorded for the Fania label -- the heart and soul of the entire salsa movement. Produced by his best friend, Willie Colon, "De Ti Depende" includes "Periodico De Ayer," an epic tune marked by Lavoe's rootsy interpretation, Tite Curet Alonso's bitter lyrics and the fusion of a tropical combo with a classically trained string ensemble -- yet another one of Colon's brilliant innovations. Ruben Blades: Siembra (Fania, 1978) From the disco-salsa pastiche of "Plastico" to the anthemic "Pedro Navaja," this is the album that showcased Blades as a socially conscious, darkly humorous singer/songwriter for the ages. The savvy production work of trombonist Willie Colon adds a visceral feel to the procedures that would be absent from subsequent Blades albums. Oscar D'Leon: 15 Exitos (Top Hits, 1996) A superb compilation from the Venezuelan sonero, including the immortal single "Lloraras" performed with his '70s group, La Dimension Latina. This is rustic, no-frills salsa, heavy on the nasal choruses and trombone riffs. Those jazzy piano solos are courtesy of D'Leon's former keyboardist, the incomparable Enrique "Culebra" Iriarte. Grupo Niche: A Golpe De Folklore (PPM, 1999) Vilified by purists, this Colombian group has been churning out hit singles for the last 20 years under the leadership of prolific songwriter and producer Jairo Varela. A lesser known but remarkably funky session, "Folklore" was recorded just before singers Willy Garcia and Javier Vasquez jumped ship and formed their own combo, the successful Son De Cali. Joe Arroyo: El Baile Del Siglo (Discos Fuentes, 1999) Only a two-disc set of hits can do justice to this chocolaty-voiced Colombian singer and an extensive career that includes stints with groups Fruko y sus Tesos, the Latin Brothers and his own outfit La Verdad. Arroyo, who began performing at age 10 in the brothels of his native Cartagena, favors a mix of Cuban rhythms, Colombian folk and Caribbean stylings such as calypso and compas. The result? His own genre, the bouncy joe-son. El Gran Combo: 40 Aniversario (BMG Latin, 2002) Puerto Rico's salsa institution celebrates 40 years of uninterrupted activity on this sprawling two-disc set with plenty of medleys and a couple of illustrious guest vocalists. This is highly danceable stuff, of course, but it also exhibits the frothy elegance that defines most Puerto Rican salsa. -- Ernesto Lechner December 21, 2004 Copyright © 2004 Chicago Tribune. All rights reserved.< |
High Level Salsa In Las Vegas
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Hiram Guadalupe Pérez Over a thousand salsa dancers representing over 700 countries will meet at the"1st Annual World Salsa Championship”, which will be held in the city of Las Vegas from December 14-17.The same will be broadcast internationally in different TV channels and languages, something never seen in the history of TV. This is a four day event trying to congregate the dancing couples that won in the different salsa congresses around the world. The Salsa Congress concept was created in Puerto Rico by promoter Eli Irrizarri about a decade ago. Among the competitors are Ángel Martínez and Sheila de Jesus, the couple that won in the most recent edition of the” Puerto Rico Salsa Congress", celebrated in the Wyndham San Juan Hotel and Casino. The production of the1st Annual World Salsa Championship is brought to you by a group of Salsa promoters called salsa Seven consisting of Salsa promoters Albert Torres, Leo Tizol, Willie Torres, Don Elbaum and Rob Beiner. The salseros will have the opportunity to demonstrate to the world their skills in three divisions: groups and individual, that is: “salsa en clave 2” (New York style), “Salsa en clave 1” (street style)) and cabaret. In addition, the competitors and general public will enjoy seminars, daily performances by salsa celebrities and in order to keep diversity to a maximum expression.…a little bit of reggeaetton. "Everybody have experienced the success of dance programs in the US TV with 'Dancing with the Stars' and most recently 'Do You Think You Can Dance'”. “Both broke all TV rating records”. “The main difference between those reality shows and the 1st Annual World Salsa Championship is that our dancers are professionals not amateurs”. “In addition, our event has a global appeal (not regional like these reality shows) and we want to demonstrate to the world who are the best dancers of the planet”, commented Albert Torres in a press release today. According to Albert Torres the ballroom dancing is “in” and the Latin music genre is one of the most popular in the US. That is why we are expecting the WSC to be a huge success. Those interested in attending the even at the Orleans Hotel and Arena in Las Vegas, can visit our website: www.worldsalsachampionship.com. Article In Spanish http://www.primerahora.com/noticia.asp?guid=6CF9A653EE874A58B557998A4F8C569D Hiram Guadalupe Pérez PRIMERA HORA Sobre mil bailadores de salsa, en representación de cerca de 700 países, sereunirán en el "1st Annual World Salsa Championship", que tendrá lugar en la ciudad de Las Vegas durante los días 14 al 17 de diciembre y que será transmitido por varias cadenas internacionales de televisión, en distintos idiomas, en un hecho nunca antes realizado. Se trata de un evento de cuatro días de duración y en el que se espera congregar a las parejas de baile que han sido galardonados en los distintos congresos salseros que se realizan alrededor del mundo y cuyo origen fue en Puerto Rico, hace alrededor de una década, por iniciativa del empresario Elí Irizarry. Entre los participantes de esta gran competición se encuentran Ángel Martínez y Sheila de Jesús, la pareja que salió victoriosa de la más reciente edición del "Puerto Rico Salsa Congress", efectuada hace unas semanas en el hotel Wyndham San Juan de Isla Verde. La producción del "1st Annual World Salsa Championship" está liderada por el grupo Salsa Seven, integrado por los promotores Albert Torres, Leo Tizol, Willie Torres, Don Elbaum y Rob Beiner. En esta magna competencia internacional, los salseros medirán sus habilidades en el arte del baile en tres divisiones, grupal e individual, a saber: salsa en clave 2 (más a tono con la forma de baile de Nueva York), salsa en clave 1 (al estilo más usual y "callejero") y cabaret. Además, los competidores y demás asistentes disfrutarán de seminarios, espectáculos diarios, mucha salsa a cargo de los más destacados exponentes del género y, en aras de la diversidad, una pizca de reggaetón. "Todo el mundo ha visto el resurgir del baile de salón en los programas de televisión norteamericana, como 'Dancing with the Stars' y, más reciente, en 'Do You Think You Can Dance', que rompieron récord de audiencia. La diferencia principal de estos programas tipo reality show y del "1st Annual World Salsa Championship" es que aquí los bailarines son profesionales. Además, nuestro evento es de índole global y no regional, (y con él) queremos demostrarle al mundo quiénes son los mejores bailadores de salsa del planeta", expresó Albert Torres, en una comunicación escrita. Agregó que, a su juicio, "el baile de salón esta in" y el género latino ha demostrado ser uno de los más populares en Estados Unidos, razón por lo que se presagia el éxito de su actividad. Los interesados en asistir a este evento, que tendrá como cede el Orleans Hotel and Arena de Las Vegas, pueden obtener más información en el portal cibernético: http://www.worldsalsachampionship.com http://www.alberttorresevents.com |
3rd Annual Canada Salsa Congress
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Jennifer Aucoin and Steps Dance Studio in Toronto present the 3rd Annual Canada Salsa Congress, October 6-10, 2005 The Canada Salsa Congress is the biggest salsa dance festival ever staged in Canada!! This premier 4 day salsa event provides a forum to showcase Canadian talent as well as to expose the Canadian salsa scene to some of the most innovative and inspirational instructors and performers from around the world. We look forward to providing a weekend where beginner students, professional dancers, salsa-holics, djs, and spectators are able to nurture their talent and develop a deeper love and appreciation of salsa dancing. Featuring: * Welcome Party, Thursday, Oct. 6th (Location TBA) * Dance until dawn! * 3 nights of Sizzling Salsa Parties until 4am. * Live Band direct from New York on Sat. Oct. 8th ~ Ralph Irizary y SonCafe. * Be inspired! Over 5 hours of electrifying shows from some of the world's greatest dance companies. Over 40 dance companies will be coming! * 2 days of salsa workshops with more than 30 of the world’s top instructors. Over 35 workshops to choose from at beginner, intermediate and advanced levels. * A parade of the hottest DJs on the scene, including DJ Nelson Torres, direct from New York, and Toronto's own DJ Julio Cezar and DJ MAS. * Salsa Concession Area - buy salsa related products such as shoes, clothing, music and instructional videos, get a massage, grab a bite to eat or just mingle with other salsa-holics! CONFIRMED INSTRUCTORS: Edie "the Salsa Freak" & Al "Liquid Silver" Espinoza, LA Ismael Otero, NJ Tito & Tamara, Puerto Rico Joby "Brava" Martinez, LA Josie Neglia, LA Victor Mayovanex, NY Amanda Estilo, NY Super Mario, UK Danny Ramirez, NY Ana & Joel, Boston Burju & Victor, Boston Sekou McMiller, Chicago Sonia & Moris, Montreal Stephanie & Mark Anthony, Toronto Giovanni Torres, Toronto United Salseros, Toronto Paula & Jose, Toronto Ana Machado, Toronto Orville Small, Toronto/Holland City Dance Corps, Toronto Book your hotel reservations directly: Sheraton Centre Toronto Hotel 1-888-627-7175 $154 Cdn/night (approx. $120 US) If booked before September 24th, please mention Canada Salsa Congress to get this special discounted rate. |
Singer Ibrahim Ferrer dies
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Ibrahim Ferrer, a Cuban singer who vaulted from obscurity to international fame when he came out of retirement to perform in the Buena Vista Social Club, has died. Ferrer, who was 78, fell ill after returning from a month-long European tour that took him to the Montreux Jazz Festival in Switzerland, Britain, Holland, Austria, France and Spain. Ibrahim Ferrer, who died at 78, was a master of the traditional Cuban 'son' and 'bolero' styles. (AP Photo) He was admitted to a Havana hospital with gastroenteritis and died Saturday of a heart attack, his wife, Caridad Diaz, told the AFP news agency. Ferrer, a wiry man in a trademark cap, was a master of the traditional Cuban son and bolero styles. By the early 1990s, however, he had been all but forgotten and was augmenting his state pension by shining shoes when the U.S. musician Ry Cooder recruited him. Along with singer Compay Segundo, pianist Ruben Gonzalez and other vintage Cuban musicians, Ferrer performed on Cooder's Buena Vista Social Club album. The album, which won a Grammy in 1997, became hugely popular and vaulted the aging musicians into the international limelight. Their fame grew when they appeared in the 1999 film of the same name by German director Wim Wenders. Ferrer released solo records in 1999 and 2003, racking up another Grammy award and two Latin Grammies. Ferrer was born during a social club dance in the eastern Cuban city of Santiago on Feb. 20, 1927, after his mother unexpectedly went into labour. He started singing professionally at age 14 and by the 1950s, had won his place with well-known Cuban bands. In 1959, he joined the group of the legendary bandleader Pacho Alonso, where he stayed for more than two decades while making guest appearances with other stars such as vocalist Benny More. In the early 1980s, Ferrer set aside his musical career, not taking it up again until Cooder persuaded him out of retirement more than a decade later. Last Updated Sun, 07 Aug 2005 01:03:00 EDT OTHER RELATED LINKS --------------------------------------- Yahoo News USA Today ABC News Rolling Stone |
DJ Nik’s Tunes for the Dancefloor!
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August 2005 “Contigo No” – Wayne Gorbea y su Conjunto Salsa This is a very nice, in-the-pocket tune from groove master Wayne Gorbea. Many of Wayne’s songs are overplayed on the salsa circuit but this is not one of them. It features swinging bone riffs and Johnny Polanco on Tres! (Check out his interview in this issue). From the album “La Salsa y Charanga” on Disco. “Mima la Pululera” – Pedro Conga Orq. Feat Tito Rojas This is early Pedro Conga (circa early1974) featuring a very young Tito Rojas on vocals (apparently his recording debut). Sadly the CD version is now out of print. If you see it buy it. The whole thing is jamming salsa dura with rough trombones and up front percussion. This is a great dance tune. From the album ‘Mima la Pululera’ on Mavi. “Salsa con Candela” – Miguel Yamba This one fantastic and obscure dance tune. When I went to the NY Congress in 2000 I heard it a couple of times and thought, “What the F is that tune?”. I haven’t heard it since but it is one cool tune with a clear clave, guitars , and a laid back, African swing. It took me about a year to figure out what is was and to hunt down the CD. From the album “Karamba” on LusAFrica. “Cuban Fantasy” – Estrellas Caiman Just go out and get all the Estrellas Caiman (now called Cobo All Stars) albums. They’re all top notch salsa mambo jazz from NYC. This, for me, is the best version of this famous tune for dancing (originally written by jazz pianist Ray Bryant and made famous by Machito’s monster band in the 1950s). Check out the line up on this record (Ray B on conga, Andy G on bass, Jimmy Bosch on trombone, Fajardo on the flute, etc. etc.) Perfect groove and sweet flute and alto solos! Vaya! From the album ‘Descarga del Milenio’ on Cobo. “La Receta” – Johnny Polanco y Su Conjunto Amistad This is from Mr. Polanco’s first album and is one of his most jamming tunes. To get the full experience you must see him and his band live but this is pretty strong stuff nonetheless. The man plays trombone, vibes, tres, and arranges (and smartly features some of the best vocalists in the business). What can you say about that? Nothing; just go see him live and buy the CDs!!!! From the album, “LA Amistad”. “Remordimiento” - Charlie Palmieri Eddie’s older brother was one bad ass piano player. His music always has flavor, swing, and an elegance that is missing from most salsa music. I recommend all of his albums. This is a cooking mid tempo dance tune from a great album with yet another all star band. It features the great Menique on vocals. From the album “Con Salsa y Sabor” on Cotique. “Como Lo Canto Yo” – Justo Betancourt or Spanish Harlem Orchestra I mention both versions because they both cook and are worth getting your hands on. The Justo version is a bit more raw and a bit faster in tempo. The SHO version features Ruben Blades on vocals sounding at the top of his game. So clear and fluid. A joy to hear (hey Ruben how about a dura solo record!!!). Both are great dance tunes that typify 1970 take no prisoners salsa pa’ bailar! From the albums “Across 110th st” on Libertad and “Lo Sabemos” on Fania. --> CLICK HERE to checkout DJ Nik’s website for song clips. |
Interview with Johnny Polanco
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Click here to listen to one of Johnny Polanco classic songs! Sharon: First and foremost thank you for giving www.lavozdelmambo.com an opportunity to interview you. I feel very privileged in doing an interview with such an exceptional artist like your self. "La Voz del Mambo" would like to say thank you for taking out your time. We feel immensely honored. Johnny, how did you become one of the most sought-after bandleaders in the US? Johnny: In 1998 I retired from the Marine Corps and then I traveled to California. I ran into an old friend, Arty Web (outstanding flute player), we then started to play with local bands. Shortly, I then ran into Armando Castro, he knew a lot about music, especially the tres. Armando owned a restaurant and he wanted to get rid of an established band who played at his restaurant. Since 1993, I’ve been playing there every Monday. That’s where I started and I have a lot of love for that place. Sharon: How does it feel to be managed by one of the head promoters of the salsa scene, Albert Torres? Johhny: We’ve done many projects together. The West Coast Salsa Congress gets between 6 to 7 thousand people a day. We’ve been very, very busy. We started when I had a band and Albert Torres wasn’t in the dance scene. Albert wanted to start something and we collaborated. I brought the band and he brought the venue. It wasn’t successful in the beginning. The salsa scene here in LA wasn’t anything like it is today. There weren’t many salsa clubs, so we would go to R&B clubs and soon, slowly but surely it started to pick up. We both grew off each other and it has been a pleasure working with Albert. Sharon: You have achieved a skill of playing 13 instruments which include the tres and cuatro guitar, trombone, vibes, and many more. Is your talent natural or is it build by practice along with a musical education? Johnny: I never went to school, I never had a formal lesson. I was adopting instruments and then playing them. I would buy instruments from the streets; One time I purchased an instrument from a drug addict, it cost me $10.00, then I made music from the instrument.It is very rewarding when you perform. The music that I play I like it to be danceable. Dancers are creative people and I like to feed that. I always watch the movement on the dance floor. Sharon: The majority of the salsa artists are from the East Coast, you are from the LA area. Is the love different when you travel to the East Coast? Johnny: The scene in LA has gotten huge. The LA scene is incredible and I would say it is better than New York and Florida put together. However, the musicianship in the East Coast is a lot better. There are a lot more bands in LA, but they are not at the same level. Believe it or not the ambiance is no different. In New York the dancers are great and the scene is just as cool when you get there. In Los Angeles we have more clubs and the scene is bigger. We have a lot more musicians, but not at the same caliber. Sharon: You have television credits that include Moesha, New love Boat, Buddy Faro, Fired up and others. Your film credits include, Death with Smoochie, Dance with Me, Contact, I Llike it Like That and others. You have also done commercials for Miller Lite Beer, Nike and others. There aren’t many bands or artist who get the opportunity to experience music at this level. How does it feel to travel beyond barriers? Johnny: It feels good to go beyond the club scene. It feels good to know that there are enterprises and corporations that are realizing that they can benefit from the Hispanic market and want connections to Latinos. Salsa music is no longer supported by Latinos. Salsa music is supported by people all over the world. Today, they are playing salsa music in commercials and are also attracting the group of people who enjoy that music. It is not necessarily a Latin product. I’m thankful to have partaken in some of these acting roles as well as the musicianship of these materials. Lately, the Hollywood industry has been opening up opportunities for me in acting roles. Sharon: Your band, Conjunto Amistad was formed in 1993 and for nearly a decade this band has influenced the growth and popularity of Salsa music. What are some of your potential ideas with the movement of the band for the next couple of years? Johhny: We are making new changes with the band, adding a few musicians and getting the education out. We are currently preparing a new CD. The CD will have the sounds of, Cachao, son montuno, and mambo. The structure is going to be the same, but we are looking to get a sound that is going to intensify the band. Next year, we are considering in doing a live CD, since we are respected for being a great live band. Sharon: Currently, Conjunto Amistad is preparing for a national and international tour that includes NYC, Washington DC, San Francisco, Las Vegas, Hawaii, Japan, China, Italy, England, and additional locations. What do you hope to deliver to these different cities and countries? Johnny: Well, the salsa movement in the far east is getting big. Last year there was 3 thousand visitors a day for the salsa congress in Japan and we went to China last year. The 2008 Olympics will be held in Beijing and many Latin American countries will be participating, to entertain that crowd they will have salsa participate as well. The movement is big everywhere, the scene is great and I don’t think it will ever loose it’s niche. There are a lot of young people involved in salsa as well as a lot of older people involved in salsa. This is what salsa offers. It is good for all of us. It is our responsibility as artist to go and put the next movement, it is a continuous cycle. Sharon: After 35 years of a professional musicianship, currently you are also in the production of your 10th Anniversary CD. What would be the meaning behind this album? Johnny: Over production time, we decided to change the direction of the CD and make it a tribute to Cachao calling the album, “El Tumbao del Cachao”, in replacement of the 10th Anniversary CD. Cachoa is a legendary bass player who is one of the founders of mambo. He just also won a Grammy. Sharon: What is the origin of the name of your band, Conjunto Amistad? Johnny: I made the name up because, it was basically a group of my friends and some of them long time friends from my home New York. Sharon: What message do you send to all Salseros? Johnny: Well basically we have to continue to strive to keep our culture, continue to make it grow and for salseros to support live entertainment. This is very important because, the dancing and the music goes hand in hand. Keep dancing and keep on teaching so we can have salsa for ever. www.Johnnypolanco.net |
Faith in Carlos Gomez : A Memoir of Salsa, Sex, and Salvation
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A writer's all-consuming passion for salsa opens the door to an unexpected world in a nonfiction tale with all the sexiness and humor of the best chick litSamantha Dunn is a horsewoman who's not exactly graceful-more comfortable in a barn than in a ballroom. Her introduction to salsa dancing happens by chance in a kitchen during a dinner with a blacksmith from South America. To impress this handsome man on their next date, she decides to take a dance lesson. But then the unpredictable happens: from the first steps, something about the movement and the exotic, sliding music takes hold of her. From that point on, Dunn throws herself into the salsa culture. She soaks up the Spanish language-an easy feat in her home city of Los Angeles-and begins a peculiar relationship with her dance instructor, a local salsa celebrity. What started off as a lark becomes a quest that reframes her life, changing the way she thinks about her body, her relationships with men and women, her personal history, and even her country. She is hearing tropical rhythms in her head, taking lessons, buying Lycra, and cruising unexplored sections of the vast Southern California metropolis on weeknights in search of the sweaty, packed salsa clubs. And as Latino culture becomes ever more influential in California, she is recognizing the changes in her own life mirrored in the city she thought she knew. Faith in Carlos Gomez is a story of a woman discovering love-for salsa dancing, for music, for a culture, and for Carlos Gomez-and determined to learn whatever steps she'll need to keep up.
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Puerto Rico Congress Summary
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Not without a little contraversy, the first place couple from Puerto Rico was booed as they were crowned champions of the Salsa open. The crowd favorites in the semi's from Australia prevailed as favorites in the final even though Oliver Pineda's partner Luna Croiter fell in the semi's and also had a wardrobe malfunction in the finals . It seems that both recoverys were so well received from the public that they had the audience captivated completely. It seems the audience didn't realize that it was an average of both the semifinal round and the final round that made up the final score. The video of the finals tells most of the story so check it out. Video of the FINAL in Windows Media Format Video courtesy of www.puertoricosalsacongress.com PUERTO RICO SALSA OPEN Campeonato Mundial 2005 Graduatoria Final 1° Angel Martinez - Sheila De Jhesus Puerto Rico 2° Fabian Cano - Ester Dominguez Espańa 3° Oliver Pineda - Luna Croiter Australia -------------------------------------------------------------------------------- 4° Gerardo Aquer - Jessica Parra Argentina 5° Salomon Rivera - Liz Riva Los Angeles 6° Carlos Alfredo Di Natal - Jaimi Jones Washington DC 7° Josč Serrano - Charlot Serrando Philadelphia
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TV: So You Think You Can Dance
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This show premieres Wednesday July 20, 8pm EST (2 hr special) on FOX. In Etown its also playing on CFRN , Channel 2 and Fox channel 33 at 9pm. --> CLICK HERE!! Preview Video Clip In Windows Media This summer, FOX teams up with the creators of AMERICAN IDOL and the producers of The American Music Awards and American Bandstand on the ultimate search for the nations best dancer in SO YOU THINK YOU CAN DANCE. If you think the AMERICAN IDOL competition is tough, you haven't seen anything yet! SO YOU THINK YOU CAN DANCE is the hot new series that will have America moving to a different beat, as dancers skilled in everything from ballroom and ballet to salsa, jive, hip-hop and krumping all compete to be named the best.
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Puerto Rico Salsa Congress July 24-30
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The most prestigious Salsa promoters in the world, Elí Irizarry (Puerto Rico) & Albert Torres (Los Angeles) join together to present the most important Salsa event of the planet: PUERTO RICO SALSA CONGRESS 2005 "The event that changed the History!" Eddie, María & Nadia Torres – Nueva York Paises confirmados: |
An Introduction to Clave Theory (Breaking on Two)
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What is this clave thing? The clave (KLA-vey) is the beat arrangement in Afro-Cuban music that makes the sound unique and which makes the dance styling different from American/European popular dances! So what is this breaking on two stuff? Unlike American/European dance, in Cuban dance you don't step on the the down beats, you step in between them! So when you hear the first downbeat on count one, you take your first step on count two! So what more do I need to know? Welcome! You must have heard other dancers talking about "breaking on 2" or "dancing with the clave" or maybe you were just curious to find out what this clave thing is all about. In a nutshell it is about the musical basis of most Afro-Cuban music (Rumba, Mambo, Cha Cha, Salsa etc) and is the key to you successfully becoming a great dancer! If you are a musician learning clave theory and you have stumbled onto this site, this article will give you an insight into how your audience understands the rhythm. If you are a dancer this article will explain why you make the movements you do, when you do and that will greatly simplify your learning process and ultimately help you to dance with the music! This article discusses the clave from a dancer's viewpoint. Throughout the six parts of it we will discuss the music, how to hear the clave and dance with it. Even so, to really understand the concept of finding and dancing with the clave rhythm, it is useful to understand a bit of drum theory. So, I encourage you to have a look at the excellent sites listed at the end of Part 6 - these discuss the clave from a musician’s viewpoint. To speed load times on the Net this article is divided into six parts (seperate pages). I encourage you to read them in sequence, but if you prefer, feel free to jump between them. The memu shown below, appears at the top of each page. Part I - Finding the Clave Part 2 - Understanding the music Part 3 - The Clave rhythm Part 4 - Dancing with the Clave Part 5 - Emergence of the Clave based dances. Part 6 - New York Mambo/Salsa I have assumed that you are familiar with at least one of the clave based dances (eg: rumba, mambo, cha cha, salsa). If not click here to skip to the end of Part II which outlines the dance. There is a link there to bring you back here, so you can continue reading. source: http://www.geocities.com/sd_au/clavetheory/clavetheory1.htm |
Pics of the Day - Jimmy Bosch & Ismael Otero
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Here is Ismael Otero of Caribbean Soul styling the new Griselle Ponce wig. I believe he was going for the skater look. -->CLICK HERE FOR MORE BRAVA PICS!
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History of Reggaeton
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source:www.wikipedia.com Daddy Yankee, a reggaeton artist. Reggaeton is a type of Spanish language dance music developed in Puerto Rico in the mid-1990s. It has now become popular in other Latin American countries. Reggaeton - also spelled Reggaetón and hispanicised as Reguetón - blends dancehall and hip hop genres, with additional influences from electronic, bomba, plena, and other styles. This gives Reggaeton its distinct Latin touch. |
Pics & Vids from Jimmy Bosch & Calgary Open
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Courtesy of Latin Soul Dance Company please go check out some recent pic's and videos of the Jimmy Bosch concert in Calgary as well as pic's from the Calgary Salsa Open with special guests Joby Martinez and Paco from Los Angeles. CLICK HERE FOR BOTH GALLERIES --> http://www.alma-latina.ca/gallery/Year-2005
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Interview with Janet Trotto (NY)
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->> CLICK HERE to watch Janet dancing - video by www.imambo.tv Johnny: First and foremost, thank you for granting La Voz Del Mambo this opportunity to interview you. I have had the opportunity to dance with and you are a phenomenal dancer! For me, it was one of those experiences where I did not know you and I nonchalantly asked you to dance and ended up one of the most memorable social dances I've ever had. Thank you for providing this experience for me. For those who may not know you, can you tell us a little about your salsa background? Namely, who you trained with and who has inspired you the most? |
Interview with Mr. Johnny Pacheco
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Sharon: First and foremost, thank you for giving www.lavozdelmambo.com and opportunity to interview you. It’s not everyday that I get to interview a LEGEND. You are truly a pioneer to the salsa music! How does it feel to be a Legend? Johnny: Oh my God, I didn’t know I was a legend!……. (lol)! It feels good to receive the awards. It really feels to good to know that what you are doing people really do appreciate it. It feels good to know that I’m being awarded while I’m living and not dead. I have been a busy man and I’m thankful for the rewards. Sharon: In your personal opinion what is the meaning of salsa? Johnny: Salsa traveled the world, it went beyond its language boundaries, and today it is loved by the entire world. I first came up with the idea to create salsa when I founded La Fania All Stars. The members of La Fania All Stars were all young men who lived and grew up in New York. In the group we had Dominicans, Puerto Ricans, Cubans, 2 Jews and an English, and that is what salsa was. Salsa was a combination of all these different countries, these ingredients formed to create a final recipe. Salsa came mainly from the Cuban music, its roots are mambo, rhumba, son montuno, guaracha, guaguanco, guajira, cha cha cha. The tittle salsa was the commercial name. However, it has other Latin American influences from my native island of Dominican Republic, it has merengue. It also has Puerto Rican influences with charanga and Columbian as well with cumbia. Salsa is a mixture of all these. It also has jazz and rock influences because, La Fania All Stars grew up listening to jazz and rock. What jazz did to salsa was that it enhanced the music, the chords, and the phrazing. It made it more progressive. However, we always played in Tipico style. When we played mambo that’s when we incorporated jazz. Salsa from the beginning was meant to be a dominant style of music. Sharon: You have received countless awards and accolades throughout your career. Some of them include: • Nine Grammy nominations • Ten Gold records • International Latin Music Hall of Fame Induction, 1998 • Recipient of the Bobby Capo' Lifetime Achievement Award, 1997 • Presidential Medal of Honor • First International Dominican Artist Award • First Latin music producer to receive the NARAS (National Academy of Recording Arts & Sciences) Governor's Award in New York City What is the most significant accolade or award of your brilliant career in music? Johnny: Life it self. I can’t complain, I have lived a very comfortable life. Another great significant gift has been the respect I have received for salsa. I’m very proud of Latinos. Sharon: You are about to celebrate your 50 years anniversary as a composer, arranger, bandleader and producer? What would you say has been the most memorable moment with the band you created your self, La Fania All Stars? Johnny: I would say one of the most memorable moments was the day of our first debut, it in was in a club called Alpagado. That was when the members of La Fania All Stars were all original band members. The acceptance and welcoming of the crowd was not what I ever expected, it was warm and exciting. Another unforgettable moment was when we did a concert in Africa, it was in a stadium and there was an attendance of 110,000 people. Despite the fact that not one soul understood what we were saying, they all loved us, they were thrilled and it was like something I’ve never seen before. Another occasion occurred in a concert at Yankee stadium, it was a concert in recognition of the LP album we did and it was being titled the record of the decade. The attendance were all Latinos and it felt incredibly good to receive that support from your own people. Sharon: You have been very inspirational to the younger generation. You recorded and performed with the group DLG as a guest artist in one of your own compositions. What are your thoughts on Salsa music of today? Johnny: I believe less is more. There many young kids who are making complicated arrangements and it’s not cool because it is deviating too much from its mother roots. There are a lot of salseros who are making salsa romantic. Salsa wasn’t meant to be romantic, salsa is powerful and dominant. People are going back and trying to incorporate ballads into salsa. Sharon: When people think of Johnny Pacheco, what would like them to remember the most? Johnny: I want people to think fun. I want them to think good music. You know I love to dance and when I make my music I want you guys to dance as well. I like to arrange my music simple and at the same time swinging. What I bring to the stage is togetherness and that is how you produce music that is enjoyable and precise. Sharon: Where would you like to see salsa music 20 years from today? Johnny: Hot! Hot! Hot! People will realize where music will have to travel and I have no concerns. Let me tell you something, I love television. Lately, television has been having some really good shows on air. I’ve been noticing how t.v. producers are playing salsa music in the background. However, only American shows are doing this and I’m not seeing Latinos doing this. This really bothers me. Sharon: What is it about the flute that moves you? Johnny: I like the sound. You know when I play my solos I picture my self in a balcony giving a speech to the world. My solos are very melodic and simple, when I play the flute I imagine that I’m talking and that’s what you hear. You hear a sound that’s communicating with you. One time I remember playing my flute in a concert and there were some kids standing by with their flutes. I invited them to join the band on stage and it was horrific, because they were playing too many notes and making no sense. When you play you want to make sense, you want to communicate with the crowd. The flute is a very sweet instrument. Sharon: How difficult is it directing an orchestra? What are some of the principles? Johnny: Well first, I have been the only leader for La Fania All Stars. In order to be a good leader you must have respect for you fellow musicians and they must return the respect back to you. You need to have togetherness, comradeship and harmony. This is how you have fun. This is the only way to lead a band and perform on stage. Sharon: What knowledge do you think many salseros are lacking? Johnny: Well for one, I see that in this era musicians don’t want to study and it is essential that you study and understand your music, you can’t get away from that. This first happened during the Boogalu period, where everyone just wanted to play by ear and you can’t do that. I personally love working with kids. I love workshops and teaching. I remember one time I did a workshop in Philadelphia and I asked a kid what instrument do you want to play and he said, “The trumpet.” I said, “Why?” He said, “Because it only has three valves.” This is the perfect example of what I'm talking about. Today, I see musicians trying to take short cuts and make it the easy way out. When I first started, I was the only conga player in the city of New York and I doubled in clarinet and saxophone for The Eddie Palmieri Band. I arranged my own music and produced it as well, all of this because I was well studied in music. Sharon: Musically speaking, who has been the person you have learned from the most? Johnny: The individuals I worked with the most were Tito Puente and Mr. Esmeralda. Sharon: What is the biggest difference between the salsa community today and the salsa community 50 years ago? Johnny: Music has changed a lot. Momentarily, I’m writing a book and it will cover a lot of this topic. Nevertheless, some of the biggest changes have been, for example, in 1960, Charanga music was number one and nationalities like Italians, Jews, Blacks, Latinos, and etc. would enjoy the music together and we were playing the same repertoire, that doesn’t happen now. I miss the togetherness music brought to the world. La Fania All Stars were so united that until this day, I receive phone calls from former band members and presents as well. I’ve been a father figure to them. I don’t see this unity with young people and without union it is impossible to have fun. Sharon: What does salsa music do for you? Johnny: It gives me life. It gives me happiness. Sharon: What message you send to the entire Salsa World? Johnny: Our music is meant to have fun, it is meant to wake up the dead. One time I was in Toronto doing a concert and I noticed how the band before us had the crowd falling asleep and I said, “This is going to be a challenge.” When we got on stage the crowd was dying and I said, "In a few minutes you guys are going to be tapping your toes." We played “kimara” and we had to come back three times encore. Sharon: Thank you from the bottom of my heart for your interview, your precious time and your novelty. I can’t express how much I admire you and how influential you’ve been to me and to the rest of the world. Thank You for everything that you’ve done for the Salsa World, if it wasn’t for your none of what you see today would have been in existence. Johnny: Thank you Sharon for your kind words. You have always been a nice young lady, full of talent and ambitions. Keep playing the trombone and keep dancing. The pleasure was all mine and thanks to “La Voz Del Mambo,” for having me be a part of their newsletter. WWW.JOHNNYPACHECO.COM |
PRESS RELEASE: Chino Nuńez
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FOR IMMEDIATE RELEASE Contact: Pablo “Chino” Nunez Email: Janmarproductions@yahoo.com Chino Nunez & Friends, It's SHOtime, Strictly Hardcore On 1 or 2, A Tribute to Dancers, made its debut in May at the World Salsa Congress in Los Angeles, CA. Unlike any other, it is an enhanced CD that includes a Reggaeton tune and a 5-minute segment “Learn How to Dance”. Pablo “Chino” Nunez, a pioneering percussionist, is most recently recognized as a percussionist with the 2005 Grammy Award winning Spanish Harlem Orchestra. Himself an established veteran of the Latin music industry for over 30 years, Chino has dedicated this project to all of the Dancers and DJ’s around the world. The production includes special guest appearances by a collective group of well-known and respected musicians on the East coast such as Jimmy Bosch, George Delgado, Bobby Allende, Marc Quinones, Ralph Irizarry, Ricky Gonzalez, Ray Sepulveda, Frankie Vasquez, and many more. Song titles include: Aqui Cada Uno Viene Con Lo Suyo Ponme A Gozar Soneros De Bailadores La Cintura Quieres Mover (Reggaeton) Asustado Indestructible (Homenaje A Ray Barretto) Siempre Muere Con Ganas Homenaje Al Bailador Un Desconocido 4:42 |
Beginner’s Corner: Should I take salsa dance lessons?
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Posted by Dan Delino on Wednesday, March 10, 2004 at 10:04:00 AM PST. Well, this has been a very common question from many of the site's first time visitors and from those new to salsa. And, as I sit down each and every time to "attempt" to respond, I find myself writing much of the same things. So, I decided why not write an article, or dare I say, a tip, for you all to read and enjoy. So, here it is…. Now, first of all, let me totally disclose that it has been sometime since I've personally taken any group classes or privates. Also, I haven’t taken classes from all of the local salsa instructors, but I do know most of them, personally. However, I can make some common, if not common sense, suggestions to all. Anyhow, this is my site, so I can damn well please to do, as I wish with it, right? One of the few benefits of owning and running a web site, you could say... Now, on to the subject matter at hand. The question… Should I take salsa dance lessons? My answer would definitely be... YES! Why you ask? Well, if you plan on going to a salsa club, dancing is a must! And no matter how cool or sexy you may look standing there bumping and grinding to the salsa beat ~ that by no means is salsa dancing. In the end, you will probably frustrated and vow never to “dance” salsa again. So, read on neophytes and let me lead you on your salsa experience. Before I continue, however, I truly believe that there are some things every person who wants to learn salsa and for those of us who dance salsa should most definitely know and be aware of. Besides, how can you even attempt to get your salsa grove on without a good base? Let me give you some advice. There are three things that a beginner or non-salsa dancer should concentrate on learning: 1. The “BEAT” of Salsa music. 2. Essential dance steps. 3. Connection. Learning to hear the beat. For simplicity sake, much of salsa music, and music in general, is played on a beat of counts of eight (1,2,3,4,5,6,7,8). If you listen, and I mean really listen, to any salsa song, you can usually pick out the odd beats. Theses are played by the clave or cowbell: 1, 3, 5, and 7. While attempting not to give a full dissertation on music theory, just know that musical beats are simply counted 1,2,3,4,5,6,7,8. In salsa, as in most other dances, we use the beats to “mark” our dance steps. The steps that are marked in salsa correspond to the following beats: 1,2,3 – 5,6,7. We could also write this as 1,2,3,pause, 5,6,7,pause. What, you say? What happened to 4 and 8? This will all make sense as you progress in salsa, but for now at the very least, just be aware of the beat. Most important! Try to sing, or clap, or tap, to any song you may know offbeat and that will give you some idea of what I mean. Learning the basics. I truly believe that if you choose to learn any salsa dance steps, then choose these three and you, too, can dance salsa with just about anyone, from beginning to advance. Mark my words! Hard to believe you say? Read on my friends. Mostly importantly, concentrate on building strong fundamentals that you will use in your salsa journey. 1. The Basic Step. 2. Outside Turn or Right Turn. 3. Cross Body Lead. These are essential. Let me repeat, THESE ARE ESSENTIAL. The Basic Step. Most salsa danced in San Diego is danced in a somewhat slotted manner. In other words, we dance in a slot, in a straight line, or in a linear fashion. Of course, there are those who dance in a circular fashion, as well. I am not discounting or recommending one over the other. Again, I am just giving you some general guidelines to go by. What do I mean by a slot? Generally, we dance back and forth. Man steps forward. Woman steps back. And vice versa… If you and your partner are dancing in a slot from North to South or East to West, then generally, you will, or should, be using that slot in the same direction for the entire dance. Why do we dance in slots? Well, since San Diego is a relatively small city for salsa, we don’t have that many venues open on one particular night. Therefore, “dance floor real estate” is usually very limited and very tight at times. When we dance in a slot, dancers have a “claim” to that area without worries of getting bumped or stepped on. Well, I should precede that statement with “In a perfect world”, but anyway, just remember that the important thing here is to be aware of the basic step is danced in a slot and in a particular direction. Steps are marked 1,2,3 ~ 5,6,7. Start off with both feet next to each other about 6 to 10 inches apart and face your partner. The basic step begins with the man stepping left foot forward (beat 1) and lady’s right foot back. On the second step, the man’s right foot steps in place (beat 2) and the lady’s left in place (or “rocks”). The third step, the man’s left foot returns to starting position as well and the lady’s right foot (beat 3). Pause for the 4th beat. Repeat steps in opposite direction on beats, 5,6,7 started with the opposite foot. For example, on (beat 5), man step back with right foot and lady steps forward with left. That’s it! Very basic. The Outside (Right) Turn. This is a pivot step on your forward step, for both men and women. For the men, on beat 1, and for the women, on beat 5, start the pivot. Here’s an example: On the first beat, step forward with the left foot. On the second beat, pivot or turn your body to the right. On the third beat, continue turning right to end up facing your partner again, completing a full turn or pivot. This is the basic motion. As you progress and with the proper leads you can do double, triple, quadruple… and even multiples (as you will see the most skillful and advanced dancers do). Practice practice practice, I say!!! Cross Body Lead. The last important basic step every dancer should know is the cross body lead. In simplest terms, you essentially exchange places with your partner at the end of the 8 count. If the man starts the dance step facing, say, the North, then at the end, on count 8, he should be facing the South. The same holds true for the lady. A quick break down…. For the man: beats 1,2 are the same. On beat 3, the man opens up to his left (doing a quarter turn). For the lady: beats 1,2 are the same. On beat 3, the lady take one step forward with the right foot. For the man: beats 5,6,7 are done as the basic step with him finishing facing his partner. For the lady: beats 5,6 are two steps forward. Beat 7, she pivots left to end up facing her partner. Let’s briefly talk about connection. The connection is both physical and emotional. I know what you’re saying…”yeah, right”. Well, let me explain, and then you can decide if you want to agree or disagree. First and most obvious is the physical connection. Salsa is a partner dance and involves physically touching your partner. Stand face-to-face looking at your partner. There should be a slight offset, meaning the woman is slightly off the man’s right and the man is slightly off the woman’s left. A good measurement is to look straight down at both of your feet. Man looking down should see the woman’s right foot between his feet and the woman looking down should see the man’s right foot between her feet. We have four points of physical connection: man’s left hand, woman’s right hand about mid-arm high; man’s right hand directly underneath woman’s left shoulder blade; woman’s left hand resting on man’s right shoulder; and length of woman’s left arm on top of man’s left arm. Pressure is maintained as if you should be a slight resistance when either leaning into or away from your partner. Beyond the obvious physical connection, there is an emotional aspect as well. Now what do I mean be an emotional connection? I don’t mean you have to fall head-over-heels with your partner. What I basically mean is that when you dance with your partner, make eye contact and smile at your partner. Have fun! We should all make this an enjoyable experience. If you’re not getting all your endorphins pumping, then why dance at all? Anyway, just remember that dancing, and that salsa dancing in particular, can give you a feeling of elation that you’ve never experienced before. So, should you take lessons? Definitely, yes! I would recommend taking group classes, private lessons, attending dance parties, club dancing, workshop and videos/dvds all mixed together. They will all complement your dance education and allow you to enjoy the experience. Just remember that all the good dancers you see were once in your shoes, pun intended, and started somewhere. Now, it is your time, so begin your salsa journey. The next question will be addressed in my follow up article coming soon… Can you recommend a good salsa dance instructor? Until then, see you on the dance floor! |
SALSA - more than just a dance, it’s a lifestyle.
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Posted by Samurai Salsero on Friday, March 19, 2004 at 5:00:00 PM PST. A spotless, wooden dance floor gleams brightly in the afternoon sunlight streaming through large bay windows. A similar gleam is reflected in the eyes of David Stein and Juan Hernandez as they speak about making a living from salsa dancing. "Salsa changed everything," says Stein. "My speech, how I dress" and "[it] teaches you to be confident and relaxed". Stein is founder and director of Majesty in Motion, a San Diego, California dance company that specializes in salsa and mambo. The company offers private lessons and group classes, and also conducts workshops and performances. "[Salsa] isn’t just about dancing," says Hernandez, also of Majesty in Motion. Performing and teaching salsa has taught him to be "more confident", "more open", and to "learn how to let go and have fun". They agree that salsa has given them numerous opportunities to travel and the confidence to speak before large groups of people. For them, salsa is more than just a dance. It is "a community" - a social forum, and sometimes a financial source, for thousands of dancers all over the world. Hernandez, originally from New York and of Columbian heritage, grew up in both Spain and New York. He is an ex-Marine sergeant who remained in San Diego after leaving the Corps, and is currently enrolled in a physical therapy degree program. Hernandez was introduced to salsa at an early age by his father, a professional dancer, but, he says that he purposely ignored it since "you don’t want to do what your parents like". It was not until he was older and living in New York that he became intrigued with salsa and started dancing and promoting events. Stein also had no interest in salsa as a child. He moved to San Diego from Dallas in second grade and was active in sports, particularly skateboarding. Stein wanted to be a professional skateboarder and actually secured a few sponsors. Then, he answered an ad in the newspaper for dance instructors, was introduced to ballroom dancing, and was later "blown away by salsa". Salsa has changed a lot for these two young dancers who describe themselves as "shy and quiet" growing up. For Hernandez, salsa provides a means of "expression" and "people know your character more through the way you express it on the dance floor". He has been a finalist in local competitions and has appeared on the "Caliente" television show. "I’m a performer at heart," declares Stein, saying that shyness disappears "once on a floor or stage". In 2002, Stein, with his former dance partner, Espie Hernandez, was a finalist in the Mayan salsa club contest in Los Angeles, the biggest and most competitive salsa contest on the West Coast, with a grand prize of $5000. In 2003, Stein won a San Diego competition with his current partner Monica Simantob. The pair is "stoked" that Majesty in Motion has been selected, for the second consecutive year, to conduct a workshop at the Sixth Annual West Coast Salsa Congress. Held in Los Angeles and organized by renowned salsa promoter Albert Torres, Salsa Congress attracted 4,000 people in 2003; about 6,000 people are expected to attend this year. This is "the biggest salsa event" and "[has] the most recognition," says Stein. He says that more than six hundred demo videos were submitted to Salsa Congress by potential workshop hosts, but only one hundred were selected. Last year, Majesty in Motion was the only dance company from San Diego to perform four times at Salsa Congress. It is no surprise that Majesty in Motion has been selected for Salsa Congress as often as it has. Stein has a "playful, pop" style, influenced he says, from his days as a break-dancer. He emphasizes that his style depends both on his mood and the music: "wild" if he is happy, "serious" if he is in "a bad mood", and with some songs "you're like an animal on the prowl," he says slyly. Hernandez describes his style as "smooth, romantic and flirtatious", influenced by the slow, Latin rhythms that his parents played when he was a child. Clearly, Stein and Hernandez appreciate "old school salsa" - Tito Puente, Hector Lavoe, and '50s greats Cal Tjader and the Joe Cuba Sextette. Stein credits the "Roots of Salsa" video with giving him greater insight into the history and importance of salsa music. "[Roots of Salsa] made me pay more attention to the music," he says, explaining that each member of Majesty in Motion watches the video. He also plans to implement watching videos and music theory into his curriculum since "people need to be more appreciative of the music". Music theory, he explains, involves teaching people how to listen, move, and "play with the music" while dancing. Like everything else, people learn better when they are relaxed, so Stein and Hernandez start all their classes with footwork "to loosen up" the students before the partner pattern. Hernandez maintains that a good dancer focuses on mastering basics, not on "learning more moves". "Don’t think [that] learning 20 moves will make you a better dancer," he warns. Instead, "learn the basics, perfect them, and then you can eventually make up your own moves." Although salsa is one of the most popular dance forms in California and salsa clubs abound from San Francisco to San Diego, most clubs are short-lived. Stein points out that many salsa clubs are in hotel bars or lounges and "if the bar doesn’t make money, the hotel closes the [salsa] club down", and most salsa dancers do not drink and dance. He adds that lack of promotion, a small dance floor, poor lighting, high cost of admission, and an overly strict dress code increase the chances that a club will close because it fails to attract a regular, critical mass of dancers. Ambiance is important because salsa club patrons tend to be "more sophisticated and upscale". As much as they enjoy being involved in salsa, Stein and Hernandez admit that there are challenges. They cite having some friends and family who misunderstand or degrade what they do as their main frustration. "Even friends don’t understand," says Hernandez. "[They say] you have an easy job and you don’t do anything". Although their families currently support them and are proud of their accomplishments, it was not always like that. At first, Hernandez’s mother did not like his involvement with salsa because she felt that it would be a distraction from his college studies and that he would "drink and be a party guy". Stein has to deal with stereotypes far more than he cares to. "All people think I can do is dance," he says. Ironically, he has to deal with another stereotype... "People think David can't dance because he's white," says Hernandez. But Stein takes it all in stride and good humor - one of his most popular performances is his "White Boy Wonders" routine that he performs with his co-director Steve Meyer. It takes more than just dancing to make a living from dancing. "Managing a dance company is just like managing any company," Stein says, and "to manage 20 people [takes] people skills". Although he has the last word as the director, Stein says it takes consideration and tact when selecting people for a performance. He has to balance trying not to offend those not selected with choosing the best dancers for a particular performance. "Even if you’re the greatest dancer in the world, you’re a bad teacher without good people skills," says Hernandez, and "it’s the hardest to be a good teacher". Hernandez's North County class has grown from two to eighteen students in the past couple of months. But he is wary of having a larger class because "it gets harder to dispense knowledge". The cost involved in running a dance company is another challenge that few people are aware of says Stein. Studio costs are a significant expenditure for instructors who rent a studio. Rehearsal fees run about $1000 per month and a studio typically takes a 40% cut of the income from group classes. Promoting and conducting energetic, informative workshops is a key business aspect. "People wouldn't return to a weak event," says Stein. "One successful event leads to another successful event". The pair feels that dancing deserves respect like any other profession. "Just like a doctor has to know every bone, I have to know every move," says Stein, adding that "classes can be mentally draining because sometimes you’re not [a] teacher, you’re [a] psychologist". "I work every day, every hour," he says, explaining that he may dance more than eight hours a day between private lessons, group classes and performance practice. Yet some friends and family will declare "you didn’t work today". Hernandez adds that being roommates does not facilitate much down time from salsa. "Whether you like it or not, you end up talking about the business," he says. And since "business is hard to get", they "brainstorm all the time" - from marketing strategy to new dance moves. The common perception of a dance instructor "makes it hard to meet people," says Hernandez. "Girls think [that] you’re a player". Stein says that being a dance instructor can be hard on an existing relationship and that significant others of dance instructors often complain of their "spending too much time away". On both business and artistic levels, Stein feels that there is too much competition between promoters and between dance teams. Also, some new dancers feel intimidated at the clubs because "lots of people forget that they were beginners". Hernandez agrees and he makes a point to tell his students "not to let cocky people make them quit". Even with these challenges, it is evident that Stein and Hernandez derive as much as they contribute through their association with the salsa community. They both say that going out and watching people dance is equally enjoyable as when they dance themselves. As teachers, they have learned a few important lessons from their students - how to be patient and how to better explain difficult steps and patterns. Hernandez says that his greatest joy comes from teaching. "My students give me the drive," he says, "and I like my students to have fun as they learn". Stein is pretty much living a dream, since he "never thought that [he] would be dancing for a living [and] traveling all over the world". And although he has to deal with "drama" sometimes, "it's the same in every profession". The evening light casts long shadows as the two leave the dance studio. Hernandez strides easily with a heavy backpack of books, while Stein glides nimbly along on his skateboard, wearing his trademark, floppy white hat. In the same way that salsa sizzles when the sun goes down, these two are on their way to lighting up dance floors and the lives of their students. Copyright © 2004 Samurai Salsero® |
Cuban Salsa Congress – World Tour 2005-2008
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Hola Salseros, after the great success of the Cuban Salsa Congress in Munich and an enormously positive feedback, we – Latin Lovers International - decided to cross the Bavarian borders with our idea. As we had guests from all over the world, we will now step out into the world in order to visit you. The top ten of the Cuban Salsa-dancers from all over the world are invited and will prepare us the Salsa. Sirtaki in Greece, colourful tulips in the Netherlands, a discovery trip to China or New Year Eve 2005/2006 with Nelson Mandela? From now on, you will be able to combine your holidays with the Cuban Salsa Congress! Whoever starts booking now, will not only be able to bargain flights online, but also get a special price for his/her full-pass. Of course, we will again offer hotel-rooms from 19 Euros onwards per person a night. The dates are already fixed and you can mark them in your calendar before booking your next vacation or short-trip: 16th - 18th of September 2005 in Athens - Greece 14th - 16th of October 2005 in Amsterdam - Netherlands 18th - 20th of November 2005 in Shanghai - China 30th of December 2005 - 1st January of 2006 in Cape Town - South Africa 10th - 12th of March 2006 – we will be back in Germany For more information please see our homepage at http://www.salsa-social-club.com Of course we would be happy if our -baby- brought also in the future a lot of fun to many people. So we would be very grateful for all kinds of support. Therefore, we will again have special group-prices for everyone who organizes a group. In case you have your own web-page or you know anybody, who is online involved in the Salsa-events of your region, it would be great if you could put the attached banner on your web-page ( URL: http://www.salsa-social-club.com ) or if you sent a newsletter to your friends. In exchange we would offer you to link you from our web-page. In order to do so, please send us your banner in the size of 212 x 27 pixels. Also, we would be glad to send you our latest flyers. In order to do so, please e-mail us your address and the amount of the needed flyers. Also, we are urgently looking for volunteers to translate for instance our texts in any language - please contact us at raffael.sonnenschein@lebevoll.com in order to support a better understanding among the people in the world! We already thank you very much and we are looking forward to meeting you with the ancient Gods in Athens. Kindest regards and best wishes, Raffael und Monika Sonnenschein Latin Lovers International phone/fax: 0049 (0)821 - 444 51 60 cell.: 0049 (0)160 - 910 88 169 |
Jimmy Bosch at Medicine Hat JazzFest 2005
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Jimmy Bosch; El Avion de la Salsa Jimmy Bosch Friday, May 27th, 2005 The full line-up for Medicine Hat JazzFest 2005 has just been announced, and once again, the residents of Medicine Hat are going to be treated to some of the best music available, during the week of June 21-26. With well over forty performances slated to happen throughout the week, there will be no end of world-class music to hear with a mixture of free and ticketed events to choose from. In the weeks between now and the fest, we will look at some of these performers and their recorded music. This week, we feature a group from New York that will be one of this year’s highlights. As the most sought after trombonist in New York City, Jimmy Bosch is all about energy and awe inspiring music. Born to Puerto Rican parents, Jimmy lived in the Bronx for 20 years, and began playing in Salsa bands at age 13. Bosch has collaborated with the most stellar figures in Salsa including, Cachao, Celia Cruz, Eddie Palmieri, Ray Barreto, the Machito Orchestra, Rubŕn Blades, Fania All-Stars, Willie Colun, Oscar DiLeon, and Marc Anthony. Jimmy and his ensembles have performed at many of the world’s finest jazz festivals and venues including the Lincoln Center (New York City), North Sea Jazz Festival (Holland), Montreal Jazz Festival (Canada), Umbria Jazz Festival (Italy), Sidney Festival (Australia) and countless other Jazz, World Music and Salsa festivals around the world. Jimmy is a proponent of what he calls “Salsa Dura” (Hard Salsa). Bosch continuously re-invents the music of a culture with roots in Africa and Spain by drawing upon an eclectic repertoire: the plenas of Puerto Rico, the Afro-Cuban mambo, the Beatles, American folk tunes, and the New York Salsa of the 70’s inspired by straight-ahead jazz and contemporary rock. El Avion de la Salsa is an explosive album from beginning to end, with some extraordinary playing and some super star guests from the Latin Jazz community. Some of the guests he includes on this 2004 release are Yomo Toro, Andy Gomez, Dave Valentine and Oscar Hernandez. Jimmy Bosch and his eight piece ensemble will be performing at the Moose Lodge on Thursday, June 23 at 7:30 PM. Jimmy will also be leading a workshop on Wednesday, June 22 at 4:00PM in the Cultural Centre Black Box Theatre. Tickets for these events and all JazzFest events are available at the Best Western Inn, The Eye Glass Factory and Garbo’s Downtown. Tickets to Jimmy’s concert are $25 and $17 for 17 year olds and under. This will be a dance party and is open to all ages. Full festival details are available at www.medicinehatjazzfest.com. Brochures are available at all ticket outlets as well as the Cultural Centre, the tourist centre, and most coffee shops and public buildings around town. With one show sold out already, every one is encouraged to get their tickets early. A limited number of festival passes are on sale until June 7. |
Interview with Joby Martinez
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EtownSalsa NOTE: Joby & Paco will be in Calgary this month at the Calgary Salsa Open June 25/05 so please check out www.salsarica.ca for more details on this awesome event. The following interview is an older interview from October 2004 JJ: First and foremost, thank you for taking time out to do this interview with LaVoz De Mambo. It is truly an honor to interview you. You are a very talented and successful individual with accomplishments in and outside of salsa that provide a great example to aspiring dancers all around the world. You have a very diverse dance background which includes ballet, tap, modern, hip-hop, and jazz. How did you begin dancing salsa? |
Interview with Jareau Almeyda from iMambo.tv (NY)
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Click here to check out Jareau in action!
Click here for lavozdelmambo.com website Jareau: 5 years is a very long time in internet years. Our goal for the next 18 months is to provide additional content and functionality, as we monitor visitor trends and experiences. Our hope is to provide a clean, unbiased and trustworthy web experience for everyone who loves salsa.
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Interview - Eric Baez
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ETOWNSALSA NOTE: Personally , I got to see Eric social dancing in L.A in 2003 at the beach party. Eric was one pumped up Salsero and he really had fun dancing. I didnt know it was Eric at the time and i got this video clip of him. Thanks man! CLICK HERE FOR ETOWNSALSA CLIP OF ERIC
--> CLICK HERE FOR A VIDEO OF ERIC SOCIAL DANCING Johnny: One of my favorite performances is the Eddie Torres dancers "couple routine" in LA 2003. You were apart of this performance. What are some of your most memorable performances? Eric: WOW! Every performance is pretty memorable. If I had to pick a few I would have to say the NYC Congress of 2003, and the Switzerland Congress of 2003. These performances stand out the most because I shared the stage with many a great dancers, including Eddie Torres himself. As a team, I felt the chemistry of the Eddie Torres Latin Dance Team was at an all time high. Johnny: Do you have performance plans for Universal Mambo? Eric: Ah, the most anticipated question since we have founded UMDA. Yes, we do have performance plans. How soon? I don't know as of yet. I am definitely used to a certain caliber of performances and do not plan on putting on a show that would be any less than I am accustomed to. Johnny: Who are some of your favorite groups and dancers on the scene? Eric: All of them, I can learn and enjoy watching just about anyone. As far as the crčme of the crop, Eddie Torres dancers, Frankie Martinez, Tropical Gem, Johnny Vazquez's team, Sacuye Latin dancers out of Sweden, Forgarate, Descarga Latina, Santo Rico, Karisma Dancers, and the list goes on and on. Johnny: Where would you like to see Mambo in Orlando, 5 years from now? Eric: I hope to see the scene grow for the simple fact that I would like to have more dancers to dance with. For now, come and check us out anytime, present or future. I promise you will see some progress, and big things from UMDA (Said with a small grin on my face). Johnny: Any Additional Comments: Eric: I hope this interview was informative and a pleasure to read and if anyone is ever in town or just in cyberspace feel free to check out the site www.UniversalMambo.com or just drop by the studio. --> CLICK HERE FOR WWW.LAVOZDELMAMBO.COM |
Profile - StuckOnSalsa.com
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I first heard of StuckonSalsa.com (SOS) from Lavozdelmambo.com(One of my main referrals and partner links to this website). I had stumbled across SOS a few times but never really payed too much attention to it. I finally decided to look through the site and check out the videos it had up. WOW!! This got me to check out the rest of the site and I was impressed to say the least. Here is Earl Rush posing with some fine looking salseras. One of the main guys that heads this salsa project is Earl Rush. He put up this website along with the help of some others and had the crazy idea of posting his party events online so that everyone would be updated on new stuff going on in the salsa community. Gee, that sounds awefully familiar to another site I know about. Anyways, having a very successful venture, SOS is going on its second year in operation and welcomes any people in the Washington D.C. area to visit their website for updates on salsa events. The parties are preeeeeetty good. :) Ok , they're SMOKIN' HOT!!!
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Origins of Salsa the Puerto Rican Influence
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Salsa has origins in Cuban music but credit for it's worldwide popularity belongs to the Puerto Ricans of New York! The popularity of Salsa throughout the world, is indirectly a consequence of American economic and social imperialism (MacDonalds, Coca Cola, TV, movies, music etc) but in this case, it is probably a good thing! Musically, Salsa has its roots firmly based in the Afro-Spanish musical traditions of Cuba but its worldwide popularity should be attributed to the Puerto Ricans of New York. For Non-Latinos, our knowledge of Latin Culture and Music comes from American movies and in most cases that means Puerto Rican experience as depicted in them. Often, the first time we heard the music, it was in the backing track of a movie. It was probably even a movie that motivated us to go to a Latin nightclub for the first time! Between 1915 and 1930 around 50,000 Puerto Ricans migrated to the USA. However, between 1940 and 1969 an additional 800,000 Puerto Ricans also migrated to the USA (especially to New York City). It can't be a coincidence that this is the same period that interest in Latino musical styles increased throughout the world. This is the period when Mambo, Cha Cha, Rock'n'Roll, Bomba, Boogaloo and other dances dominated the dance floor! The dominance of Puerto Ricans over New York (North American) Latin culture can be attributed to the fact that Puerto Rico is a US protectorate. The Jones Act (1917) made Puerto Ricans citizens of the USA. Thus Puerto Ricans being able to move freely between the mainland and their island, have also been able to more freely introduce Latin culture into America while maintaining and staying in touch with their own identity and heritage. I would even suggest that America's attempt to Americanise Puerto Rico has just made the Puerto Ricans even more determined to cling to their identity and that for them, Salsa has become the unifying force that binds their homeland and its annex in New York. It is said that there are more Puerto Rican Salsa clubs in New York than there are in Puerto Rico. When the Puerto Ricans migrated to New York, they often encountered a struggle for life in the ghettos. The only escape from the frustrations of their daily lives was through the traditional music of their homeland - the "Bomba y Plena". Plena is a uniquely Puerto Rican style that deals with contemporary events, it is often referred to as "el periodico cantado" (the sung newspaper). This Puerto Rican musical form, might account for the popularity, throughout the 1960s, of a style of salsa called "musica caliente". Popular artists used lyrics that told a story about the struggles experienced by an average Puerto Rican in New York. Other artists expressed more emotional feelings about their aspirations for the future, the patriotism towards their country, and romance. Many artists, who came from El Barrio (east Harlem and parts of the Bronx), used another uniquely Puerto Rican genre - "Bomba". Through this aggressive Afro-Caribbean beat they expressed their frustration with the conditions they were living in. These musical forms began the modernisation of the 1950s Mambo, which has led to the creation of the Salsa. By the late 1970's, popular demand for Salsa Caliente dropped significantly. A new generation of listeners and artists started to emerge and salsa abandoned its portrayals of barrio reality in favor of sentimental love lyrics. This new sub-genre of salsa is known as "Salsa Romantica". Salseros such as Eddie Santiago, Luis Enrique, and Lalo Rodriguez were amoung the first artists to begin this transition from musica caliente to musica romantica. Today, Salsa Romantica maintains its popularity with its new wave of stars such as Marc Anthony, La India, Jerry Rivera, and Victor Manuelle attracting old as well as young salsa fans around the world. Izzy Sanabria (publisher of Latin NY Magazine 1973 to 1985) suggests that the Puerto Rican's appear to have combined Salsa and Mambo steps into one dance. This blending of styles is particularly evident in what is popularly called Salsa Romantica. Take for instance Puerto Rican musician, Marc Anthony's, "Hasta Que Te Conoci", where the music starts slow (son-muntono/rumba), breaks into a faster tempo (salsa) building to a climax with the trumpets calling to the trombones and they answering (mambo), then the music falls, rebuilds, falls and ends. Well! Salsa might describe a unique component of a dance but it also describes a unique style of music that requires the dancer to mix and match the steps and moves they know to match the music. It is probably now closer to the Puerto Rican Bomba tradition than the Mambo/Rumba Tradition. Bomba is danced by a man and woman who take turns showing off their skills, competing with each other and with the music. I think that describes Salsa pretty well! Since the early 1800’s, Puerto Rico has borrowed musical styles from Cuba while preserving its home grown musical genres like the seis, bomba, and plena. These and other Puerto Rican influences are evident in the Latin music that has come from New York since the 1940s. During the 1930s and 1940s Cuban music (particularly the Rumba) had, through the movies, gained a following within America and Europe. However, this was nothing compared with the following Afro-American jazz gained in the 1940s. As the two styles confronted each other a fusion of the Latin and Jazz styles occurred. Big band leaders, such as Puerto Rico's Tito Puente and Tito Rodriguez and Cuba's Machito, expanded the mambo section of the son, creating a new style of music and they can be credited with forming the musical foundation for the creation of Salsa. Until the US severed diplomatic relations with Cuba in 1962, the New York and Cuban musicians continually interacted, forming parallel Latin music styles. After 1962, New York based music began incorporating the inspiration of the world around them, forming a distinctively New York Latin style that is dominated by influences from Puerto Rico. From 1962, Puerto Rico became the only place in the world that (had access to and) was recognised by the American music market as having a connection with the music. Since the 1970s Puerto Rico has claimed the music as its own and dominates the Latin music market. The term salsa, much like the term jazz, is simply a word used to describe a fusion of different rhythms. It was invented at the end of the 1960s to market Latino music and thanks to the New York Puerto Ricans has gained a following throughout the Latino and Non-Latino world. Cuba might own the musical heritage but the credit of taking it to the world should be given to the people of Puerto Rico who now preserve it and promote it as a globally popular tradition. LINK: --> StreetDance Website |
7th Annual West Coast Salsa Congress Media Advisory
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7 TH ANNUAL WEST COAST SALSA CONGRESS, WORLD’S LARGEST SALSA EVENT PRESENTED BY ALBERT TORRES PRODUCTIONS AND POWERED BY TYSON FOODS Salsa Fans Make Pilgrimage To Los Angeles From Over Forty Countries and Two Hundred Cities To Attend Four Day Event With Special Performance By Grammy Award Winning Group Spanish Harlem May 17, 2005 Los Angeles, CA – Albert Torres Productions, Inc . is proud to present the world’s largest Salsa congress, the 7th Annual West Coast Salsa Congress from May 26th through 29th , over the Memorial Day weekend. This year’s four-day event of salsa music and dancing is Powered by Tyson Foods , providing added energy to over thirty-thousand attendees traveling from all parts of the globe and L.A. locals. Due to the enormous demand, Albert Torres Productions, Inc. has built a special 173,000 square foot venue "Salsaland" situated in the vast parking lot of the Hollywood Park Casino located at 3883 W. Century Blvd. The West Coast Salsa Congress’ Salsaland is the ultimate Salsa experience, containing several expansive performance stages, dance floors, vendor booths with plenty of salsa lifestyle products, food and beverage for Salsa lovers of all ages. The West Coast Salsa Congress every year is dedicated to "Creating Unity through Salsa," an annual event for people of all ages and cultures to enjoy the common ground of the art of Salsa music and dance. Thousands of Salsa dancers and spectators will travel to Los Angeles from countries such as Australia, Belgium, Canada, Chile, Lebanon, France, India, Israel, Italy, Japan, Mexico, Netherlands, Norway, South Korea, United Kingdom, United Arab Emirates, Singapore, Sweden, Syria and Venezuela, presenting special performances of their cultural interpretation of Salsa dancing. Every year The West Coast Salsa Congress has attracted thousands of attendees from around the world over the four days and has honored many noted Southland local celebrities and politicians including Andy Garcia , Nate Holden , Jimmy Smitts , Elliot Gould , Edward James Olmos, Nicholas Gonzales and Eva Longoria . This year, Mayoral candidate and City Councilman Antonio Villaraigosa will be honored Saturday evening for his vast community contributions. The 7th Annual West Coast Salsa Congress will feature nightly dancing from 8:00pm to 4:00am with star-studded musical performances by outstanding Latin music legends including 2005 Grammy award winning group Spanish Harlem, Oscar D’Leon, Bobby Valentin, Jose Alberto "El Canario", Willie Rosario with special guest Tony Vega, Dmingo Quinones with a tribute to Hector Lavoe, Manny Oquendo Y Libre, Jimmy Bosch, Diego Gale Y King Bongo, Johnny Polanco Y Su Conjunto Amistad and special guests, Johnny Pacheco, Alfredo De La Fe, Herman Olivera, Frankie Vazquez, Ray de la Paz, Willie Torres and Marco Bernudez. Since its first year The West Coast Salsa Congress has been dedicated to "Creating Unity through Salsa," presenting an annual event for people of all ages and all walks of life and cultures to unite and enjoy through the common ground of Salsa. With attendance up over thirty percent, this year’s Congress is expected to bring over 5000 dancers and Salsa fans from around the world to travel to Los Angeles to dance and celebrate Latin culture with thousands of L.A. locals. In addition to nightly dance and music performances, participants will have the opportunity to enjoy more than 40 classes, workshops and seminars on Salsa music and dance. Albert Torres known as the Bill Graham of Latin Entertainment is one of the largest promoters of Latin entertainment internationally, constantly presenting in Los Angeles and around the world the finest Latin entertainment. For further information on the 7 th Annual West Cost Salsa Congress and registration, visit www.alberttorresevents.com, or contact Albert Torres Productions, Inc. 310-445-9705. FOR MEDIA INFORMATION REGARDING THE CONGRESS CONTACT: Cynthia Semon CS Communications 818-788-4468 FAX-788-4168 cscommunications@mindspring.com |
World Mayan Contest 2005 Heating Up!
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(NOTE: The following was taken from a forum thread posted Sun Apr 24, 2005 7:10 pm thanks to XtremeSalsa: http://www.dance-forums.com/viewtopic.php?t=8747)
--> www.clubmayan.com <-- On the professional side, the competition wrapped up this past weekend May 13-14 and the winners are... Drum roll please....Well, we thought it would be nice to see the videos with the placings so , stay tuned as the videos will be posted May 25th. Semis are already posted so check them out at --> www.clubmayan.com <-- Another worthy note, uhhh, Alex Da Silva and partner had to drop the competition due to an injury in practice.
Added notes May 16/2005 3. Abel Pena 2. Liz Lira 1. Alex Da Silva Yes I know, I thought Alex dropped out too, but his partner Ruby Karen is a trooper and made a miraculous recovery in the hospital and they WON! Here is a link to some of the feedback from a Salsa board based in Los Angeles, including people who know the competitors and saw the finals:
CLICK HERE --> www.salserosweb.com <--
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Interview with Jimmy Bosch
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ATTENTION LAVOZ VIEWERS: Johnny has informed me that the site is under reconstruction and will temporarily be down. We apologize for any inconveniences this may have caused. Please stay tuned.
CLICK HERE and listen to Jimmy! Sharon: Thank you for giving La Voz Del Mambo an opportunity to interview you. I feel very privileged in doing an interview with such an exceptional artist like your self. We would like to say thank you for taking out your time. We feel immensely honored. |
Combo Re Interview with Aryana
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ALEX:Thanks Aryana for giving EtownSalsa.com this opportunity to get to know this new Edmonton band Combo Re. Everyone is not to up to speed with this new group so this is a chance for everyone to get acquainted with you all. ALEX: First of all, where does the name come from? ARYANA:"Combo" for grupo, conjunto / group, band ... and "Ré" as in Do, [Ré], Mi, Fa ALEX: Who are your members , their positions, and their background? ARYANA: I (Aryana-Jacqueline) have been in the music industry for about 10 years. I started out with Tilo Paiz and that's where I fell in love with latin music. I had already been working on other music styles (arranging and singing) but since then I have been strictly commited to Salsa, Merengue and Cumbia! - Benny has been in the industry forever (hehe). He started out in Central America performing with some of the most popular bands in some of the areas hottest events. His experience performing latin styles also started out with Tilo Paiz here in Edmonton. He has come to prove himself one of Edmonton's most competent singers! - Frankie is new on the stages of Edmonton's latin clubs but is warming up quickly! His love for latin culture and latin music really stands out! Frankie is a multi-talented musician. He sings, plays the piano, sax, and minor percussion. Frankie brings fresh new energy to the stage with his youthful voice and head-turning solos on the sax and piano! - Martin has been playing percussion, wind and string instruments since a very young age. His experience performing South American music gives us the authentic sound we want and his commitment and dedication to the band is a great asset! Being also multi-talented, he gives our small group flexibility and diversity when we are looking for the right sound! ALEX: What music does Combo Re play? ARYANA:Salsa, Merengue, Cumbia & Bachata. We are also considering some Son but have not worked on any of those tunes yet ALEX: What are some of the songs Combo Re is going to play? Your own songs or others? ARYANA:Our repertoire consists of original tunes and covers. Our covers include: ARYANA: I don't know about proving ourselves (hehe) ... but what we really want is to offer something that's a little higher quality than expected!.... and we want people to have fun and really enjoy dancing to our music! One thing that will be new for Edmonton audiences here is our Bachatas! ALEX: What future plans does the group have? ARYANA:Recording a professional demo (all live instrumentation), submitting original songs to Radio Stations and to competitions, touring (whenever the budget allows), ... and writing more original material! Oh! And of course ... performing as much as we can here in town! ALEX: Thank you again Aryana for allowing us to interview the group and we hope all the best for Combo Re. ARYANA:Thank you Alex! You're the best! ALEX: Just a reminder about Combo Re's debut show at Azucar Latin Night Club SUNDAY MAY 22nd. |
Shakira's New Single
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"La Tortura" Featuring Alejandro Sanz NEW YORK - In 2001, the internationally revered creative force known as Shakira knocked the entire world off its feet with her first English album Laundry Service which went on to sell over 13 million copies. Now, after having sold 25 million records the maverick musician, singer, songwriter and producer is ready with a newly created opus of music in two languages. CLICK HERE FOR THE NEW SINGLE MUSIC VIDEO ON WINDOWS MEDIA PLAYER, ITS HOT!!
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Interview with Joel & Ana - Boston , USA
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(SPECIAL COMPLIMENT FROM ETOWN: Some people from Etown had a really good impression of this couple at the Montreal Congress 2005 and I myself have been watching them for a while now. Really love their chemistry and style. Good luck to you both.) WEBSITE INFO -->>www.masacoteentertainment.com FOR VIDEOS -->> CLICK HERE LA VOZ DEL MAMBO WEBSITE -->>CLICK HERE Johnny: First and foremost, thank you for granting La Voz del Mambothe opportunity to interview you. I was exposed to your tremendous talents at the NC Mini Congress. Your routine was fabulous! How would you describe your experience of performing as a married couple? What are the pros? Are there any Cons? |
Los Angeles Film Festival Welcomes Albert Torres Productions To Participate In Screening Of Mad Hot Ballroom
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Albert Torres Productions Inc is proud to have been selected to participate in the 2005 Los Angeles Film Festival. The festival will take place from the 16 to the 26 of June. I want to personally ask all the salseros and music and dance lovers to support this event. This year Albert Torres Productions Inc is proud to be involved with the screening of "Mad Hot Ballroom", a documentary about inner-city children competing in ballroom dance. This movie will be screened on June 24, 2005. To compliment the June 24th screening Albert Torres has personally selected two children's dance companies to represent and perform at 8pm prior to the screening of the movie. Congrats to the two youth companies selected to perform They are The Latin Shakers Dance Company and The Ritmo Y Sabor Dance Company. Their performances will take place at the California Plaza and will be a co-sponsored event with Grand Performances. Come out and support not only the Los Angeles Film Festival but also our youth that will keep the music and dance alive for generations to come. To check out a trailer from this great movie by ->>CLICKING HERE<<- http://www.apple.com/trailers/paramount_classics/mad_hot_ballroom.html Support the Los Angeles Film Festival / June 16-26, 2005 Playing at Alberta Theatres June 10 Calgary - Globe Edmonton - Princess Albert Torres Creating Unity Through Salsa www.alberttorresevents.com |
Day 165 maybe??!!
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Hey everyone!!! Jen here again, on my final update, I know I know they're few and far between and when I write, it's a NOVEL!! Sorry, I can't help it, that's just how it goes!! Please know that this email is ESPECIALLY long and you might want to read it in small doses, when you have a fair amount of time on your hands, or just print it off and read it on the bus home or relaxing around the house!! So I will actually be home in a week and I wanted to take this time to recap before I see all of you again! I am visiting relatives in London (England!) now for a couple of days before going to Toronto another few days, then trying to get a flight back to Edmonton. I am stopping in London on my way home from Scotland where I spent a month with my family as my grandfather passed away. Yes, it was a very tough time, no one likes to deal with death, it was an emotional experience, but it has brought me closure and I have been able to hold on to many happy memories I have of my Grandpa raising me on the farm when I grew up in Scotland, and of course all the adventures we had together every summer I went back home. Before that, I spent 5 and a half incredible months in Cuba, I have really been lucky to have such an enriching and truly Cuban experience. There have been countless highlights, I will only try naming a few here (but I know this letter will grow exponentially in size!). The most impressive event for me was in February, Havana hosted it's annual Festival del Habano, or Cigar Festival. This is a VERY posh 4 day event and this year they were featuring a Canadian night theme, using the logo "a cool night in hot Havana" with gift bags and all, they really went all out. I would have never even have DREAMED of being able to get into one of these SUPER posh SUPER elite affairs, but luck would have it on my side. My dad emailed me saying that Havana House, the Canadian liason, had invited my step-brother-in-law (!) to come play with his band alongside Jane Bunnett for one of the nights, and that maybe I could go and see him play, though they gave me NO details til 3 days before the show, which is when Pierre got his tickets sent! (no big surprise there, it's Cuban organizers after all!) When I heard that it was being held in CLUB HAVANA, I thought there is NO WAY I would ever be able to get in, this is the MOST AMAZING POSH EXPENSIVE (and did I mention PRIVATE, MEMBERS-ONLY country club that there is on Havana's prestigious 5ta Avenida strip. (Very similar, and near to Club Casino Deportivo, where the Rueda all started in the 50's). Club Havana is actually only a half hour walk from ISA, my arts school, so it was tempting, but after seeing this write-up of the night, I thought it was not to be! ****************************************************** A COOL NIGHT IN HOT HAVANA "Canadians salute the VII Festival del Habano, Cuba's annual, international cigar festival between February 21 - 25, 2005" The dinner will take place in Havana, Cuba on February 23, 2005. The menu to be served was designed by the noted, award winning Canadian chef Jamie Kennedy who will be in charge of the kitchen in Havana, using Canadian ingredients specially imported to Cuba for the occasion. MENU Lobster Caesar Gazpacho ************* Surf and Turf of Grilled Arctic Caribou Chop And Hot Smoked British Columbia Salmon ************** Black Walnut and St. Benedictine Croute with Pears *************** Warm Chocolate Cake with Ontario Summer Fruits Preserved in Newfie Screech With Spun Maple Sugar **************** Coffee and Bonbons (Rye whisky truffles. Ice wine and Black Currant Jellies) The celebration will also feature Canadian wines and other indigenous beverages. (I later found out those "indigenous beverages were truckloads of Molson Canadian and Labatt Blue! How hilarious!!) 500guests are expected at Club Habana, the spectacular and historic venue for the evening. Following the dinner, Canada Night will conclude with a live concert for Canadianartists. Grammy award winner Jane Bunnett, a most recent recipient or the Order of Canada, will perform with Hilario Duran and Larry Kramer. Jane will also introduce the Pierre Schryer Band. Pierre's many titles include Canadian Grand Master Fiddle Champion and his band is a vibrant part of the Franco-Ontarian culture. Ms. Bunnett is especially known for her interpretation of Cuban Music and a great jam session is expected at the conclusion. This unique event brings together over two thousand participants from fifty differentcountries: retailers, distributors, scientists, industry executives, aficionados and celebrities. The week's program includes a trade show, symposiums, visiting tobacco plantations and factories, taste testing of new products and gala evenings with auctions. Every year the celebration attracts major international media attention. Uniquely, 2005 will be the first year when an evening is dedicated to a participating country's special salute. The VII Festival del Habano is organized by Habanos S.A. The Canada Night dinner is sponsored by Havana House Ltd. Canada's exclusive distributor of premium Cuban cigars. The price for attending this special dinner is $ 200.00 USD. We hope all of you will elect to attend. ****************************************************** EXCUSE ME, WHAT WAS THAT??!!! $200 USD?!! Ok sorry, I knew this was going to be TOUGH to get into!! I still can't believe I managed to weasel my way in!! I phoned around all day (the day of the gig, the day before no one knew ANYTHING about this performance!!) and finally got the cell number of Pierre and Jane's rep in Havana. I managed to sweet-talk him into getting me on the GUEST LIST at the door, but I had to promise I wouldn't arrive til after 9:30pm when the food was finished and I had to promise not to eat a thing!! (the Canadian imported food made up for probably half the price of the evening!) So fine, I trusted that he would understand the pronunciation of my name and actually REMEMBER to put it on the guest list that night or else it would have been a waste of time. LUCKILY when I walked through the huge country club gates to the most MASSIVE and BEAUTIFUL mansion in Havana, the guard just asked for my invitation as it was certainly by invitation only, and I gave my name and he let me through! whew!! As I entered the main landing, Larry Kramer (famous trumpeter, got Grammy for playing with Jane Bunnett and Cubans) was coming down the stairs and I introduced myself and we had a lovely chat! I then went up to the bar to meet Jane Bunnett and other big wigs she was hanging out with (Chucho Valdes, great Cuban pianist just to name a few. I had seen Chucho at ISA the week before when he played an inpromptu concert in the big hall for us, totally amazing). After a half hour, I found my very surprised step brother, he had no clue I'd phoned and managed to get in, he thought it would have been impossible after hearing the price and the prestige to go with the night. He and the rest of the musicians had not eaten yet, infact they didn't even have a table to be served at. As I looked out back from the balcony, I saw probably 200 tables set up on top of the sandy beach and palm trees out in the night. Totally amazing, wish I had brought my camera. Amazingly, none of these tables were reserved for musicians and the musicians weren't going to play til they got fed. Pierre's English was getting him nowhere, so I jumped in in sharp Spanish stating it was unacceptable and they had to find food for everyone immediately. In the end the Cuban waiter thought I was part of their group, maybe pr or rep or something, and ended up feeding me too!! I couldn't believe I was having this amazing fancy CANADIAN food after not eating much variety for SO LONG! The caribou wasn't very good but I wolfed it down anyway! Plus unlimited supply of all the drinks I wanted and that chocolate cake and berries hit the spot, I was in denial that I was finally eating GOOD food! Next was Pierre's performance with Jane, Larry etc. Pierre Schryer band is sort of a french-canadian folk fiddle band, so it was really strange for the crowd to hear, plus Cubans don't clap much anyhow, so there was barely any applause, I don't think they knew how to react, and Pierre felt bad, but I told him not to worry, that's how Cubans are and by the time he turned his fiddling segment into a Son and Cha Cha (amazing!) there were a few up dancing, so it was all good in the end (though they were supposed to start at 8pm, didn't even eat til 10:45pm and started playing at 11pm!)Typical Cuba! The night was over about 12:30am, when I managed to snag some truffles, chocolates, jellies, and cigars left on tables as I was helping the band take down their equipment (hehehe!) then got a taxi with them back to their hotel Chateau Miramar where we ate again before I went home. All together, an AMAZING and unexpected night!!!! Another amazing unexpected event was the week after that, LOS VAN VAN came to play for FREE at ENA(the arts specialty high school across the valley sharing the campus grounds with my arts school)!!!! Apparently Los Van Van have been doing this for a few years to celebrate a large group of American kids that come to ENA for a week to study. My friend Irving, the violinist from the group set it up and they actually played for 3 hours straight, from 5 to 8pm in the main courtyard in ENA, doing all their best tunes, from the new album Chapeando and of course countless others. It was amazing to see them UP CLOSE for FREE (though dancing on stage with them at Casa de la Musica was pretty unbeatable!!) and it was great to see all the little high school kids in estasy up at the front dancing with them. What a great afternoon. Charanga Habanera was supposed to come to, but it has been postponed, though I've seen them enough! Also at El Sauce, the restaurant adjacent to ISA campus I have seen several bands including Pachito Alonso y su Kini Kini, Arnaldo y su Talisman, Juan Carlos Alfonso y su Dan Den. Salon Rosado Benny More, better known as La Tropical (not to be confused with Cabaret Tropicana) was also a great venue to see Charanga, Tirso, Pupy, and Adalberto live, taping his show Para Bailar Casino (my favorite!!) Another fun week was "Carnaval" in Havana, where they shut down the Malecon and put up food stalls, live bands and of course, tons of FLOATS, costumed performers and dancers. I'm sure it doesn't compare to the original carnival in Santiago, but it was quite a week of partying on the Malecon, dancing in the street every night, and don't forget the Cuban beer in cuban kegs all over the place, quite crazy! My friend Betty from Switzerland has an apartment right on the Malecon, overlooking the US interests section and the tribunal in fact, so we hung out alot at her place to hear the music and see the float without actually being surrounded by the rowdy party-goers. I bought a Betty Crocker cake mix and icing once at the posh supermarket (they were $4.50 U.S each!) and her, I and our boyfriends had a lovely night at her place baking this incredible cake! (For all of you who have tasted cuban "cake", you know what I mean! Betty Crocker was a welcome relief!) It was the excitement of the night, all trying to prepare it together on the fly as we didn't have butter or cooking oil so we used raspberry applesauce instead, and it worked! How bizarre!! Also her oven broke down and we had to take it upstairs to a neighbour's place to cook at 10:30pm! I also splurged on Canadian canned Del Monte spaghetti sauce and made us a wonderful spaghetti, it works so much better than the plain tomato paste they usually use! Speaking of expensive products, my Canadian friend and Greg and I went shopping one day and were just killing ourselves looking at the prices of things in the dollar supermarkets, keep in mind this is all U.S Dollars! A box of cereal is $11.80, a block of Edam cheese is over $20 depending on size (there was a block for $80), and there is no orange cheddar to be found which was a tragedy for me!, large slabs of meat can cost up to $120!!!!! canned soup is $5.15, granola bars $4.75 and my absolute favorite, a little 500ml tub of Haagen-Daaz was $15.85 U.S! That's over $20 canadian! Crazy! Sometimes I get so depressed I resort to eating out, though it's very infrequent as even in dollar restaurants, the food is usually terrible. But I am very happy I have found a GEM of a restaurant that my friend Lisa pointed out to me, and I now claim it as my favorite restaurant in Havana. It is in the Allianza Francesa mansion (a French Union) on the corner of the John Lennon park (yes there is a statue of him sitting on a bench, but someone stole his glasses the other year, so there is always a guard watching now!) Anyhow, this is a gorgeous 3 level mansion with choice of fine dining, restaurant, or patio grill outside. My boyfriend and I chose the second floor, a room that was cosy,intimate, dim but beautiful classy candle-lit tables. We were the only ones in there and it was wonderful (celebrating an early Valentines day, on the 14th I took him to Vinales, the limestone hillocks or mogotes in the Pinar del Rio province). I could not believe the cheap menu, great service, and classy environment, but to my surprise the food was AMAZING!! I had a HUGE (I mean huge!) slab of cooked ham basically (lomo ahumado) with cubes of fried potatoes, a side of rice, salad, bread and butter, dessert and a DRINK (beer, pop, juice, whatever - I had lemonade) for $5!!! I was so thrilled about this place we came back again and had the fish fillet $4.50 and lobster $7 all included! Oh and to top it all off, half-way through our meal we were joined by Lazarito Valdes, lead singer of Bamboleo who was eating to my right! His car alarm went off in the middle of dinner it was funny. But I highly recommend this restaurant to any of you going to Havana!! Another highlight was discovering the ZOO in Havana!! Most Cubans have no idea about this place, let alone tourists!! It is out by parque lenin/jardin botanico on the way to the airport, and my friend Betty drove us out one Sunday. It was all in pesos, so about 15 cents each to get in and have a guided bus tour of the different areas. Totally amazing, my favorite was the African Selva where we saw ostrichs, meerkats, jackals, zebras, hippos, rhinos, giraffes, and we were approached by elephants who stuck their trunks right in the bus windows and we could pet them or feed them! It was probably the most impressive zoo I've been in, they had a wonderful primates section with chimps blowing us kisses, clapping, and asking us for food etc, lions, tigers AND bears, oh my! Yes there was a grizzly, black bear, and polar bear, all out in the 30 degree weather! Yikes! It is by far my number 1 pick for Havana's best hidden gem. Then we went to the Botanical Garden for the wonderful all you can eat vegetarian buffet (for 18 pesos, less than a dollar each with your student id) and ended up playing futbol (soccer) in the park. We frequently went down to the Rio Almendares in Havana to kick around a ball on a weekend, but it can get very crowded, and the kids try to run off with your ball! Another great memory was one weekend when my boyfriend's dance group was invited to el Gran Palenque in Vedado (Patio de la Rumba) to do a show, then host a huge ITALIAN group coming down for a specific week of salsa (www.salsaweek.it)with a slogan like "En Cuba no camina, se baila". It was incredible to see these foreigners who are great dancers, they remind me lots of the Edmonton group, working at being great dancers. They also LOVED doing the rueda, and a few Cuban instructors called out a MASSIVE rueda, so big we had to split it into 2 circles, and I managed to get in on that one. A lot of funny calls all the Italians knew, but I managed to follow along when guys would do Yogur for instance, then put their hands on my shoulders and jump up while I dipped down. Some very creative moves and I did ruedas for a half hour which was great, it's been a while I've had some SERIOUS rueda action!! Of course I need to paint both sides of the picture, for those of you who haven't experienced the REAL Cuba, I can't make you think it's all a 24 party, dancing, fun etc. There were SOOO many times that I was SOOO frustrated with the system, the country and almost wished I was at home. It's not fun having NO water for days, or, carrying buckets and buckets of water to your house trying to store it all as they do in Habana Vieja when there are problems with water there or a pipe has burst. Or the gas being piped into their stoves is low so it takes 2 hours to boil water to have your "shower" or simply heat up soup! SOOOOO frustrating!! Not to mention the power outages, quite frequent at ISA, infact the night I was leaving, I had to try and "pack" all my stuff in total darkness!! How stressful, to think there's something you've missed because you can't SEE anything!! I had 3 columbians and my chilean roommate holding up flashlights trying to help me! CRAZY! I won't even START about the bus (guagua) system here, it is beyond reason as to why at midday I waited TWO HOURS for the P4 to come, without a single public transport going by, not even the "taxibus" which are private buses from other companies that sometimes troll the main bus routes charging a peso (instead of 40cents) to get you where you want to go. It was SOOO frustrating as the line built up along the wall of the train station, for 2 hours with no bus, so by the time one came, people were CRUSHING each other, jumping over other bodies, and fights were breaking out trying to muscle their way through the narrow doors, totally disregarding the logical lineup that had formed (hours ago!) It was really terrible and took me 4 hours to get from old havana to school, which usually takes 1 hour. Of course this was on the most crucial day when I had to go to Cubana to reserve a new flight home as they had cancelled mine, and pickup my passport and exit permit from school before they closed at 4:30pm. Needless to say I missed it by a few minutes and had to go through this long annoying process again the next day. BOO! I like it when the buses are SOOO jam-packed that you are literally hanging out of the doors, and I frequently see people jammed in behind and beside the driver! I mean touching them, it's ridiculous, you find any free inch of space you can!! Unfortunately that can lead to men groping you or trying to steal from you and you have to be VERY aware and assertive (I have finally learned this! I turned around once to a middle-aged guy and said "okay now don't tell me that the bus is so crowded that you HAVE to be pressed up against my butt like that, I CLEARLY see space in the aisle!"). The bus in Havana is not for the faint-hearted!! I have also witnessed several accidents waiting for the bus, one time the bus cut around a corner so closely he took the front bumper right off a parked car (which shouldn't have been parked there really, but I don't think that mattered!) and the driver just stopped, looked out the window, shrugged his shoulders, and KEPT ON GOING without doing a thing!! Also when my boyfriend and I were in 10 de Octubre, a rough Havana neighbourhood, we saw a car go the wrong way and crash into a motorcycle, the oncoming truck had to swerve to avoid them and ended up swerving right INTO the side of a gas station, taking down power lines and causing a fire!! Incredible the amount of people just standing around watching this all. Sadly, the motorcyclist was the brother of my boyfriend's uncle and he was rushed to hospital with injuries, but is ok now. I had an interesting afternoon once with my boyfriend running around old havana trying to find out the place where he was to pick up tax forms and hand them in, the building had changed location 3 times in the past month, no one could remember where it was and we were being sent around on a wild goose chase. Also the dance group was only informed of paying taxes the day before they were due and so we were in a time crunch. After finally getting the forms and filling them out, we had to get to a specific bank on Oreilly before 3pm, which we did with a minute to spare. On the form there was ONE number we wrote in darker ink, redid it once, and the bank wouldn't accept ANY "alteration" they call it, so we had to run back to get more forms and get back to the bank before they closed at 3:30pm, all this to pay 1 peso of taxes on his 200 peso a month salary!! RIDICULOUS!! (the dancers only make $8/month and all this fuss in the end was for 5 cents!) This sort of ridiculous communist system causes so many illegal businesses and black market trading because there is no other way to survive. You have to try and scam "black market" white sugar out behind the bakery because the rationed amount is so tiny you couldn't live on it. Even the 6lbs of rice per person per month only lasts 2 weeks, you always have to buy more of everything. Meat, another staple is 25-40 pesos a lb, that's over a dollar, which they certainly don't have to spare each day! You see this desperate neediness everywhere, when I was waiting to go to the washroom at Harris Brothers, a large, touristy supermarket/mall, 3 Cuban girls came up behind me waiting to go to the washroom to TRY ON clothes!! (how they got them out of the store I don't know!!) One of them actually DARED to say to me "hey buy me this pair of calenticos" which are short short tight spandex-y shorts, or underwear. I just stared at her with a look of disbelief and said NO!!! She was pissed off and started complaining loudly saying Come on, it's just a pair of shorts, what's the big deal, you've got money for it anyway etc. I was shocked and said very sharply, excuse me, you have no idea how much money I have, just because I'm white doesn't mean I'm a tourist here for a week of spending. I have been a student here for the past 6 months and I don't even buy MYSELF shorts. She mutters I don't care if you've been here 6 YEARS, buy me the shorts! I was utterly disgusted and wanted to yell at her, but her friend calmed her down saying, hey the girl said she was a student, give her a break, etc, and asked me what I studied, where and they lightened up a bit after talking to me. Funny, when the attendant ushered me into the bathroom, the girls were trying on clothes inside the stall, and I waited patiently for the cubicle, but the attendant just shooed them out (they left their purse on the back of the toilet and pants hanging on the door, wide open,), yet they expected me to go in without any hangups. I politely said I would prefer the door closed on my cubicle and they looked at me like I was crazy. I suppose I was as the walls around me only came up to my chest really, so it was perfectly low and wide open for them to look over and see all. This is quite typical of train and bus stations, no privacy at all! I couldn't believe that in this tourist mall this was the condition of the bathroom, with no sink either, the attendant was pouring water out of tin can reserves on my hands to wash them over the floor, and they just sweep the runoff somewhere! Really the services for tourists are quite terrible, I spent ages trying to find a photo lab or stationary shop that would COLOUR COPY a photo and re-touch it, which was to no avail. In the end I paid a dollar to get a crappy colour copy onto thin paper, no retouching or sizing. What a surprise! And the Cuban services are worse. My boyfriend saw a doctor when he was sick, he had to go to the clinic in his neighbourhood, and the when he went to get his 2 prescriptions filled, the pharmacy was out of one of them and sent him to another in the area, who was also out. Unfortunately there's only 2 pharmacies in his neighbourhood and with your prescription you're only allowed to go to the pharmacies in the doctor's neighbourhood, talk about ridiculous! If you're deathly sick and they don't have your medication, oh well, tough. Alternatively you can go back to the doctor who then maybe phones around to prove there is none in stock, then the doctor has to stamp a new seal on the prescription to authorize the purchase of the said medication in ANOTHER pharmacy, outside of the neighbourhood!! What a carry-on! Sure, health care in Cuba might be good and free in theory, but a real hassle in practice (like most things here!). I love how my favorite food here, potatoes, is rationed by the libreta so you can't buy them in any peso market (and you almost NEVER see the frozen ones in dollar stores). You have to line up at a bodega to see if all the people in the neighbourhood have bought their said rations, then and ONLY then, IF there is a surplus, they will sell them to you quite cheaply. But the bodega is only open from 7:30 to 11am and 4pm to 7pm. WHAT they are doing in between I have no idea, but it is a national law! What a hassle trying to lineup at said times, just to HOPE you get lucky, no guarantee!I have stopped questioning these bizarre rules! Well guys, you know I could go on about Cuba for hours, but all in all, it has been a really fulfilling and as always, eye-opening experience. Something new always surprises me or catches my eye every time I'm back. Very sorry to all those I have not been able to write to personally, you can imagine what a hassle and how expensive emailing from Cuba is, and in Scotland I was very absorbed in family affairs and traveling down south to see my other relatives in South West Scotland (Glasgow area sort of). At least I will be able to catch up with most of you when I get home! I hope this (LONG! sorry!) email finds you all very healthy and happy. Take good care of yourselves and count your blessings that you have been taking for granted. besos y abrazos, xoxo Jen (a.k.a Yeni la Cubanadiense!) "Ser culto es lo unico modo de ser libre" - Jose Marti |
Albert Torres World Salsa Competition
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OFFICIAL WEBSITE: YES!!! Salsa Dancers Will Be Seen All Over The World On The
OFFICIAL WEBSITE: |
Interview with Oliver Pineda - Australia
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--> CLICK HERE for a Windows Media video of Oliver in action - courtesy of Salsavision.com Here's a quick bio of Oliver posted on his website at www.latinmotion.com.au :
ALEX - WOW! Your credentials are amazing already and its just the beginning I feel for you. Just want to say that your a fast rising star in the Salsa community and you have proven this with the ability to capture an audience's attention and the result of this is standing ovations for each and every performance you put together. What elements of a routine do you incorporate in order to get this effect on people? OLIVER- Since I am a percussionist and play in some of Australia ’s top Salsa bands, I understand the musical side of Salsa very well. It is this understanding which allows me to interpret and hear the music in ways which most people do not. I am very in tune with the musical and percussive breaks and display that in my choreographies. I believe it is this musical interpretation that gets me the standing ovations. ALEX - There are those who can social dance but cant perform and there are those who can perform but cant social dance, and then there are those who can do both. And I truly believe you are one that has a handle on both very well. I watched that clip you mentioned and for many people, i would imagine that would be a performance. But for some reason, i think you spontaneously made that social dance into a performance and I think your that good to have that ability. To improve our ability as dancers, for those new to salsa or those been dancing for a while now, what tips would give them in addition to having fun, practicing and paying attention to their partner? OLIVER - Practice makes perfect of course, but if I refer to what I was mentioning above, Musical Interpretation is something I use throughout all my dancing regardless of if it’s on the Social floor or on Stage. People love to watch dancers that dance not just ‘to the music’ but more ‘in the music’. It is beautiful to hear a song through a dancer’s body and watch them dance the story of the song. Music has stages and so should your dance. So if there was any advice I would give to dancers out there, it would be to pay more attention to the music… as well as your partner of course J ALEX - In the video, I see the performance nature of a dancesport performer (the "hits"), but also the natural motion of a cuban dancer that you seem to crave. Even some cool fake stumbles I just loved. Thats so cuban! See some suave styling moves characteristic of Frankie Martinez and your creativity on the combinations makes this your own unique style. Your like a modern day Fred Astaire. In addition to your dance background, who do you get your influences from? (Culturally, people, family etc) OLIVER- Very attentive, you hit the nail on the head. I am Ballroom trained for 7 years and competed A Grade at both National and International level. Without this dance background training I would probably not be the dancer/teacher I am today. There is nothing like watching a trained dancer dance. But then again the worst thing is to watch a Ballroom dancer dance Salsa and then look like a Ballroom dancer! Or a Ballet dancer dance Salsa and look like a Ballet dancer! I have been fortunate enough to be able to apply the techniques and control I have learnt from Ballroom into my Salsa and yet keep the fluidity and Sabor that is required. My influences have come from dancers like Frankie Martinez, Juan Matos and Seaon Stylist; All very stylish dancers with great precision. ALEX - Just to end things off, what big events do you have lined up for this year and do you want to thank anyone or just say hi? OLIVER- I am teaching/performing at the LA Congress, UK Congress, Sydney Latin Dance Congress, Puerto Rican Congress, hopefully the NY/NJ Festival in November and definitely entering the ATP World Salsa Competition in Las Vegas in December! I would like to thank all my supporters out there who never fail in giving me happiness. Please do check out my website www.latinmotion.com.au and support our Latin Dance Congress www.syndeylatinfiesta.com.au in September this year. I will be coming out with DVD’s soon :) ALEX - Thanks again Oliver for your contributions to Salsa and the joy that you bring to people in teaching and in watching your performances. |
Salsa El Cheapos
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How often do you see a message, e-mail or overhear a conversation about getting in clubs for free or getting group discounts on various salsa clubs? And isn't it true that the very same people who ask for discounted/free entries are also not big club spenders? We have to wonder why so many people out there think that they should squeeze into clubs by making club owners or promoters discount their price and they they spend very little, if anything at all. If you think this is a bad attitude then you're in for a further surprise: Some people not only think that they shouldn't have to pay the entrance fee, but they also don't want to spend any other money dining or drinking and worse yet they bring their own water with them. This is pretty much equal to someone moving in with you, eating your food and drinking your drinks, complaining and telling you what to do, and demanding that you pay the rent. How long would that relationship last? All kidding aside, have you ever realised that by getting in for free you are directly affecting the pocket of the person who promotes or holds the event/club? When discussing the subject of 'free' with a friend, he mentioned to me that the salsa scene has not seemed to evolve. Some still enforce old-times mentality and let women get in for free to the clubs in hopes this weaker sex will attract the men who will spend hoping to get some by the end of the night. Back then this was needed as not many women were party goers and even fewer played the field. Boy, has that ever changed! Nowadays, this concept is truly obsolete. A concept of equality is still a relatively young one however women who enjoy the freedoms that it gives them actually feel offended by being treated as indigent or bimbos. They like to be treated as equal as a man and this involves paying the entry fee. What makes me very sad is that people like myself who do not mind paying as it shows nothing but respect and support for a club, actually suffer because of those El Cheapos. If patrons get in for free or on the cheap and bring their own water, the club will not benefit, hence will not have that extra money to provide us with that little bit of extra service we all feel we deserve. You might think that the business of club owning is easy and that these promoters are just enjoying their lives of luxury, but, in fact, there are only a few true success stories - and even fewer of the ones who enjoy the life of luxury. To organize an event, the promoter first needs to decide on the type of a club and/or an event (live or DJ), then they need to find and negotiate the place and pay the rental fees or guarantee a certain turn-over at the bar. The process of finding, negotiating, renting and preparing lasts several months and so far, we, as patrons, need to realize that these organizers went to great lengths (and expenses) to create this club environment for us. They had to provide musicians, DJs, bartenders, just to name a few, and they certainly want us to have a great time. When the project gets to stage two, the hardest part starts and it will prove to be a major milestone for quite a few years. This pretty much means that these entrepreneurs need to work the additional jobs for at least two years to be able to have money to invest in their newborn business. The money pit does not stop here: there are many more hidden expenses such as printing and distributing flyers, advertising in various forms of media, and generating a continuous buzz. Successful promotion is all about creating a good and consistent image so people can always expect the same kind of ambience and attitude. Try it yourself and see how quickly you raise awareness, put the word out, establish an image and reputation for the place, select and hire musicians, DJs, sound technicians, hosts and hostesses and gather a consistent crowd of a hundred or two. So let's see: Depending on the involvement (promoter or owner) those guys might be out of their pocket anywhere from $3000 to $30 000 before they even open their doors to us. So now is it fair to ask them to get in free? You might say: Well, they will be rolling in dough so what's the all fuss about? Let's see that idea through: most places have a capacity between 50 - 350 people, and the revenue depends not only on the concept but also on the day of the week. While quality weekdays are hard to pull-off, weekend nights can also can be tricky. The reality is that most clubs will average 75-150 clients on weekends. So let's calculate. Let's assume that 150 patrons will constitute as average attendance. The usual charge is $10, and some specials could be frequently offered. The price of admission also includes dance lesson and a live band both of which are paid for by the club or a promoter. So, 150 people paying $10 brings $1500. Lots of dough for a night right? Still, after the band , staff, and equipment rental is paid, the promoter usually stays with under $100 if lucky. Now, from this 'profit' of $100 you have to deduct money spent in advertising. In the end, promoters should thank their lucky stars to keep $30 in their pocket which happens here and there, but most of the times, they go to the bank and withdraw funds from their day-job account to pay everyone and give you a night of fun. Are you still comfortable asking for a discount or free entry? So, how much money should we then spend in a club? Sure we feel for all of you who need to get their salsa fix and salsa fix only, however keep in mind that by supporting the people who are bringing us all this entertainment will make our salsa scene stronger. This means that you need to budget the cover charge for each outing and don't go for any group outings to get a discount. Be a leader and show by example that you are supporting your local scene. You should also budget for a couple of drinks and a dinner. No, we don't suggest you 'drink' if your style is spin-salsa. Many clubs will provide you with many alternatives to alcohol and many of them will offer you virgin version of the popular mixes. And don't forget to tip your servers and taxi drivers. Budget this as well in your nightly allowance. So, the entry, a drink or two, tips and transportation will cost somewhere in the area of $25. Add dinner to it and you might be $40-$60 out of your pocket which is still a great deal for going out in style. Sure going from zero to $60 might be a huge jump so start by paying your entry if you haven't done so and work it up to the above. This means that you might be frequenting clubs less and choose some other alternatives - such as salsa socials that usually have a plentiful free parking and do not depend on your bar or dinner purchase, and such outings will cost you only the cover charge. With doing so, you will also feel proud of yourself and automatically your life will improve as not only that you will have a greater appreciation for the others but also for yourself. In time you will achieve a good (budget) balance between salsa socials and posh club outings. In fact when you think about it, all we need to do is reorganize our budget to make everybody happy. The ultimate payment is of course a more lovely salsa scene and a much better time anywhere we go! What do you think? Your comments are appreciated and welcomed and until then support your local scene and thank to all who are working so hard to give us all place to enjoy our salsa. www.salsaspot.com |
Chino Nunez - Timbalero Giant on the Clave!
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“Music is a universal language; it has no boundaries or restrictions; no race or creed. It is the only form of unity we have where two or more individuals from different ethnicities can communicate without speaking a word to each other & still know what each one is thinking. Even a person, who cannot hear, can feel the rhythm in their heart and soul. It is the only form of peace this world will ever know.” Chino Nunez On February 13, 2005, the Spanish Harlem Orchestra (S.H.O.) won the Grammy Awards for the best salsa album of 2004. Each and every band member of S.H.O. had equally contributed to receive that well deserved and coveted prize. The results of endless hard work had gradually culminated over time. S.H.O.’s popular band member Chino Nunez had provided the drumming part of the team. The great bandleader Oscar Hernandez, with his always consummate gentleman-type personality expressed his genuine thanks to every one in his band. 2005 had provided a landmark for the S.H.O. musicians. For Pablo Chino Nunez, the year had barely begun. The Grammy Award also marked the official beginning of a strong increase in Chino’s already busy schedule. Nearing the completion of his first CD as a bandleader of his own band, Chino is ready to launch yet another era that may propel him into new heights. We catch up with him as he is fresh out of a DVD recording session at Martin Cohen’s famous LP studio: Les Rivera: Chino, we’d like to congratulate you on a milestone year in your artist career! This is all so great for the salsa world. How do you feel about the all this excitement? Chino Nunez: I am totally blown away with the outcome of everything. I keep asking my fiancé Elaine to pinch me to see if I’m dreaming, I just feel truly blessed and honored to be a part of something special and represent my music and culture through my music. LR: You are now the bandleader of your own band. What’s the name of your band? CN: Simply, Chino Nunez & Friends! I have also been blessed with the friendships of many and of the many years. Not all are musicians; some are from my childhood, and they have given me the encouragement to continue when I have thought about quitting, But in the industry I have friends for over 30 years and this is my tribute to my friends. LR: Who are some of the regular band members in your new band. CN: Well as for regulars, I don’t think that term exists; unless you’re working your butt off with a particular band like Spanish Harlem Orchestra or Jimmy Bosch or Frankie Vazquez y Los Soneros del Barrio. But I will tell you this, when the band I put together takes the stage the bar will be raised one more time, and several notches up! And I welcome anyone to raise it after me as well for the betterment of our music and culture. This is not a competition; it’s what music is about. You saw it with Tito Puente and Tito Rodriguez, a Timbalero/Arranger and a Singer/Crooner and not to mention Machito. What a time! I could only imagine how the adrenaline must have been pumping in each musician when they took stage. It’s an awesome feeling! LR: You are close to releasing your new CD. Tell us about the CD. CN: I didn’t know in which direction I wanted to go, but I got together with my best friend, mentor, and partner in crime, Willie Ruiz, as well as the Executive Producer William Melendez. We worked several different ideas as to what should be done, and we went with the following: Some vocalists who are indeed a part of this industry were brought in, and they were reintroduced to their respected fans. They were vocalists Ray Sepulveda and Van Lester, who through unfortunate circumstances have not had an opportunity for air play or a chance to do a solid new project. The very popular Frankie Vazquez was brought in, as well as a young new talent with sonero qualities, Hector Luis Pagan. Pagan currently sings with Conjunto Classico. They are coupled with musicians like Raul Agraz, Willie Ruiz, Pete Nater, Willie Torres, Marcos Bermudes, Oscar Hernandez, Bobby Allende, Marc Quinones, and Mitch Frohman, just to name a few. But there will be other surprises, especially if you love to dance or want to learn to dance! By the way, the title of this production is something I love and forever hold in my heart: Chino Nunez & Friends “It’s S.H.O. Time”! I just thought it would be appropriate, since Spanish Harlem Orchestra’s abbreviation is S.H.O. Kind a cool, huh (laughing)? LR: Will you continue playing for S.H.O. as a band member? CN: Absolutely, unless I’m called into the Board Room and Oscar says: “You’re fired” (laughing). Just kidding; I have no intentions of leaving S.H.O. at all! LR: Many people are comparing you to the likes of Tito Puente and other greats. Each artist has his or her own unique style and you have yours. How would you describe the Chino Nunez style of drumming? CN: A cynical but yet diverse, beyond reason, and temporarily insane musician. Does that give you the full spectrum of my drumming style? Just kidding; I am just being myself. I just love to play man, I love to watch great players and bad ones alike, and you learn from everyone. I’m not into the rudiment thing, or the speed, though I think I hold my own in that department. I am just into my music and the properties needed to make it happen. My idol is Orestes Vilato. My mentor is the Great Tito Puente, and the Late Louie Ramirez, who wasn’t a flashy player but was one of my favorites. Some other favorites are Manny Oquendo, Mike Collazo, and Nicky Marrero, whom I owe so much because of their contributions to salsa and the influence on my playing. My colleagues that I par take with and sometimes interchange ideas with are Marc Quinones, Ralph Irizarry, Chago Martinez, Luisito Quintero, Tito Degracias, Karl Perrazo, Bobby Allende, and Bobby Sanabria. But as for putting me into the likes of Tito Puente, I’d like to speak to that person, because I have a bridge I can sell him or her; for cheap too! Again, just kidding, I am truly humbled by that comparison. But, there will never be another Tito Puente, at least not in my lifetime. He is The King and he will forever be “El Rey Del Timbal”. I’ll just be the Court Jester, if you don’t mind (great laughter). LR: Do you play other genres of music, such as Latin jazz, jazz, or yet other styles? CN: I have worked in the Latin jazz & jazz scene here in New York City. I’ve worked with different artists, such as Randy Brecker, Chris Washburn, Luis Bonilla, Dave Valentine, Patato Valdez, and many more. As for other genres of music most recently I played with Cindy Lauper. LR: Elaine, your other half, appears to be a great help for you in juggling your busy schedule. Artist-wise, what does she do for you? CN: Wow, what can I say, Les, I have hit the lottery with this woman! I have been blessed in every sense of the word with Elaine. She is a God sent angel. Elaine has taken me into the world of the internet and has marketed Chino Nunez & Friends; she is my publicist, my website manager, my secretary (pause) with all the benefits, if you know what I mean (laughing). She does it all Les. She has her day job, she gets home, she cooks, and she cleans. We have two teenaged girls at home, Keisha and Maggie. Keisha is graduating from high school this year, and she got a full ride to Toledo University. Maggie will also graduate and head for college next year. Lisette is the eldest and she is married with two beautiful children, Sabrina and Raymond Jr. Then Elaine has the task of taking care of me, which is no walk in the park to say so myself. Elaine is the super woman I’ve always dreamed of having, and I thank God for her everyday. LR: You are wearing many hats. You are the Musical Director for Ray Sepulveda and Johnny Rivera, you are endorsed by LP, and it appears that you are about to come out with a signature line of sticks for Unigrip. How do you find the time to fulfill all your responsibilities? CN: It’s simple. I drink Café Bustelo (laughing), and I just do what I love and I love what I do! Sleep is an option after the parade; not before. LR: Your “Rhythmic Construction of a Salsa Tune” video is used by many aspiring artists to learn their trade. You are a drumming instructor at many other capacities as well; one significant one coming up being the West Coast Salsa Congress. There you are scheduled to be an instructor at the Musician’s Seminar. How does one become a great drummer? CN: Practice, practice, practice. As a child I would practice every day, and in the summer time when school was out, I would practice all day. I remember my father would leave to go to work at about 6:30 a.m., and since we owned the house I would be up by like 7 a.m., practice for a half hour and then go to school. When I got home from school I’d practice some more until my father got home from work. After that I would do my homework. The way I see it, it’s the same with anything you want to be or want to do (pause) “You must practice to perfect it and nobody is perfect”! LR: Where were you born and where did you grow up? CN: I was born in San Juan, Puerto Rico. My biological parents are Andres and Lydia Pena. Adopted by Pablo Nunez Sr. and Margarita Nunez I was raised in Brooklyn, New York, in the Sunset Park Section. Just a little shout-out to all my peeps in Brooklyn! LR: How did you get started on the drums? CN: Hitting my mom’s pots and pans and then getting hit for it when I broke them. Lesson number one: “Do not hit the pots with a hammer stick”! Lesson number two: Don’t break the hammer stick! Now, you just tee’d off your mom and your dad, and that’s a lesson well taught. My butt still aches! LR: What are some milestones for Chino Nunez from humble beginnings as an artist until today? CN: Playing with Ray Barretto, Tito Puente, Hector Lavoe, Johnny Pacheco, Willie Colon, Oscar DeLeon, Adalberto Santiago, Luis Perico Ortiz, Mon Rivera, Ray Sepulveda, Johnny Rivera, and now Spanish Harlem Orchestra. But my biggest accomplishments were my training grounds with local acts like Conjunto Acere, Caesar y La Ritmica, Amaury y su Tipica Latina, Orchestra Realidad, and many more. LR: Salsarican.com is a free publication to the service of the salsa world. Every day the salsarican staff gets hundreds of e-mails from worldwide salsa fans, turning to us for answers to about anything and everything salsa. Recently we received an e-mail, inquiring about “that drummer in the S.H.O. band, who was considered by many Japanese as being the greatest drummer in the world today, regardless of any musical genre”. This e-mail was kind of “different”, as the sender wanted to know if Chino Nunez was Chinese. “Chino” in Spanish means “Chinese”. How did you get the nickname “Chino”? CN: When my mom and dad purchased the house I grew up in, I made friends rather quickly. One in particular by the name of Louie Lamboy looked at me and said “we need to give you a nickname”. He looked at me for seconds, and I mean maybe 15 seconds. He made me laugh with his stare, and at that moment he said, “Chino!” From that day on I was Chino. LR: You have a new website. Tell us about your site, how people can book your band, and how people can contract you. CN: Well, Elaine my better half designed it and did it for me. And I must say it’s awesome. I just love it, especially that song that comes on when you log onto the site. My website address is www.chinonunez.com. As for booking the band, there is a button called “Bands to Book”. In that section (of the website) you will see Ray Sepulveda, Johnny Rivera, Spanish Harlem Orchestra, George Delgado and Chino Nunez & Friends. More bands will be added as we progress with its construction. The “Cool Links Page” also contains the links to a multitude of information from Dance to Merchandise and Performers. The photo gallery is awesome. It has a selection of friends, musicians and family, with links to many more. You can contact me directly for anything ranging from musician’s clinics to productions. LR: Chino, it has been a true pleasure speaking with you. We wish you the best of luck in your new endeavors. We’re looking forward to your contributions to the salsa world for many more years to come! CN: Les, thank you for the contributions you are making to salsa and its culture. It’s a true honor to have spent this beautiful moment with you as well as your readers. Thank you! God bless you all, “Y QUE VIVA LA SALSA”! |
SPANISH HARLEM LIVE IN JACKSONVILLE JAZZ FESTIVAL 2005
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POR WILFREDO TORRES COLECCIONISTA Y PERIODISTA SALSAMAN90@HOTMAIL.COM (note:english version below) DURANTE MAS DE 10 ANOS QUE HE PODIDO CUBRI EL EVENTO DEL FESTIVAL DE JAZZ JACKSONVILLE , MUY POCAS VECES NO HA VISITADOS GRUPOS DE SALSA Y LATIN JAZZ. HOY 10 DE ABRIL DE 2005 SE CUMPLIO LA PETICION. LA ORQUESTA DE SALSA DURA SPANISH HARLEM LOS MULATOS DEL BARRIO DE NEW YORK NOS VISITARON. LUEGO DE SER HOMENJADOS POR DOS NOMINACIONS AL GRAMMY LATINO, HOY AQUI PUSIERON TODO SUS DESTREZAS EN LA MUSICA LATINA DESDE CHA CHA, SALSA, LATIN JAZZ, BOLEROS Y UN POCO DE FUNK. LA BANDA COMPUESTA POR ESTOS GIGANTES COMO LO ES SU DIRECTOR OSCAR HERNADEZ EN EL PIANO, EN LOS VIENTOS JIMMY BOSH, DAN REAGAN TROMBONES, MITCH FRONMAN, JOHN WASH Y PETER NATER TRUMPETAS, EL SENOR RAY DE LA PAZ, WILLIE TORRES Y MARCOS BERMUDEZ EN LOS VOCALES, MAXIMO RODRIGUEZ EN EL BAJO, EL CHINO NUNEZ , GEORGIE DELGADO Y JORGE GONZALEZ EN LA PERCUSION LA PUSIERON EL LA CHINA Y EN EL JAPON !!!! COMENZANDO CON UNA SABROSA INTRODUCCION DE CADA UNO DE LOS MUSICOS Y COMENZO LA SALSA DURA CON "LA BANDA" CANTANDO MARCOS BERMUDEZ CON BUEN SENTIDO DE CLAVE Y RITMO, IMPROVISANDO EN LA CLAVE Y CON DESCARGAS DEL BARITONO SAX POR MITCH FRONMAN Y EL CHINO EN EL TIMBAL DEMOSTRANDO DOMINIO DEL RITMO. LUEGO DON RAY DE LA PAZ CANTADO "CUANDO TE VEA" SABROSO GUANGUANCO CON IMPROVISACION Y SWING, LA BANDA MANTIENE EL RITMO DE LA CANCION, SOLO DE PETE NATER RESENTA LO VALIOSO DE ESTA ORQUESTA DE MAESTROS DE NEW YORK. EL CLASICO "PUEBLO LATINO" CANTADO POR PETE CONDE EN LOS 70, CON ARREGLOS DE OSCAR HERNADEZ RESALTARON ESTA CANCION QUE FUE INTERPRETADO POR EL JOVEN WILLIE TORRES, SOLO DE OSCAR HERNADEZ Y EL INTERPLAY DE LA ORQUESTA CON LAS TROMPETAS Y LA PERCUSION LUCIERON ESTA CANCION, SE QUE PETE CONDE DESDE EL CIELO ESTARA CONTENTO POR ESTE HOMENAJE TAN BRILLANTE Y EXCELENTE DE SU CANCION. EL CHA CHA "HA BAILAR" CON IMPROVISACION DE JIMMY BOSCH Y DAN REAGAN, JUANCITO WASH, PETE NATER FUCIONARON ESTE CAH CHA EN UNA PIEZA DE LATIN JAZZ, CON SOLO DE INTRUMENTACION , INTERCAMBIANDO CON CADA UNO DE LOS CANTANTES., SOLO DEL JOVEN BAJISTA MAXIMO RODRIGUEZ SEGUIDOS POR SOLOS DE BONGO, CONGAS Y TIMBALES PUSIERON AL PUBLICO A BAILAR. LA CANCION "SACALA A BAILAR" COMPOCISION DE OSCAR HERNANDEZ, CON SOLO DE OSCAR HERNANDEZ Y SOLO DE FLAUTA DE MITCH FRONMAN E IMPROVISACION DE LOS VOCALISTAS, INVITARON AL PUBLICO A BAILAR EN LA GRAMA DEL PARQUE, OTROS A TOCAR CLAVE EN LOS ASIENTOS Y OTROS A CANTAR. Y SIGUE EL SHOW CON EL NUEMRO DE LATIN JAZZ COMPOSICION DE OSCAR HERNANDEZ "LA PERLA MORENA", NOS RECUERDA A TITO PUENTE CON LAS TROMPETAS Y TROMBONES EN ENCIMA DE LA CANCION, SOLO DE PIANO, TROMPETAS, SAX Y LA PERCUSION DOMOSTRARON PORQUR SON UNAS DE LAS MEJORES DEL MUNDO. DESCARGAS DE TIMABLES Y CONGAS EN DUELO DESAFIARON LOS OIDOS DE MUCHOS, SOLOS PRECISOS, CLAROS Y RITMICOS, ARRANCAROS APLAUSOS DEL PUBLICO. EL CLASICO "ARINANARA" CON LOS CANTATES Y LA ORQUESTA EN TEMPO RAPIDO Y DESCOMUNAL EN LA CLAVE Y LA LIRICA DE LA CANCION COMO DESCARGA PARA LA IMPROVISACION, EL CHINO SACO UN SOLO DE TIMBALES QUE PENSABA QUE ROMPERIA EL INSTRUMENTO , SOLO CLARO DE RAPIDEZ, SIEMPRE EN LA CLAVE, EXCELENTE TRABAJO. LUEGO SOLO DE JUANCITO WASH EN LA TROMPETA CON NOTAS ALTAS , NOS PUSIOERON A BAILAR EN LA DESCARGA Y SIGUE CON LA IMPROVISACION CON LAS CANTANTES RAY, WILLIE Y MARCOS. CON LA COMPOSICION DE RAY DE LA PAZ "UN GRAN DIA EN EL BARRIO" CON VOZ POTENTE Y BRILLANTE ESTE VETERANO NOS DEILETO CON UNA MAGISTRAL INTERPRETACION, RAPIDO OSCAR INRODUCE UN SOLO DE PIANO Y LA ORQUESTA TOMA DOMINIO DEL LA LIRICA , UNA VERDAD "CANTARE HASTA MORIR" NOS RECUERDA A LOS GRANDE A HECTOR LAVOE, ISMAEL RIVERA, PETE CONDE Y A MUCHOS QUE HOY NO ESTAN, PERO SIEMPRE HABRA GRANDES MAESTROS QUE NOS RECUERDEN A LOS GRANDES. RAY LOGRO TODO DOMINIO DE LA CLAVE, RITMO, LIRICA E IMPROVISACION. FELICITACIONS A OSCAR HERNANDEZ Y A LOS MUCHACHOS POR TREMENDA PRESENTACION !!!!!!!!!!!! VISITEN A SALSARICAN.COM PARA UN ENTREVISTA CON CHINO NUNEZ. Chino Nunez www.chinonunez.com ENGLISH VERSION |
Interview with Gordon Neil - Atlanta, GA
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By Johnny Johnson Johnny: First and Foremost, I would like to thank you for granting me the opportunity to interview you. I have admired your style of dancing for sometime. Although you have been on the scene for a while, Atlanta has never been known for Salsa. How are you able to dance and perform at your level, despite being one of few professional salsa dancers in the area? Coming from Atlanta, what type of effect has this had on your growth as a dancer? Gordon: Well, firstly I appreciate the admiration Johnny and you're very welcome. And to answer the question, the simple explanation for my present level of dancing is that I am an incurable perfectionist and I'm ADD/HDAD(attention deficit and hyperactive). And I'm sure that wasn't the answer you were probably expecting, but it's the most effective way to drive the point home. I was one of those Ritalin kids. I get bored very easily with most things that I do in life and I always have a need to change, explore, and reinvent, whether it's me personally or something or some project that I'm involved with. Fortunately I've learned to channel that "condition" and use it as a positive instead of a negative. And as anyone who has worked with me can tell you, I am never satisfied. I constantly seek to improve things in the pursuit of perfection. And I'm harder on myself than I am on anybody else. I started my formal training as one of the original members of Salsambo Dance Company. After being with them for about a year, I took what technique I learned and used it, along with all my other influences, to create my own style. And I would definitely say that an integral part of what people may like about me as a choreographer/performer/dancer, is that I believe in dancing totally and uncompromisingly from the heart. There is no other way to better express the emotion in music, than to dance with full emotion, fully translating the song with your body. As far as Atlanta is concerned, I could not be happier to have come from there instead of New York or L.A. The reason being that if I came from one of the meccas" of the dance, then it could be said that I owe my development or style to being a product of those places. Instead, I dance like me, and for that I am grateful. Johnny: Although you are a world-renowned instructor, you don't teach in Atlanta. Why? Do you feel that the Atlanta salsa scene has given you the respect you deserve? Gordon: There are different reasons as to why I chose to not teach in Atlanta when I returned. One of the main ones being that I didn't want to get sucked into that whole territorial b.s. Teaching in Atlanta just wasn't worth all of the hell that would have come with it. Too many people fail to realize how stupid they look when they practice unhealthy competitiveness. There are over 4 million people living in Atlanta and the metro area. Why fight over a few hundred? First of all, there are plenty other potential students to go after. Secondly, maybe if an instructor is genuinely good at what he/she is doing, they wouldn't be worrying about losing students. "It takes a village to raise a child" so goes an African saying. And if salsa/mambo as a culture and community is the child, then the "village" of instructors needs to do its job with the purpose of raising that child effectively into something that can benefit everyone—dancers and those who merely appreciate dance. The other reasons that I didn't want to teach in Atlanta were that I didn't want to start something that I couldn't commit to. Especially considering that I travel so much. Also, I wanted to see just what was really happening in Atlanta as far as the dance community's growth. Often, the best way to appreciate something and analyze it effectively is to not be a part of, but rather, to be on the outside looking in. I wouldn't say that Atlanta hasn't given me the respect that I deserve as a dancer/performer/choreographer. I think that Atlanta's response to me was typical of artists and their point of origin. Look at people like Jimi Hendrix, Josephine Baker, Nina Simone, Charlie Parker. They were geniuses(not to say that I'm a genius), but they were only fully appreciated in other states or other countries. By the time that I came back to Atlanta, I had been halfway around the world. Not as much as some, but more than most. And I knew that if I was to succeed initially, then that's what I had to do. It's always nice to receive love from your "hometown", but I'm very well respected by my peers in the national and international community and that makes up for it. Johnny: Your performances and dance style is very unique. Although you have mentioned Prince as one of your primary sources of inspiration, I am curious to know—do you have any other sources of inspiration? Are there any Salsa dancers currently on the scene that inspire you? Gordon: I'm very much into most forms of movement and dance. As far as those are concerned, I draw from modern, ballet, tap, jazz, African, hip-hop, house, popping and locking, ballroom, swing, and many others. People that inspire me include Jimi Hendrix, Nina Simone, Michael Jackson, Art Blakey, Thelonious Monk, Bill "Bojangles" Robinson, James Brown, Alvin Ailey, Mikhail Baryshnikov, Gregory Hines, Savion Glover, Katherine Dunham, Grace Jones, Jim Morrison, Johnny Pacheco, and I could go on and on. As far as Salsa dancers go, I would say that I more so get excited watching them than actually being inspired by them. I would have to break them up into groups. Men, Women, and Companies. Men: Dee Scott, Troy Anthony(but only when he's not holding back ;-)), Leon Rose, Juan Matos, Frankie Martinez, Lazaro "Bembe", Jayson Molina, Orville Small, Luis Vazquez, Ismael Otero(he's always changing up, I love it), and Jhesus Aponte. Women: Burju Hurturk, Olivia Dasso, Amanda Estilo Griselle Ponce, Marielys Molina(it does not get much sexier), Kimberly Flores, Candy Mena, Jessica Ortiz, Aisha Koswara(I miss watching her), Melissa Fernandez, and Magna Gopal. Companies: Tropical Gem, Abakua, Latin Rhythms(Chicago), Karisma, Hacha y Machete, Soneros del Swing, Descarga Caribe. JJ: Where would you like to see Salsa in Atlanta, 5 years from now? Where would you like to see Salsa in general 10 years from now? (Picture - Gordon & his dance partner, Laura Geldys) Gordon: I would like to Salsa in Atlanta 5 years from now, 20 times bigger than it is now with more to choose from socially and professionally. And a more united community would be excellent. And in general, 10 years from now, I'd like to see Salsa/Mambo regarded as a legitimate discipline of dance and not just as something for the nightclubs and congresses. It's time to use this dance artistically, not just for being sexy and flashy. That's been done to death already. It's time for something new, especially performance wise. Johnny: What can we expect from Gordon Neil in the near future? Gordon: Well, I'm currently taking a break from traveling and performing on the circuit with my partner Laura. I'm getting ready to form a dance company in Atlanta. The idea itself is something that I wrestled with for a while. Not to mention the fact that there have been many people who have asked me if I was going to start a company in Atlanta and some even requested that I do so. I didn't want to do it initially because it would have been more commitment than I could handle, and I had different professional goals. I always told myself that if I formed a company again, that it would be done the way that I've always felt it should be done—the right way. I just want everyone to understand that what I'm talking about is actually a legitimate dance company based in latin and afro-caribbean movement, yet drawing influence from the dances that I named earlier. I'm not talking about low level commitment or low level training. I'm talking about dancers actually benefiting artistically, physically, mentally, emotionally, and financially. Blood, sweat, and tears type of stuff. I've grown bored with the low production and artistic value of most performances in this dance, and doing this will be my way of hopefully changing all that. And I will also be returning to teaching in Atlanta soon. As of now, I'm not exactly sure when. JJ: What is the biggest goal you would like to accomplish in "dance" as a whole? Gordon: The biggest goal for me would be to have a hand in making what it is that I do a generally accepted, legitimate discipline of dance. On a higher level, this salsa, mambo, Latin, afro-caribbean (whatever label you choose to give it), is as rich in technique and artistic content as ballet, jazz, modern, or any other discipline you can think of. If I can do that, then more dancers could find more work in this dance, more people could see the beauty in it, and I can know that I helped create a legacy. The other big goal that I've had for a while, which is more personal, is to be able to produce and choreograph a dance production that finds itself either on Broadway, or touring the country/world, or both. Johnny: Any additional comments: Gordon: There are two types of salsa/mambo. One is for the clubs. The other is for the stage. Some people might not be comfortable with that statement, but it's true. If it weren't, then tossing people over your head in social dancing would be commonplace instead of just being seen primarily in performance. With that in mind, the same thing applies to everything else about the dance. Folks tend to forget that nothing about salsa/mambo is exclusive to salsa/mambo except for the counts. The dance has taken the moves that currently make it what it is from tap, swing, merengue, cumbia, hustle, jazz, tango, lindy, ballet, African, samba, and various others. And people have the nerve to watch some performances and say, "That's not salsa/mambo!" This dance's growth has been dependent on drawing from everywhere else. Some of us are comfortable seeing the same thing consistently, all the time. But art is not about consistency or predictability. It is raw, because emotions are raw and these are things upon which art is based. Emotions. And our emotions are not consistent or predictable. So maybe it's alright to let go and actually express ourselves sometimes. And if not through our art, then when? I appreciate all of those who have felt me on my journey as an artist. Your love has not gone unnoticed. And as for the rest of you, in the words of Common—one day it'll all make sense. Thank you for the compliments you've given me by wanting to do this interview Johnny. Dance you're a** off! |
Interview w/ Grisselle Ponce - NY/NJ
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Grisselle Ponce is one of the top New York/New Jersey area dancers. Former Model of Television show Sabado 47, she is a performer & instructor director of Runway on 2 Dance Studios. At the age of 24, she has traveled extensively to perform and teach salsa internationally including in Los Angeles, Chicago, San Francisco, Bermuda, Puerto Rico and Italy. She carries her sexiness on the dance floor like second skin, and projects an energy that is captivating to watch. Interview with Ms. Griselle Ponce - New Jersey by Johnny Johnson Johnny: First and Foremost, I would like to thank you for taking time out and doing this interview with www.lavozdelmambo.com; I have admired your stlye of dance throughout my four years of dancing salsa. You are truly one of the brightest stars the mambo scene has to offer! How did you get into salsa dancing? Griselle: First and foremost thank you Johnny for granting me the honor to be interviewed by La Voz del Mambo. Salsa is in my blood, my mom danced in her days and my dad is a latin percussion award winner. But it wasn't until I met Ismael Otero that I realized how much love I had for Salsa. I use to work for a Television show on Telemundo network as a model/dancer and co-host. On one of my jobs, interviewing a teenage beauty pageant contestant; I came across this guy just spinning. It caught my attention and I decided to check out what he was doing. This person was Ismael Otero. He was actually starting a salsa class that day, so I figure I was one of his first students. My job and school didn't allow me to go back so it was actually a one day thing. Somehow we crossed paths again when salsa recording artist, Frankie Negron, hired me as a back up dancer and Ismael Otero as his choreographer. From that moment on salsa became part of me like a second skin. In 1997 we were featured at the Madison Square Garden..then everything blossomed from there. Johnny: When did you begin to realize that you were an awesome dancer? Griselle: I've always believed that I had talent as a performer and enjoyed to social dance and teach a great deal. I learned every day from performing and social dancing with diferent people ...I will not say I'm an awesome dancer, I will say I'm a dancer that loves and has fun with what she does for a living. I'm still learning "you learn something new everyday". Johnny: What tips do you offer to ladies who are either just starting or trying to take their dancing to the next level? Griselle: It's not what you do, it's definitely how you do it... as the saying goes. Have fun with what you're doing and don't try out do anybody. Just out do yourself. Johnny: In addition to being a member of one of the best Mambo companies in the world, Caribbean Soul, you are also the director of "Taima Las Hijas Del Trueno." How would you describe these experiences? Griselle: I have to say it is not an easy thing to do. Being a member of the Caribbean Soul Dancers has helped me to learn so much about being a director. You don't understand the director of your group until you are put in his or her shoes. I think I've been pretty good as a member of the group. But too I'm lieneant as a director sometimes; that's because I love my girls. However, when it's time to work it's time to WORK! Not to say that Ismael doesn't love us all. Basically, I've learned the do's and dont's of directing and I try to use my own judgement. Johnny: Who are some of your favorite leads on the salsa scene? Griselle: My Favorite Leads: Ismael Otero (of course); Guillermo Ayala (a former Caribbean soul dancer, with him I've had the best connection on the dance floor and on the stage); Super Mario (my favorite, he always gives me a challenge); Aviv from Israel; Danny from Caribbean Soul; Thomas Guerrero (Especially performing); Milton Cobo has a great lead; Troy Anthony; Gordon....Oh my God it's so many I can't name them all.....But those who have danced with me know how good of a lead they are by my response on the dance floor. Johnny: Who are some of your favorite groups? Griselle: My favorite groups in no particular order....Tropical Gem #1 on my list; Santo Rico (personally enjoy the old Santo Rico, but the new never fails to amaze me...full of talent); Yamule (their routine is awesome); Salsa Brava (when the group was together, love their productions); Hacha y Machete (upcoming group..great energy & awesome choreography); I have to say Caribbean Soul (even though I miss the old csd); and my own group Taima (I have been lucky to have a wonderful group of talented young ladies full of energy to come together as one with all our ideas). Johnny: Any additional comments: Griselle: Keep dancing alive' quit making it a competition amongst each other. Come together and share the beauty of Salsa! "Stay Unique" Much Love - Gri
--> CLICK HERE FOR A VIDEO OF GRISELLE PONCE AND MILTON COBO <--
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"Why Am I Not Improving?"
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1. Introduction 2. Common Salsa Ailments 3. Instruction Balance 4. Training Focus 5. Flip-Flopping 6. Growth Spurts 7. Practice! 8. Conclusion INTRODUCTION Anyone who has pursued their dancing for any significant length of time has asked themselves the question "Why am I not improving?" It stands to reason that if you are investing so much time and effort (not to mention money) in developing your dancing, that you should always be noticably improving, right? Wrong. There are several reasons why, despite your best efforts, you either may not be improving, or may not appear to be improving. Identifying the reason behind the stagnation of your development is absolutely critical to overcoming it. COMMON SALSA AILMENTS In my previous article entitled "The Willie Fuego Medical Handbook of Common Salsa Ailments," I discussed several common problems that salsa dancers experience while developing themselves as dancers. While the article is largely tongue-in-cheek, the content is entirely valid. Many of the conditions detailed within the article can severely retard or even completely block your progress as a dancer. Further, the article only discusses a few stumbling blocks and is by no means comprehensive. A comprehensive listing of all the different salsa conditions would require an enormous article that would be immensely unwieldy to read. Be that as it may, if you feel that you are not progressing, you may wish to read up on some of the so-called illnesses detailed within that article and see if there are any that can be applied to you. If you feel that you are being hindered by some particular flaw in your dancing, you absolutely should discuss it with your instructor. A qualified instructor should be able to diagnose what is impeding your progress if your development is being hindered by a particular "syndrome" or compulsion toward incorrect form, for example. If you are not satisfied with your instructor's diagnosis, GET A SECOND OPINION! Some instructors not only overlook certain flaws but actually encourage them, so if you are serious about developing yourself as a dancer, then it is absolutely imperitive that you gain insight from as broad an audience as possible. A problem that goes unnoticed by one instructor can be completely obvious to another. INSTRUCTION BALANCE If you are truly concerned with improving your dancing, then certainly you are taking instruction from someone. It is important to realize, however, that depending on your level, the type of instruction that you receive is almost just as important as the fact that you are taking lessons at all. This is because your level of dancing will dictate the type of instruction that you will most benefit from. For example, an absolute beginner will benefit a good deal from both private and group instruction, for example. As the beginner develops, however, the benefit gained from group instruction will begin to dwindle. Dancers that seek a comfortable group setting for all of their instruction will only end up eternally intermediate and the intermediate levels are where dancers require the MOST private instruction. As my wise kung-fu instructor once told me, the middle ranks are the most dangerous time for martial arts students as they have learned just enough to get their asses kicked. The same is true with dancing. At the intermediate level you have learned just enough to make every mistake in the book and fall victim to every common problem there is. This is why it takes so long for most dancers to progress beyond the intermediate level. The graph below indicates my estimation of the amount of benefit you receive per instruction type depending on your current level of dancing. ->> CLICK TO ENLARGE <<- Be careful not to deceive yourself as to what your true level of dancing is when placing yourself on this chart. Often one does not know how bad they were until they have become much better. In any case, it is important to note that if you wish to develop yourself in the most efficient and effective way that you be sure to maintain the proper balance of private instruction, group lessons and independent study / practice for your level of dancing. TRAINING FOCUS Within Salsa, there are several areas of study that can be explored. Many people say that they are taking lessons, but to develop what? Good private instruction will help to focus and guide your training, but do you consciously know what your training focus is? In order for you to continue developing, you must maintain a balance in the growth rate of the different aspects of the dance. For example, there comes a point in which followers absolutely must learn to spin properly in order to learn how to perform certain moves. Endlessly training at spinning, however, will have a minimum benefit you unless you have trained first at prepping and spotting. Certain moves require greater body mechanics or better tension. Until the prerequisites of each move are fulfilled, by properly developing your dancing across the different areas, you will be unable to perform that move and will therefore be unable to progress. FLIP-FLOPPING When training, consistancy is essential. Some students will not progress because either they, or their instructor, is flip-flopping. If we examine spinning again, for example, there are many different ways one can spin. The fundamentals are all the same (i.e. you need to spot, you need to prep, etc.) but almost no two instructors will teach you how to spin in the same way. As such, you will never become a good spinner until you select a method that feels right to you and stick with it. Eventually, you will begin to learn your own way of doing it that feels even more comfortable, and your way will also be different than everyone elses. Until that time comes, however, stick with one approach and practice it rigorously. If you encounter a new way of doing things, see if you can somehow incorporate it into what you have already learned. Try not to completely contradict yourself. If you have been receiving good instruction, there will be very few occassions where it will be to your advantage to completely eradicate your progress in one methodology in order to adopt another. If you allow yourself to flip-flop, or if your instructor consistantly contradicts himself/herself, you will find yourself at an educational impasse and your development will come to a halt. GROWTH SPURTS It is not uncommon for dancers to periodically stop developing and then promptly resume. If you find that after a brief period of stagnation that you then recover and continue to develop, do not be alarmed. This is indicative of your hitting an obstacle, being stuck for a while and then working through the problem. Good private instruction will help to reduce the amount of time you spend in a developmental "holding pattern" and will get you to continue growing more rapidly. Growth spurts are not bad in and of themselves, however, if you feel that it is taking you too long to overcome each hurdle, you may want to consider increasing your rate of private instruction, increasing your practice time or finding a different instructor that will be better able to address your specific needs. PRACTICE! There comes a point where no amount of further instruction will help you unless you put in more time to practice on your own! The higher your level of dancing, the more rigorous your practice regimen must be in order to advance. If you live in an area that does not support the practice level you require, then you will have to train yourself elsewhere. Many dancers travel to major salsa hubs on a regular basis in order to ensure that they periodically get a proper dose of good ol' fashioned practice. Often times this means that leaders have to get over their timidness and ask others to dance. Followers that are serious about improving also should not wait around for others to find them if they are not satisfied with the amount of dancing that they are getting. Followers should also be proactive in finding others to dance with. Remember that ultimately the honus is on you to improve your own dancing. CONCLUSION There are many reasons why you may not be developing as quickly as you would like. Your progress toward professional level dancing will be hindered by any number of obstacles that you will be forced to overcome. In short, remember to: - Be introspective and gain insight from others into your dancing to avoid typical, well-known problems. - Maintain a proper balance of private and group instruction as well as independent study / practice for your level of dancing. - Keep a holistic training approach (i.e. remember to pursue a well-rounded training regimen that develops you all around so that your development in one area is not impeded by your lack of progress in another). - Avoid excessively contradicting yourself (i.e. flip-flopping). - Growth spurts are normal! Don't worry too much over them! Pauses in development that are exceedingly long, however, can be shortened through private attention from a qualified instructor. - PRACTICE, PRACTICE, PRACTICE!!! www.williefuego.com |
A House Divided
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-------------------------------------------------------------------------------- INTRODUCTION -------------------------------------------------------------------------------- In an address to the House of Representatives, Abraham Lincoln said "A house divided against itself cannot stand." What was true for this nation's legislative branch in the days of slavery is true of the salsa scene today. A primary reason why many smaller cities that are on the cusp of becoming a full-fledged salsa hub fail to do so is because the scene is divided against itself for a variety of reasons. -------------------------------------------------------------------------------- UNIFICATION OF THE RHYTHM SCHEMES -------------------------------------------------------------------------------- It is realistic to expect that no salsa scene can reach its full potential until the division between On 2 and On 1 dancers is bridged. As such, I believe that EVERY dancer must be skilled in BOTH the 2 and the 1, thereby effectively doubling the number of viable partners for everyone. One of the many reasons New York and LA are the two largest cities for salsa is because it is firmly understood that New York is on 2 and LA is on 1. Many cities that are beginning to realize their potential cannot make so firm a statement. When you have a scene that has an even mix of mostly dedicated two-ers and one-ers, you will find that growth in this area will often stagnate periodically and become sluggish in its development. DC and Atlanta, for example, were about 40% on 2 and 60% on 1 (last time I visited). North Carolina is probably about 65% on 2 and 35% on 1. (Note that all of those numbers may skew more towards the 2 if only the more regular salseros are included in the statistic). As the population of salseros grows, often the more advanced dancers begin learning more about timing and begin making strong attachments to the rhythm scheme they feel more and have more fun with. This creates a schism that spilts the scene into what is, in practice, two smaller scenes. Verily, you can go to DC today, for example, and you will notice that there is a crowd of on 1 folks and a crowd of on 2 folks and very few that flow between them (perhaps 15% of the total). I submit, that if the entire population composing either of the two rhythm schemes were to become well-versed in the other, the talent pool and the number of viable partners available to everyone would increase so greatly that the overall skill level in both rhythm schemes would be automatically and substantially augmented across the board. Unfortunately, the power to influence the scene in such a way lies firmly in the hands of the childlike and uncooperative instructors, which brings me to my next point. -------------------------------------------------------------------------------- PROFESSIONAL COLLABORATION -------------------------------------------------------------------------------- The benefit of professional collaboration can be summed up in one word: Fogaraté. Anyone who has seen the Fogaraté Dance Project do their thang can attest to how much more can be acheived through professional collaboration. Unfortunately, many instructors are arrogant, immature, glory-driven, cash-mongers whose self-exhaltation is a priority and not the state of the art, nor the state of the scene, and neither is taking salsa to the next level. When there is ill temperment in the professional ranks, a lack of skill-swapping and growth at the professional level keeps the entire scene below that suppressed. Indeed, it is almost impossible to teach someone to be a better dancer than you are. All that can be done once they have reached that developmental threshold under you is put a student on the path to developing themselves beyond you by guiding their training (make sure they travel, gain valuable experience, etc.), or set them free to learn under someone better than you. Thus, when instructors don't cooperate, it makes growth at the professional level far more sluggish than it should be and thereby growth for dancers under those instructors is retarded for those who have reached the aforementioned developmental ceiling. Thus, a community of instructors that can see value in each other's skills, respect each other's abilities, and work together to produce a better salsa product, will be better suited towards bolstering the capabilities of everyone on the scene, including themselves. When cooperation, professional respect and courtesy break down, it creates divisions that are apparent even among students. Instructors wield a tremendous amount of power and influence over many of their students (or over the scene as a whole through influencing their students collectively). When students develop under uncooperative instructors, they become intolerant, arrogant and exclusionary themselves. This creates instructor-based factionalism, whereby students of one instructor exclude and frown upon students of another, even at the lowest skill levels. -------------------------------------------------------------------------------- INSTRUCTOR-BASED FACTIONALISM -------------------------------------------------------------------------------- As indicated above, instructor-based factionalism is a direct result of in-fighting and/or a lack of collaboration amongst instructors, dance teams and other salsa professionals and semi-pros. Students that exclude others are basically reducing the size of the scene for themselves until they can no longer develop effectively. When this occurs, there is usually very little that can be done for those dancers except travel to another scene where they haven't alienated everyone. It is not the students' fault that they do this. They are merely mimicking the behavior of their instructor. Thus, it is up to the instructor to combat this trend, when it is noticed in their students. A good instructor will care not only for the development of your talent but also your personal and interpersonal development on the scene. This means that a good instructor, in addition to giving you your private lessons, will also make sure that your ego is in check and that you are playing in the sandbox nicely with others and that you are getting your regular practice in. They will also ensure that you are introduced to other students and encourage you not only to meet other dancers, but also gain exposure to other instructors. Only the instructors have the power to break down the walls of instructor-based factionalism. Instructors that are hostile to their colleagues and take no interest in their students' social growth are a burden to the scene, locking valuable talent away behind the barriers they cause their students to construct (either maliciously or inadvertantly). -------------------------------------------------------------------------------- CONCLUSION -------------------------------------------------------------------------------- It is therefore my conclusion that only a collective effort embarked upon by the professional ranks (and possibly semi-pro also) has the power and influence to dismantle the divisions that cause a salsa scene to stumble and stagnate in their growth. Ultimately, the most beginner level students suffer the most and this can be hard to detect from one's lofty perch as an instructor, particularly when you mostly deal with only the more elite clientele. However, without a continual influx of new beginner talent, a scene will become stale and wither. Thus, it becomes necessary for professionals that are truly concerned with the growth of their local scene to take a vested interest in the social structures that are formed and do what they can to instill and perpetuate a feeling of kinship, respect and regard for others in the scene. This, by no means, lets the everyday dancer off the hook, as they play their part in the petty disputes, backbiting and name calling as well, however, with professionals in place that do their part not only as instructors, but as leaders and mentors, I contend that the majority of the regular dancers will also value teamwork, mentoring, leadership, collaboration, professional respect, etc. and in the end, the scene will grow strong and far more quickly. |
2nd NJ/ NY Salsa Festival 2005
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The 2nd Annual Salsa Festival will be located in New York. The excitement is in the Air ~ Worldwide!!! This year we will be on the other side, Located at The New York Marriott at the Brooklyn Bridge, walking distance to Manhattan... and only 5 minutes to New York City with 9 major subway lines all within one block. Some of the most amazing and talented dancers are expected to Perform. Professional Dance Teams are coming from Europe, Asia, Israel, South America, the Caribbean & USA... Plus many more from around the globe who are ready to showcase their salsa style and dance the night away. Are you Interested in reading about Last years buzz; check out the Article written in "The Record" Newspaper - Title "Turn up the heat with a bit of Salsa" (sounds so steamy).... plus read the review from the "Star Ledger" who confirms "unlike musicians and theater actors, who typically stay backstage, dancers join the crowd after performing, hitting the floor like everyone else"... This year, come see for yourself what the NY/NJ Salsa Festival history is all about!! We look forward to giving you an experience you will never forget. Come join us for a week of adventures Nov. 22 - Nov. 28, 2005!!! READ BELOW THE REVIEWS FROM 2004!! Turn up the heat with a bit of salsa Friday, November 19, 2004 By VERA LAWLOR SPECIAL TO THE RECORD Luis Zegarra intends to bring energetic and explosive salsa directly to you - up close and personal, right there in the audience. After each evening performance in the weeklong New York-New Jersey Salsa Festival, which opens Tuesday at the Copacabana in Manhattan, the performers will dance with members of the audience. The festival features 45 shows in all and 72 top performers from the area and abroad - Europe, Japan, Hong Kong, Israel, the Dominican Republic. During the day, professional dance instructors and the performers will teach workshops at the festival's headquarters in Jersey City's Hyatt Regency Hotel. Jersey City is an ideal headquarters, Zegarra said, because salsa is hot in the area - particularly the "on 2" style, in which dancers follow the music's second beat, as opposed to the "on 1" form that is popular in Los Angeles and Florida and often seen in movies. Both styles are thought to be rooted in Latin and Afro-Caribbean dance traditions. Among the fans of "on 2" is Candy Mena, teacher and owner of Estilo Clasico dance school in Bellville. She's traveled the world as a salsa dancer and instructor and teaches at the Copacabana. "The 'on 2' style has been around for a long time but hasn't been recognized," said Mena, who will teach a workshop and perform with Essence, her all-woman dance group, during the festival. "Now that it is out - so to speak - it's really starting to take off." It's the tradition with both styles that the woman follow the man's lead. But Mena doesn't always play by the rules. "I like to interrupt the man's flow by doing something sexy like tapping his shoulder or caressing his face," she said. And how do her dance partners react? "They remember me," Mena said. Other Article Review |
Calgary Salsa Weekend 2005
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Calgary Salsa Weekend at the Calgary Chinese Cultural Centre May 6-8, 2005 For decades the addictive power of salsa has been infecting dance floors all over the nation one at a time with its contagious soul and intricate rhythms. Now you can take part in all that salsa embodies in a weekend filled with high caliber international performers, DJs, and competitors. Competitors who will go on to San Juan, Puerto Rico for one of the most historic events in salsa — The Puerto Rico Salsa Congress. Come and see why the whole world is talking about Salsa! Calgary Salsa Weekend is an event for everyone — not just dancers. Afternoons will feature Salsa workshops at both the beginner and intermediate level. As the sun sets, it only gets hotter when some of the best Salsa DJs from around the globe entice you onto the dance floor with scorching Latin rhythms. You will be wowed throughout the night by international performers as well as a Salsa competition that is not to be missed! GO TO www.calgarysalsaweekend.com to register online. CLICK HERE for more info on this site. Tito Ortos & Tamara Livolsi:
Ortos J. Gutiérrez Ortiz , beter known as Tito Ortos, was born in Santurce on December 26, 1974. Tito Ortos started his carrer as a Salsa Dancer by his parents initiatives, who took him to his first dance teacher. Since then, he has visited more than 30 cities worldwide giving performances and classes. Participates yearly with the Congreso Mundial de la Salsa en Puerto Rico and other congress around the world. Tito has not established himself only as a dancer, but also as choreographer. He does all the choreographic work for Gilberto Santa Rosa and Víctor Manuelle and has choreographed for El Gran Combo, Michael Stuart, Richie Ray & Bobby Cruz, Domingo Quińones, Ismael Miranda, Elvis Crespo, Modesto Cepeda, Andy Montańez and Tego Calderón. In addition to all this, he also choreographed the "Bomba" and "Cha-Cha-Cha" intervention of Ricky Martin in the presentation of "Miss Universe 2001 Pegeant" and the 2003 tibute to Celia Cruz, the TV Special "Azúcar" which was held in Miami. Even though he is best know for salsa dancing, Tito is also an outstanding jazz dancer and has performed with Melina León, Yaire, Elvis Crespo, Olga Tańón and among others.
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Law Dept Employee Wins Grammy
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LAW DEPARTMENT EMPLOYEE WINS GRAMMY AWARD FOR BEST SALSA ALBUM PETER NATER OF THE OFFICE’S TORT DIVISION MOONLIGHTS AS A TRUMPETER IN THE SPANISH HARLEM ORCHESTRA, FLIES BACK OVERNIGHT FROM A GIG IN PUERTO RICO TO BE BACK AT WORK FOLLOWING HIS AWARD Contact: Kate O’Brien Ahlers, Communications Director, (212) 788-0400, kahlers@law.nyc.gov New York, February 14, 2005 – Peter Nater, who works in the Law Department’s Tort Division, won a Grammy last night as the trumpet player in the 13-member Spanish Harlem Orchestra. The group received its accolades for the year’s Best Salsa Album titled Across 110thStreet.The 47th Grammy Awards were held at the Staples Center in Los Angeles. “I was ecstatic; it was wonderful, “ he said this morning following his win. Nater, who learned about the award while performing a weekend gig in Puerto Rico with the group, was back at his desk this morning receiving congratulations from office colleagues after flying back on the red eye.Peter has been a member of the Spanish Harlem Orchestra since its inception in 2002. The band is often referred to as a NuYorican salsa band, blending New York, Puerto Rican and Cuban music styles. The Grammy-winning album was released in June 2004 on the independent label Libertad. The band’s leader Oscar Hernandez accepted the award at last night’s ceremony. “Our office is very proud of Peter and his accomplishments,” noted Corporation Counsel Michael A. Cardozo. “This achievement affirms the diverse blend of talents possessed by many of our Law Department staff – in addition to their public service dedication to New York City.” Peter said when he heard his orchestra was nominated for the Grammy, he was “hopeful, but didn’t think we would win” against other nominee Latino artists such as Marc Anthony. Peter said the Spanish Harlem Orchestra’s unique sound is achieved, because all members are veteran musicians and have played with other great big bands. On occasion, Peter has had the chance to tour with the orchestra, which has performed in Hong Kong, Japan ,Turkey, Puerto Rico as well as across Europe. Nater also has also jammed with Law Department jazz musicians who each December perform at the office’s annual awards party. Born in the Bronx with parents who emigrated from Puerto Rico, Nater, 46, first picked up the trumpet when he was 12 years old and started his professional music career in 1972. He also plays the flute. He is a graduate of Music & Art High School, Bronx Community College and City College’s “Leonard Davis Center for the Performing Arts.” He has two daughters, Ashley, 11, and Lindsey, 13, who have both also dabbled on the flute. Nater also plays with the Giants of Latin Jazz, a mambo group that performs music of the New York Palladium era from the 1950s and 1960s. He has also performed for a host of celebrities, including NEW YORK CITY LAW DEPARTMENT OFFICE OF THE CORPORATION COUNSEL Press Release Web: nyc.gov/html/law/home.html Michael A. Cardozo, Corporation Counsel playing at singer Marc Anthony’s 2004 birthday party and at a 2004 dinner honoring former Mayor Rudolph Giuliani. He has also played with singer Cyndi Lauper, and he appears on her new DVD called Live At Last. “I am truly blessed,” Nater said. “I get to travel all over the world and share my music with people.” Nater has never given up his day job as a principal administrative associate in the Tort Division’s Special Litigation Unit. In this position, he investigates facts in large, complex legal matters handled by the Law Department’s Tort Division. Nater has worked in the Tort Division for 15 years while moonlighting as a trumpeter. “I really enjoy my job here,” he noted. “We handled many police cases and the work isfascinating.” The Spanish Harlem Orchestra’s next New York-area performance is April 15th at Town Hall in Manhattan. The New York City Law Department is one of the oldest, largest and most dynamic law offices in the world, ranking among the top three largest law offices in New York City and the top three largest public law offices in the country. Tracing its roots back to the 1600's, the Department's 650-plus lawyers handle more than 90,000 cases and transactions each year in 17 separate legal divisions. The Corporation Counsel heads the Law Department and acts as legal counsel for the Mayor, elected officials, the City and all its agencies. The Department's attorneys represent the City on a vast array of civil litigation, legislative and legal issues and in the criminal prosecution of juveniles. Its web site can be accessedthrough the City government home page at www.nyc.gov or via direct link at www.nyc.gov/html/law/home.html. |
Salsa Event Will Spice Up L.A.
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Most of my attention is directed at concert dance - professional companies and solo artists who perform in a theater. I do, however, occasionally head out to clubs, ballrooms and beyond to write about the latest social dance sensation. It was while researching a story on salsa dance that I spent one evening at the West Coast Salsa Congress in Los Angeles. That was five year ago. Salsa was hot back then; that second annual congress attracted 3,000 attendees from around the world. But, whoa, look what's happening now. The organizers of this year's congress, scheduled for May 23-29, said they could get as many as 10,000 participants on a single day. It has become the largest salsa-dance event in the world, attracting dancers from such far-flung places as Mongolia and Antarctica. Albert Torres, the event's founder and producer, said the congress has moved out of the upstairs ballrooms at the Hollywood Park Casino into the parking lot. That is where Torres will set up a 173,000-square-foot tent city. Torres will have four giant areas for dancing, including an outside dance floor into which music will be piped. (See Torres' Web site, www .alberttorresevents.com.) There will be about 15,000 square feet of dancing space, plus areas for vendors selling food, clothing and other wares. For the first time, one floor will feature nonsalsa dancing for a portion of the day. Five different salsa-dance workshops will go on simultaneously during the day, with classes targeted at beginners, intermediate and advanced dancers. "It is the Disneyland for salsa dancers," said Cynthia Semon, the publicist for the event. The first three days are devoted to workshops for aspiring and experienced musicians. Participants, who must register in advance, will have the opportunity to work with leading salsa musicians. There's a welcome party May 25, but the dancing begins in earnest on May 26, with a salsa beach party in Santa Monica. Two 90-minute dance shows will take place each night in the dance-performance theater, which will seat 2,600. Dance workshops are scheduled for daylight hours May 27-29. Open dancing lasts until 4 a.m. The scheduled bands include recent Grammy Award winner Spanish Harlem as well as Johnny Polanco Y Su Conjunto Amistad, Jimmy Bosch & His Orchestra and others. About 130 different dance teams will perform and compete over the long weekend. Competition winners will qualify for the annual World Salsa Championships in Las Vegas later in the year, Torres said. He has been in discussions with cable sports channel ESPN to broadcast the competition, which would bring even more publicity to this fast, sexy dance form. The congress has a new sponsor, Tyson Foods Inc., and its chef, Pepín, author of "En la Cocina con Pepín," will be speaking about healthy eating. The complete schedule of workshops and events should be posted about May 1. The registration fee is $340 (before March 15) to attend all workshops and performances. Prices vary for single days or evening entrance only. Again, check the Web site or call Torres' company at (310) 445-9705. |
Interview with Super Mario - London
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Johnny: First and Foremost, I would like to thank you for taking time out to do this interview. Although I have a lot of favorites, you are hands down one the dancers on the scene that inspire me the most. Although you don't have the typical build of a dancer, you are undoubtedly one of the BEST! Your style of dance is amazing! How did this journey with Salsa begin for Super Mario? Mario: I started salsa on July 7th 1998. I remember that date, as that was when my heart was broken, and my friend took me out to a salsa club. We were standing and having a chat, when a lady walked up to us and said, you guys are new. To which we said, yes.....she took one look at me and said, you have women problems, and not to worry and that salsa would change all that (boy, was she right !! ). She turned out to be the teacher of that class. During that class, I couldn't do what was being taught, but she kept encouraging me by saying to the whole class, that the steps that I was taking was the way for it to be done. Don't forget, these are just forward/backward basic steps, ok, and I couldn't get it, as I have never danced in my life before. ;) After the class, she comes to me and says....." From now on, don't pay for any classes, just come here and learn....but promise me, one year from now, you will teach for me.....". Man, that's when I started salsa. So much encouragement on my first class, and so much of enthusaism in the club, no racism, no sexism, no ageism etc etc etc.....I loved it and stayed with it. And to add to that, in my very first congress as an attendee, I was asked to teach. That was in the SALSAWEB CONVENTION in Toronto, in April 2001. I know there are so many talented dancers out there, who are never given that oppurtunity that I was once given, that's why I don't take what I have for granted. I love what I do, and do what I love. Dance like there's no tomorrow. Johnny: You have some of the best turn patterns that I have ever witnessed. At some point dancers reach a point where they begin learning advanced patterns, making up patterns, then developing a certain style of dance. You have pretty much mastered the style of executing cross-body lead turn patterns. Where does your creativity come from? At what point did you realize you had a special gift for creating and executing turn patterns? Mario: Thanks for your comments man. I appreciate it. From the very beginning of my intermediate class, I used to change the turn pattern that was taught to me. And I used to come up more intricate stuff. Sometimes to such an extent when the teacher used to ask me what I would come up with, and he used to teach that in class....giving me props, of course. I am a mathematician, so I guess, numbers and angles have always played a part in everything I do. ;) I don't know, turns and combinations, just keep croping up every week in my head. And no, I don't practice them or think and dream about them, day and night. ;) Had alot of inspiration from Mr Eddie Torres, Ismael Otero, Santo Rico, Frankie Martinez, Salsa Brava and many more (sorry, if I have not mentioned anyone)..... Johnny: I have learned so many turn patterns that will only work in Choreography. However, I have watched clips of your dancing and executed your patterns the moment I figured them out (Thank God for Slow Motion!) How do you develop advanced, yet practical, turn patterns that will work in almost any social environment of dancing? How often have you seen a turn pattern that you created done by someone else socially, taught by someone else, or performed on stage by an individual or group? How does this make you feel? Mario: As you are aware, I don't do shows. I'm just a social dancer and an instructor. So it is very important that moves and combinations I do, are meant for the social scene. I have so many combinations, that are choreographed, that I would never teach or try on anyone on the social scene. I have had alot of my stuff used and executed by dancers and performers. When I see them, in shows......I feel so good knowing someone is using it and using it well. I like that. But I like it even more, when someone has taken one of my combinations and changed it and made it better, than I originally had......now that makes me feel good, cuz I know they have put some thought into it, rather than, just using the original, if you know what I mean. As for the teachers, I wish some of them would give respect where respect is due. Learn that people, you will be respected more, by your students. I still do classes, whenever I get a chance in a congress....and if I decide to use the same move, I have no shame in naming the instructor, with whom I learned that particular move. People respect that. Johnny: You currently reside in the UK, but frequently travel all around the world to teach and dance salsa. I personally feel that Salsa/Mambo is a universal language. As a dancer who is admired all around the world, do you feel the Salsa is a universal language? What is the most beneficial aspect about doing salsa all around the world? Mario: Yes, I do live in London, UK. And travel pretty much every weekend, around the world. I always used a quote from a long time ago..... "Salsa is a universal language, don't speak it, when you can dance it." I thought about that, when I came back from a tour of Japan, where no one understood me, so I just shut up and did moves. And when I saw the same moves executed in the evening parties, I thought about that quote. It makes sense. The most beneficial factor for me, personally, is that the same music, is intepreted so differently from city to city, culture to culture, person to person. Yes, we as instructors bring some inspiration to the locals, but they intepret everything themselves later on, and I like that. This dance is growing at an incredible rate, and watching people enjoying it, WOW, its just something else. Johnny: Any Additional comments: Mario: I hate self promotion, but I have a new website and I have decided to put clips of my social dancing, from different countries.....to encourage people to go to congresses, give moves and combinations away to students who want to learn, promote myself (lol) etc etc etc. IT IS FREE, and my website is.... www.millionmovesman.com Check it out. This is Super Mario saying " Keep your feet tapping "
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Japanese Turn Saucy About Salsa Dancing
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Tokyo --- A pulsating mambo fills the air at a cavernous club near Tokyo Bay. ''Ayyy-esssooo!'' the song calls in exhortation as a sea of dancers --- sweaty, skin bared, clothes clinging --- roll their hips and swirl into turns with increasing abandon. The scene is a world away from the formal and orderly Japan that lies outside --- and that's exactly why these dancers love it. Salsa, the catchall name for a variety of music and dance with Latin and Afro-Caribbean roots, such as the mambo, rumba and Cuban son, has found an unlikely group of hard-core enthusiasts in Japan. ''It's like they've suddenly woken up. They're shocked by the gap between their daily lives and life on the dance floor,'' says George Watabe, 56, an events producer credited as the force behind Japan's salsa boom. ''It's a kind of revolution, a mass rebellion.'' The signs of the boom in Japan are unmistakable. The monthly ''120% Salsa'' has grown from a one-page flier in 1996 to a full magazine with a circulation of about 40,000. Its pages list 200 salsa-related events across Japan every month. Music stores sport sizable collections of salsa CDs, and salsa-based fitness classes are now standard at Japanese gyms. The salsa rebellion was in full swing in Tokyo when 3,400 people converged for the sixth annual Japan Salsa Congress --- a three-day sweat fest devoted to the serious business of dancing. >And serious it is. While salsa encourages dancing with abandon, Japanese fans leave little to chance. At the event's boot camp, some took notes and others recorded moves with video cameras so they could study and master them at home. ''Japanese love to learn and study things. Look at how they took to golf. It's the same thing,'' says Chiaki Noji, a film production company employee who danced at the salsa congress. As with other hobbies in Japan, practitioners must dress the part --- and money is no object. Dancers can spend as much as $250 for an average pair of must-have ''salsa shoes'' with reinforced heels. Female fans drop hundreds of dollars at tanning salons to achieve a ''sexy Latina'' look. Salsa's popularity in Japan coincides with a worldwide Latin boom over the past decade, fueled by films like Wim Wenders' 1999 documentary ''The Buena Vista Social Club'' and the success of singing stars like Ricky Martin. But many say salsa has a special resonance in Japan because of its dissonance with the wider society. ''Japanese are shy, and they tend to keep things pent up inside. Listening to the music and moving the body is really liberating,'' says Mayumi Iida, a 27-year-old office employee. For some Japanese, salsa is more than just a hobby --- it's a way of life. Ryoko Ohara, 31, lived for years under a dual persona as ''Office Lady by Day, Salsa Queen by Night'' that earned her the stage name ''OL Ryoko'' --- short for ''Office Lady Ryoko.'' She says salsa helped her escape long working hours and the inflexibility of the workplace. ''After I started salsa dancing, suddenly my life became fun,'' she says. Ohara quit her clerical job last summer and now dedicates herself professionally to salsa, running three dance teams, teaching and performing. Salsa literally means ''sauce'' in Spanish, but as a dance it refers to the fiery passions the music evokes that are like a rare seasoning --- piquant, provocative. Part of its popularity is that it allows an open celebration of sensuality that is unusual in Japan. ''Japanese are not used to expressing their sexuality. Japanese culture doesn't allow you to,'' says Miwa Asano, a salsa instructor in Tokyo. She says that freedom appeals to many Japanese, especially those in their late 20s and 30s who are seeking alternatives to traditional social values. ''Salsa attracts people who are taking their happiness into their own hands, who don't need a group,'' Asano says. ''Especially the women --- they come to class alone, they go out to clubs alone. They are women who are OK going it alone.'' Albert Torres, a major producer of salsa events worldwide, thinks Japan's salsa scene is a reflection of larger changes in society. When he began co-producing the Japan Salsa Congress with Watabe six years ago, salsa was ''too sexual, too taboo,'' he says. He remembers dance teachers --- afraid of being stigmatized --- hiding their salsa dancing from family and friends. But now he sees attitudes changing in Tokyo. ''The Japanese have really embraced it,'' he says. ''It's like night and day. There's no comparison to six years ago. It's not the same city.''
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An Interview with Ms. Emily Alabi - San Francisco
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Johnny: First and Foremost, thank you for taking time out to interview with www.lavozdelmambo.com It is truly an honor to interview you. The first time I danced with you was in 2003 at the L.A. congress, I couldn't believe that you were as good as you were despite your age. I knew right away that you would be a salsa superstar some day. Then I watched you dance at the 2004 L.A. Salsa congress and realized; despite your age, you already were a major salsa star. Wow, what a difference a year makes. Many well-known dancers describe you as a salsa teen prodigy! Your talent level for this dance is amazing! It's scary to think about how good you will be 5 to 10 years from now if you decide to stick with salsa dancing. How did you get into salsa? How old were you when you started? Emily: The reason I started dancing and I got into salsa was because my Dad was a dancer with The Latin Symbolics and he wanted my brother and I to get involved. He started taking us to the salsa classes twice a week with dance champion Ava Apple. The funny thing is that at first we didn't like salsa at all! We were so involved in sports that we never realized how much fun salsa dancing brought to our lives. We always complained that we didn't want to go to the classes, but now dance is our life! Our eyes were opened to salsa when for the first time we went to the L.A. salsa congress. After seeing all of the amazing dancers, and seeing how much fun it was, we were determined to learn and be great. I was about 9 or 10 when I first started taking classes. -->CLICK HERE for a video of Emily and Junior competing at the San Francisco Salsa Congress (On2) Johnny: You have more salsa accomplishments as a youth than most salsa dancers will have in a lifetime. Some of these accomplishments consist of the following: |
FREE ONLINE Salsa Video Links
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Go to the following thread to submit your video link or click through the different links. Ill get the ball rolling. Please report if a link is broken. WARNING: Some sites have bandwidth limits, so if you see it the first time, download it, cause you may never see it again. -->>CLICK HERE FOR THE LINKS . |
Tsunami Fundraiser Success! Thanks Salseros!
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Friday night had a fantastic turnout for the Tsunami Fundraiser at Azucar Latin Nightclub. Thanks to the initiative of Azucar and SalsAddiction, and with the help of 96X Radio and A-Channel, the night was an overwhelming success. Well over 300 people showed up throughout the night helping out to raise money for Unicef kids who were survivors of the Tsunami. It was just another way of showing how Salsa music has united everyone to help out others in need. The night started out early (8pm)as many eager beginner salsa goers showed up to watch the veteran students learn the latest salsa moves on the dance floor. By the time it was the beginners turn to strut their stuff, there was over 50 students wanting to get in on the fun. After the lessons finished around 10:30pm , the crowd was then hungry for the band to start playing. Unplanned, 2 bands were actually asked to play Friday night, X-Band and Sonora Tropical, but because of some technical difficulties, one of the bands had to bail. Fortunately, nobody knew any better and we all had a great time.
To donate to UNICEF go to their donation page by >> CLICKING HERE <<
To download real player WWW.REALPLAYER.COM |
Interview with Yesenia Peralta - New Jersey
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SPECIAL NOTE: Edmonton had the special pleasure of hosting Danny and Yesenia last year April 9& 10,2004 for some workshops and a salsa evening with performance by them. Johnny: First and Foremost, I would like to thank you for giving me this opportunity to interview you for "La Voz del Mambo." You are admired by many aspiring dancers all around the world. I personally know several exceptional dancers that have studied your following and styling. What is the key to becoming a good follow, stylist, and freestyle dancer? Yesenia: Well first I would like to thank you for your interest in interviewing me. In my opinion the key of becoming a good follower is to study the different types of leads guys have. Once you can understand the signals and remember to focus on following first, you will feel the flow and then feel comfortable enough to put in styling. Sometimes ladies styling get in the way of following so my advise would be to first focus on following and then the styling. Styling is something that takes time, being comfortable and confident with your dancing. My advise is to get so comfortable with your basic steps so that you don't have to think about it and then start playing around with your styling. And as far as free styling, again, you must feel comfortable with yourself on the dance floor by perfecting your basics everything else will come naturally.... Johnny: You have several classic congress performances. The energy you exude on stage is, at times, amazing! Do you consider yourself a natural performer or is this something that required a lot of hard work? Are there any other activities or hobbies outside of salsa that contribute to your performance abilities? Yesenia: I believe I am a natural performer because I am truly having a good time while on stage. But it varies with everyone, some people need to work on it and understand what the audience is looking to see or feel, while others, just simply go up there have a good time and at the same time amaze the audience. I believe that outside of salsa something that helped me enjoy performing was growing up with my sister Irene Otero and brother Ismael Otero. Both of them, while I was growing up, use to break dance in the streets of jersey and they were two of best. My sister would challenge anyone, anywhere and would usually beat them, ha ha..... by the fifth grade Irene and Ismael were helping me choreograph numbers for local talent shows in grammar school and I won every time....so yeah my upbringing is definitely a big part of why I am where I am, and I owe it to my family. My brother use to make up beats with the keyboard at home and then he would take me to the park to teach me how to do back flips. I was performing with a freestyle group by the age of 14 performing in festivals and things like that. Johnny: You have trained many well-known dancers and inspired many great dancers through your instruction. How does it feel to see dancer you’ve trained develop into a salsa super-star. Yesenia: Well in my opinion everyone has the capability to be a "Salsa super star" if thats what you would like to call it. I feel great when I see all my friends doing good and enjoying themselves. When the occasion comes that someone that I have trained gives credit to me for what ever reason, It feels good. It is always nice to be recognized for hard work. Johnny: Currently, you run The Caribbean Soul Dance Academy with Ismael Otero; you have performed all around the world; you are a world-renown instructor, performer, and dancer; and you've performed with and trained some of the best dancers in the world. What can we possibly expect from Yesenia in the future? What inspires you to set and accomplish new goals? Is there anything within Salsa that you have not achieved already? Yesenia: In the future I will be working very hard with the kids in my area. I have started a kids program at my school and my plans are for this program to be a big part of my life. I have many many goals and that's what keeps me going, that is who I am. I work full time at a multi-million dollar Law Firm, I am a parent of a wonderful 10 yr old daughter that completes who I am, I am currently part of Fogarate Dance Company, working with my brother Ismael on occasion and also with my partner Danny. This year alone I have done 2 instructional videos with Shaka Brown from D.C, the 100 moves for 2004 video with Ismael filmed in LA, and Beginners gone advanced video with Ismael as well. What inspires me? hummm my daughter inspires me, kids inspire me, beautiful memories inspire me, my family and friends inspire me, life inspires me. I experienced one of the most life changing experiences when I was in The World Trade Center the day of the attacks and feeling what I felt, seeing what I saw, it has changed my life. Stay focused, learn, make friends, make money, make memories, laughs, sing, cry, love....... that's what inspires me. Johnny: Any additional comments: Yesenia: I would like to say thank you to La Voz del Mambo for keeping what we do alive. For anyone interested in contacting me please go to www.kissyesenia.com This year Ms. Yesenia Peralta will be honored at the Los Angeles Salsa Congress, she will also be teaching beginning in February in New York City at The Soho Dance Studio by popular demand! Be sure to check out this amazing performance by Yesenia and Danny, courtsey of www.iMambo.tv ->>> CLICK HERE <<<- |
ATP WORLD SALSA EVENTS 2005
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GET READY FOR THE BEST SALSA EVENTS AROUND THE WORLD ALBERT TORRES PRODUCTIONS, INC IS PROUD TO ANNOUNCE THE FOLLOWING EVENTS IN 2005 ATP EVENTS 2005
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An Interview with Alfredo Piceno
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An Interview with Alfredo Piceno - Atlanta, GA JJ: You have had a major influence on the Atlanta Salsa Scene. What are some of your Salsa highlights as an Instructor, Performer, and Director? AP: As an instructor, I feel that I had a huge role in raising the competitive level here in the Atlanta market. I see my students grow in their dancing and it makes me proud, almost like a father watching their children grow to become better. The best feeling is seeing our students out on the dance floor practicing what they have learned, and having a great time. As a performer, introducing Atlanta to flashy choreography and LA style tricks helped create a new need or desire to learn Salsa in the Atlanta Market. It makes me proud that I contributed in building the Salsa scene that we experience today. As a Director of Salsambo Productions, there have been many highlights with different generations of dancers. I took non-dancers and turned them into professional dancers. Most of which are instructing and performing today. My greatest highlight would be that I have seen some of Atlanta’s best dancers take their first steps. JJ: Salsambo Dance Co. achieved a lot of success and notoriety. What keeps you motivated to strike for the next level? What can the Salsa scene expect from Salsambo in the future? AP: motivation is new dancers with the hunger to learn. Each generation of dancers helps raise the bar of competition and quality. It is this desire to learn that motivates me to choreograph more complex routines and create better events. The Salsa scene should expect to see more of Salsambo. Salsambo’s project list has more than tripled since the beginning of the year. The Salsa Contests and Dinner Show is just the beginning. We are an active part of Community Outreach. You can expect to see a kid’s performance group in the near future. JJ: Although you have had success as a director of a dance company, how would you describe your experience of working with Francisco Vasquez and performing with Los Rumberos? AP: All I can say is that I have become what I am today because of my experience and training with Francisco Vasquez and Los Rumberos. I am grateful for the time that I had with the company. I really miss those days. JJ: During your time in Atlanta, have you seen growth on the Salsa scene? What do you feel is the key to growth on the Salsa Scene in Atlanta, GA? AP: Atlanta has experienced a great growth. Atlanta has changed from a social level to a more competitive and aggressive level. The Salsa Scene here is developing rapidly. I feel confident that the Atlanta quality is not to far from LA or NY. The key to this success is to continually raise expectations. Two things are very important. First, the positive competition of Instructors is good in creating a better Salsa scene – it pushes dancers to not only do more, but to do their best. Secondly and most importantly, as long as we see a continued support & hunger to learn from students, Atlanta will continue to progress in bettering the Atlanta Salsa Scene. JJ: Any additional comments: AP: I want to thank Atlanta for all of the support from day one until now. Without you, Salsambo would not have grown into what it is today. I wish I could name every person I am thankful to but there are just so many. Thank you for considering me for your publication. I am flattered that you chose to interview me. Alfredo Piceno http://www.Salsambo.co |
Interview with Diana Nunez
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NOTE: Found the following off www.lavozdemambo.com. Thought that Diana would be a great inspiration for the female dancers. Make sure to check out her video as well courtesy of mamboston2.com Interview with Diana Nunez
Johnny: First and foremost,, thank you for taking time out of your schedule to have a virtual sit down with me :). You are an amazing dancer! For ladies that have aspirations to dance at your level, what recommendations do you offer? |
A Performer Vents, A Promoter Responds...
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PAY ME!! By Gordon Neil It’s time that somebody said something about it out loud, so I guess that I’ll be that someone. Why are we still being shorted out or our respect and our money? You might be asking, “Who is ‘we’?”. We are the reason that people go to congresses. We are the reason that people travel from place to place to attend congresses. We are the reason that people pay anywhere from $30-$50 to get into the venue. You must have figured out by now that I’m speaking of performers. Dancers, to be more specific (And yes, I’m very well aware that people go to see the bands and also dance the night away. Just work with me on this one).The last count that I got on the number of salsa congresses/festivals/cruises/shindigs (or whatever you’d like to call them) that take place around the world was somewhere in the neighborhood of 60. That’s right 60. Considering that, I think it’s safe to assume that “promoters” have recognized the market that exists for these events. We can also safely assume that there’s more than goodwill at the heart of these events. But ask how many of these promoters actually pay everyone what they’re worth. Better yet, ask how many of them actually pay everyone period. But then again, I guess you can’t expect them to pay everyone. Especially when you consider that most of the people that perform at many of these functions have no business being within a ten block radius of the stage. And if they are near the stage it should only be as a member of the audience. Now please do not misunderstand. I know that someone is going to read this and say “What an ass! He thinks he’s the living end and last word on who deserves to perform and who doesn’t.” And to that I say two words - Oh really? What would you say if told you that tickets to my favorite nephew’s elementary, or better yet, high school talent show were 35 dollars. You’d probably tell me to have a good time as I attend it solo, and to call you when I get back home to let you know how he did. And that’s only your response if you’re trying to be civil. Because otherwise, your first response would probably be “Have they lost their fu#@!$* minds! Who goes to his school, B2K and Bow Wow?!” Well guess what folks-that’s just how people feel when they pay that much money and actually do get something resembling a high school talent show. Do any of you know why promoters have amateur groups and couples performing at these things? 1) To have filler material in between the genuinely professional acts. 2) To get more attendees from the areas producing those amateur acts (you know how we love to come feel a part and show moral support). 3) To have just as long a show without having to pay those performers who make the show as good as you hope it will be. So bottom line-you can’t blame the amateurs. I mean hell, if somebody gives you an opportunity to get on stage, then what else do you do besides take advantage of the situation? But here is where the plot thickens? The amateurs, and not just amateurs, but those who have no respect for their craft, are the ones who drive down the pay of those who actually deserve it. And to take it a step further, forget about who deserves pay and who doesn’t. The way I see it, if someone wants you to perform on their stage, regardless of whether or not you’re an amateur or a professional and regardless of whether or not you make the earth move when you perform, you are providing a service and deserve appropriate compensation for it. It is when dancers get on stage and allow promoters to screw them out of their worth that everyone catches hell. It is when you actually pay someone to perform at their event that you spit in the face of those who have worked so hard to be in a position to negotiate a contract. Because all you just did was pull the rug from underneath them. And you may not be aware, but many of the people who put these events together care about 2 things and 2 things only. Getting enough of a show to sell and making money doing it. They don’t care about the art, the dedication, the sweat, the strain, the debt, the passion, the pulled muscles, the broken bones, the backaches, the cost of costumes, the cost of studio time, the cost of airfare, the ridiculously long rehearsal sessions, your child/children, your apartment’s rent, your mortgage, or the extra job that you might have to endure just so you can pay their bootleg asses to be on their stage as if they were your agent. However, it is not my belief that all of those who promote salsa events are trying to get over on us. Well, not consciously anyway. But those of you who are promoters who get a chance to read this, must realize that all of these messages are what you send to us when you do any of these things. I once had a conversation with a very well known promoter (whose name I will not reveal) in which he said that he does not care about the concerns of one group that is only on stage for 5 minutes when he has so many others to work with. Now you can make of that statement what you will. Suffice it to say that I personally lost much respect for that person. The sad thing about it is that the attitude he possesses is common amongst promoters. Tell me, are those who pay money coming to see the one who put it together or the ones performing on the stage, giving of themselves to all who are watching? I doubt that anyone gives a damn about who’s promoting the Prince concert. All they really want to know is where the show is and what time it starts. Do you know why? Because Prince is the attraction, not the white guy who called his booking agent to set up the show. We deserve what is owed to us dance professionals. Regardless of how big or small you think you are, what we do is precious and is a divine gift not to be taken lightly. But we have to value it that highly if we are to demand our worth. In the movie “Shakespeare In Love” there’s a scene where all of the theater professionals (actors, playwrights, playhouse owners) banded together against the system. Earlier in the movie, there was a brawl/fight over artistic differences between these same people but now they shared a common problem and goal. One of the playhouses had been shut down because of politics and the owner of the other rival playhouse came to welcome the cast to perform the play at his theater/playhouse. Stating his reason for doing so he simply and eloquently says, “Let us show them that we are men of parts”. In other words, “Let us show them that we are actors, playwrights, and artists. And that we are proud of what we do”. I believe that there is more to salsa, mambo, latin dancing-whatever you choose to call we do. There is more to it than just flash and sensationalism. It has grown beyond just being something for the nightclubs and fellow salseros. It has acquired form, technique, and discipline yet manages to still possess unbridled passion, pure artistic _expression, and raw humanity. How can we not see the value in it? If we don’t respect it, then neither will anybody else. Not with their money and not in their hearts. The only way to effect a positive change is for us all to band together and demand it collectively, in unity. If not through formal organization, then at least through the way we conduct ourselves in our individual business dealings as artists. But do keep in mind, there is strength in numbers. If we all demand the same things, then we leave others no choice except to respect our wishes. If you charge too much for someone to use your services, and they can’t find many others that are cheaper, then that only means they’ll have to pay less to someone who is less qualified to give them what they want. In the words of one of my mentors, “If they want you, they’ll pay for you”. And DO NOT misunderstand. There’s much to be said for negotiation, but do not simply give it away. And then after it’s all said and done, there will be less half-ass events with mediocre shows that last way too long. Because believe me, no person in their right mind will dish out money unless they think that they’ll get what they’re paying for. But please realize that this means that we all must get on top of and stay on top of our game artistically and professionally. We can’t demand what we’re not worth. It is then that things will be as they should be. And hey, if you’re worried about people getting a chance to get broken in on a stage and pay their dues, then let them. But not at the expense of everything else. I hope that this has offended some of you and enlightened the rest. Just because we are artists does not mean that we have to starve. “WE ARE MEN OF PARTS.” And the next time someone tries to disrespect you, just say what I say……. PAY ME!! -Peace, Gordon Neil P.S. – If this seems like I was getting something off my chest, I was. For those who would like to give your thoughts on this or post it on any website you have my expressed permission. Email me at revoludance@yahoo.com -------------------------------------------------------------------------------- Response to "Pay Me" from a promoters point of view - by David Melendez You know I do understand what you were talking about. I too use groups that may or may not have any business on the stage, but you also have to understand that it takes a lot to put together a well run congress, festivals, cruises or shindigs like you put it. Don't get me wrong, you are right in many respects but if you ever took the time to see what goes on in an event there was a lot of money already spent before you even got there. Many also believe that promoters like Albert and myself walk around with a ton of money in our pockets because of the congresses that we do. Man I can tell you from the heart that this is the furthest from the truth. I like every person who works struggles to pay bills as well. The one thing that I am very proud of is that when I do hire an instructor I take very good care of him or her. They do not have to look for me to get paid. I walk around with their money in my hands and as soon as I see them THEY GET PAID. I do apologizes for some of those wannabe promoters who feel that they can do things done haft fast Lets take a look at what it cost to put a congress together without stating any money amounts: We have to print flyers to get the congress known We need to set up a web site so we can tell the world that it's happening I use a hotel which gives me a quota on the rooms. If I do not make my quota I have to cover that bill. Now if i make my quota i get a discounted ballroom Hotels also charges the promoter for the lights that are being use - yes dancers do want to dance in a room that's air conditioned They even charge the promoter to hang up a banner - yes this is a fact and you can ask any hotel we get charged for every banner that goes on the wall If we use a credit card to make it easy for the attendees to pay guess what -- we get charge for every phone call that is made-when there is a credit card transaction there is a phone call involved. On top of that the credit card company also charges us. talk about getting it from both ends A dance floor is needed all dancers want to dance on a nice dance floor and these dance floors are not cheapyes we do pay for these dance floors Sound System - I have to hire a sound person to bring in their sound system so that the DJ's or bands can have a way to play the music If we hire a band do you know we have to pay a deposit of 50% for these bands to come and play. Imagine getting an out of town band. You have to fly the band and house them in the hotel and paid them. That is the reason why I only use home town bands if I use a band at all because flying a band down is costly and man there goes your budget. Of course we have to hire instructors. If they are from out of town we have to fly them and house them and pay them for their teaching which is cool by me but we can not hire everyone. So i have to say that it is not the amateurs like you say that drop the pay for the professionals just look at the list of things that we have to do before we even start an event It cost a lot of money to put something like this together That's why there are some congresses that make it and some that don't. Dude I love you and I do understand your pain but give the promoter a break. we are not rich and we struggle to put together an event that people can enjoy Plus if you have ever done a party you will know how much work it is to get it to work and bring in a crowd. For a congress is 10 times the work. Yes it is true i do many congresses and yes I tend to use the same dancers that work with me but those dancers work with me and i enjoy hanging out with them as well I do not feel that i have to kill my profits for the sake of bringing the who's who of salsa dancers/instructors. Yes I said the word "profits." I am not in this to lose money this is first and foremost a business and I treat it that way in any business the main objective is to make a profit I handled my dance school like a business which is why I am successful and i handle all my congresses the same way which is why I am also successful with my congresses. Hope you get paid my brother and i didn't write this to create an enemy or any negative feelings still love you my brother. -Dave |
From a Salsa DJ's Perspective
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Celia Cruz and Margarita Latin Lady DJ Margarita! Published by Les Rivera Latin Lady DJ Margarita, one of the most lovable, popular and driving forces of salsa in the San Francisco Bay Area and Hawaii, is sharing her thoughts: On her own background: I'll start by trying to briefly summarize how I came to be a Salsa DJ. Born and raised in San Francisco, my Mom is from Barranquitas, Puerto Rico and my Dad is from Mexico, City Distrito Federal (D.F.). Music is a part of who I am. With regards to the musician in me, I wish I had applied myself to at least one of the many instruments I played as a youth. Today I feel that I would have made an excellent musician. Being a Dj is as close as I can get to that. At the urging of my youngest sibling I went on to purchase my sound system in 1996 and started promoting Salsa in Sonoma County, where I moved to in 1979. Prior to that, I was always asked to bring my selection of Latin music to all our family functions. Never did the thought of becoming a Dj ever enter my mind until my sister said I would be great at it, and even then it took me quite some time to convince myself that I could do it. Eventually, I moved to Honolulu Hawaii in 2000 and began promoting my services as the only female Latina, Salsa Club and Mobile Dj on the island. I worked steadily in a number of venues and events and even created "SALSATHON". I remained in Hawaii until Sept of 2002 and had returned to the mainland for personal reasons. Immediately I became involved in the Salsa scene here via the 1st SF Salsa Congress (Nov '02), and was invited to the 5th West Coast Salsa Congress (May '03) by Albert Torres. Since then I've been invited back to both Congresses SF (Nov 2003) and 6th West Coast Congress (May 2004). Currently looking forward to my 3rd year in SF (Nov '04). I am currently hosting my own Salsa radio program "Alma Caribeńa, which airs each Friday from 7-10pm on KBBF Radio 89.1 FM in Santa Rosa, CA (Bilingual Broadcasting, Public Radio). I also hold the position of Executive Administrative Assistant for KBBF, and I promote a Salsa night in Santa Rosa, CA at Flamingo Hotel and Resort on Thursdays, called "Rhythm 'n Spice". On keeping salsa alive and growing: I never imagined that I would ever be such an active part of any “scene” let alone, “Salsa”. I’m committed to sharing Salsa wherever I may find myself. Currently, I promote the music, musicians, dancers, instructors and the positive energy that Salsa creates in a variety of environments. Whether it’s a private party, a corporate function, a nightclub, a festival or any celebration, Salsa does indeed make a positive difference. I’ve chosen to be an “Ambassador of Salsa” and I will continue to share it and keep the Salsa flames lit wherever life takes me. On keeping dancers happy with the music she spins: I believe that the saying went something like this… “You can please some of the people some of the time, but you can’t please them all”. Well, perhaps it didn’t really go like that at all (smiles). You have beginning dancers all the way up to the professionals. Each has his/her preference as to what they like. I try to cater to each one of them. Through Salsa, I’m building, forming relationships. If you’re not keeping your dancers happy, you’re not going to see them on the dance floor and you’re not going to have that job very long. I have learned to watch my dancers, see who enjoys what. It’s such a combination of listening skills and being sensitive to your dancers needs and not just playing what YOU want to hear because you like that song. One word to describe it would be “Balance”. On selecting the right music, in sync with today and the local audience: I suppose that this is somewhat of a “two part” statement because it addresses two separate forms of selection. There’s the selection of how I select music when I purchase it, and secondly, how I go about selecting a particular song. I would really have to say that it is primarily an “ear” thing. I’ll explain that since I was very young, I always had an “ear” for music. I picked up rhythms and beats and by the ripe age of “1”, I was tapping out the beat to “This Old Man”. It was the ear that pulled me into Salsa to begin with in 1972 when I heard two very wonderful musicians while visiting Puerto Rico: Cheo Feliciano with his first release “Cheo”, and Willie Colon / Hector Lavoe and their release “El Juicio”. After the ear part, it’s all about finding out the what, who, the when and where can I get it my hands on it. I am constantly online looking and reading about the latest hits, I subscribe to an industry magazine and belong to a record pool. The audience will also feed you information, and if you’ve got your “ears” on you can learn quite a bit. I listen to Salsa online as well with a variety of Dj’s local and around the world. It’s a continual learning process with each new release and group that comes out. At the clubs or on air, the selection process is spontaneous and it’s all about what I’m feeling from the music and that just leads me to my next selections. On dealing with musicians and artists: For me personally, this has been an area of complete and utter joy. Not one, but “all” of my experiences with musicians and artists has been nothing less than perfection. All positive! My first experience with an “Artist” was with our beloved and now passed, Celia Cruz in Honolulu, Hawaii July of 2002. She literally touched my life. Although the moment was brief, it will indeed last a lifetime. I believe that I don’t “deal” with musicians and artists as much as I co-operate with them. After all it is a working relationship. They have a job to do and so do I. I treat them with respect and I’ve been fortunate to get the same and then some. I haven’t come across any musician or artist that thought he/she was too important to talk to me. I suppose that’s also because as Dj’s we play an important part in the unfolding and promotion of their music. I’ve used this quote before and I’m going to use it now, “The Artist Creates the Music, The Dj Delivers the Message”, Jorge Laureano of ClaraSalsa. Whether it’s a local group from the Bay Area, Orq.Borinquen, Conjunto Alegre, Orq. La Verdad, or local from Canada, Con Cache, or Havana NRG, Spanish Harlem Orquestra, Son Boricua, Jose Mangual, Jr., let’s add to that list, Jimmy Bosch, Ray De La Paz, Frankie Vazquez, Oscar Hernandez, right down to my good friend Don Jibaro, who contributes so much to so many, I've found each orquestra and each member/musician to be unique and quite special. I'm honored to know each and every one of them and call them "friend". You ultimately get back what you give in life. For me, I believe I’ve received way more than I’ve given so I’ve got some catching up to do. On dealing with promoters and presenters: I’ve had experiences on both sides in this area. There are organized promoters, and there are those that need to work on several, to many areas in their events. We as humans can always find things to criticize. Or, we can find ways to help make things better. For me personally, I'd rather be in the ring, trying to make things better, than to be out of the ring, on the sidelines, telling someone else how they can do it better. Promoting an annual event myself in Hawaii allows me the ability to say that putting on a promotion/event is not an easy task. Even the best laid out and planned events, cannot foresee everything, although the promoters do try to think of every possibly scenario and a what's needed, sometimes things get left unattended to and will eventually rear up and bite you when you least expect it to. Promoters and event producers have an intense and stressful job. Unless you've been in their shoes I feel it's almost unfair to criticize, since we're not the ones dealing with all the financial burdens and logistics that encompass this type of job. As a Dj working for a Promoter and Presenter I've have had an almost perfect record of positive events. However, there's always one out there that didn't take care of their talent. We live, we learn and we take that forward to help us along the promotional path to creating better and more successful events. On dealing with dancers: I love to see people dance. You simply cannot be "un-moved" by the genuine smiles that radiate from those who are enjoying via dancing, what you are playing for them. Being a Dj for me allows me to be part of something that I feel we need in this world and that is simply an environment where hate does not exist. Dancers simply love to dance. They are there to dance, not check out what who is wearing or that this person is Russian, or Japanese etc. I truly am there for them and whether it's a club or a private event, I know that I'm either going to make that evening a success or not via what I play. I permit any and all to come check out what I have and make requests. Dancers are always coming up and asking for this song or another. I will honor their requests as long as I have it and then I will fit it in appropriately into the evening's line up, wherever I feel that it would be just the right time for that particular selection. If I've just played two merengues and their request is another merengue, I would probably play it in the next set of merengues. I want to always take care of my dancers. On dealing with the non-dancer listening audience: I treat my non-dancing / listening audience with exactly the same respect as I do my dancers. After all, not every feels that they can dance and the music will still do what it's supposed to and that's touched them, somehow and someplace. I do my utmost best in giving the non-dancing listener the same consideration, while ensuring that what I'm presenting maintains the level of quality that I like to give in each and every one of my presentations. That goes for both clubs and radio. On making the sound appear as good as it can where she spins: Sound is such an important issue. There are so many facets to consider here. When promoting an event with live entertainment such as with a Salsa Orchestra, I hire a local sound engineer, one who has more experience in ensuring that the sound is at its best. When I'm setting up my own equipment, I get there early and do a sound check. I walk around the entire length of the room where I'm going to play and try to envision it filled to capacity with people talking and noise, I listen to hear if I can hear the music over the chatting and background sounds. I take into consideration the fact that I want my sound to be "non-obtrusive" meaning that people can indeed hear themselves talk over the music. The most important thing I think a Dj needs to do is to watch carefully how people are reacting. Sometimes the music itself will change in range of intensity and for a moment it gets really loud, I'm always looking to see if people have their fingers in their ears and we generally know if we're blasting someone's eardrums out. For those that dance closest to the speakers. I recommend ear protection. Paying attention to sound quality is a must; you always want to get the best sound out of each song played. On dealing with sound technicians controlling the sound equipment she uses for spinning: I think I just answered this one above in that I control my own sound for my personal equipment and I hire out a sound professional for all my live entertainment presentations. I've been fortunate that I've only had to use one sound engineer and he's as much a professional as I am in that we want only the best sound possible. I'm happy to say that this is exactly what I get. On the rewards and idiosyncrasies of being a DJ: The rewards are many, meeting new people all the time, making new friends, getting to meet great musicians and recording artists, traveling to spin Salsa, continually finding "gems" of music and just being in such a great environment week after week. The respect you get is also rewarding. People look up to you and truly value your friendship, not because of a "what in it for them" attitude, but because you've already given to them by virtue of what you share with them in the form of music and self. It's a great feeling to know that you're respected for what you do and that you know you're doing a good job while making a positive difference in the lives of those you touch. It is a mirroring effect because I too have been blessed with the same gift from them. I think that on the flip side of being a DJ, I have to say that I find myself at times becoming critical of other DJ's. Not that I want to mind you, but every now and then, for a moment I think, "what the heck is that?" or "that sucks". I catch myself because it's not where I want to come from. I actually had a Dj come up to me and ask me, "does my dj'ing suck?" There was a way I was going to hurt them, if I came out and said that it did. What I did do was suggest that they listen to the music and if it didn't move them to get on the dance floor and dance, that it probably wouldn't do that for anyone else. Not that this is completely true because some people just want to dance. I go as far as sharing information about what's good and who's hot in the industry, "have you heard this yet" or "you should get this". I had help along the way and when I find myself being "critical" of others I try to change that by finding the way to help. I just don't want to be negative and when I find myself being so, I look for the way to change that behavior. After all, being in a place where you're respected and looked up to comes with its own set of responsibilities. For me, I just need to act in a manner that doesn't hurt anyone including myself. On DJ talk between playing CD's: On radio this works. Personally, unless there are announcements to be made, acknowledgements or invitations to upcoming events, at a club I don't generally talk between playing CD's. I don't think people come out to hear me talk. Having gone to other clubs where they mix banda music and throw in some salsa, and on top of that the Dj not only talks between the music, but over it, under it and through it, cutting off the music to hear himself talk, leaves me frustrated and I end up leaving. So, it's safe to say that I you won't catch me doing that. On the air with radio, it's completely a different story. I talk in between to share about the music I've just played, what's coming up and of course to let people know that they can call and request their favorites as well. On being a female DJ in a typically male dominated DJ enviroment: Is it a male dominated DJ environment? (Smiling) It is what it is and yes, there are more male Dj's than women. So what does that mean to me? Am I competing with them? The truth is that it indeed is a "Boy's Club" out there (as some of us have come to call it). Hey, there are more male car mechanics than women, there are more male soldiers than female and there are more male DJ's than women. Ok, and? All I can do is be the best that I can be, give the best that I can give and hope that the best will come back to me. In Hawaii, at a DJ meeting held at one of the clubs that I DJ'd at, I remember someone actually saying out loudly, "Margarita, you're competing with the rest of us". I politely said, "No, I'm not. The only person I'm competing with is myself to best the best I can be. Now if in doing that you feel that I've raised the bar of quality of music being played and you feel like I'm competing, then it's all good because you'll all be putting your best out there too, so follow me boys". They laughed. They listened. I've never experienced much in the way of "Boy's Club" vs. Lady Dj. I knew that if I was going to make it, I would have to put my whole heart and soul into becoming a very good DJ. I continue to strive to be that very good DJ, at each gig and each time I open mic on the radio. I compete with none, save myself to be the best that I can be. I've been accepted for who I am and what I bring to the table. Guess I can't really ask for more than that. If I could ask for something it would merely be that every Lady Dj be treated with the same respect that I have experienced. It all boils down to the Golden Rule, "Do unto others what you would want others to do unto you." Show basic common courtesy and respect. I know what the situation is and all I can do is giving it my best. On how a DJ compiles a "Top Ten List" for her area: Listen. read, more listening, rate. As a radio host for public radio, I play a variety of music. I try to stay on top of what's being newly released and belonging to a record pool helps as well. I do have several labels that send music also. I know that we play that role in helping to promote the music and compiling a "Top Ten List" means what ten songs do I feel are what are "Hot" right now! It continues to be what moves me the most, what music reached me deep inside and why. What was it about that particularly sound that perked your inner ear up and stirred you inside. From there I take about 30 songs and start the process of elimination to what I feel is my top ten. I get calls in from the audience and I always log their requests. However, in my area the number one requested song is still "Una Aventura" by Grupo Niche. I smile and most graciously play their request at some point in the program. Keep them happy! On how a DJ reacts to positive and negative criticism: Positive criticism is always a good thing and I think we grow from it. Or, we can believe our own press, have our egos inflated and feel like we can do no wrong. It's all a matter of perspective and relative to each individual. I can't speak for other DJ's, but I'm human. No one likes negative criticism. But we can always learn from negative criticism if we're open to doing so. Or, we can be indifferent and think we know it all and people don't know what they're talking about. Bottom line is that each person, DJ or not, will respond to both positive and negative criticism differently than the next. Knowing that it's easier to tear down someone than to build them up, I try to see where the criticism is coming from and then I do my own reality check to see if what they're saying is true or fits me. We are never too old to keep learning and I know I've still got a lot of learning to do. On why some DJ's are more popular than others: Knowledge, skills, personality, friendliness and a willingness to make yourself available to those who come out and support you week after week would be key points to note. It's all the above and add to that the personal touch. We do make a difference. I smile at the people, I give my personal time to each person who wants it, and I make time to listen to what they want. I don't think I'm the best, and I won't profess to be that either. I just know I give my best. You've got to be out there working it if you expect to be seen and heard. In Hawaii I made it a point to support almost each and every Salsa event that took place on the island. I was there for the DJ! I seldom left the DJ's side, listening, watching, learning and supporting. It goes without saying that this helped my visibility and people began to know who I was and friendships were formed, etc., etc. Ultimately it's who we are that attract people to us. You add to that a great delivery of Salsa and you're on your way to becoming popular. If you do a bad job, you'll be popular too, just not in a positive way. On the difference between being on the air (radio) versus spinning in front of a live audience: I believe they are both live audiences (smiles). Ok, for the sake of differentiating the two. When I'm at the club, I'm working towards creating that perfect dance mood while playing quality music. I want to leave them wanting more when the club closes its doors. I love it when someone comes up and says good-night because they have an early work day the next morning and we bid one another farewell, and about 45 minutes later I look up from my music or system and notice that they're still on the dance floor working up a sweat. I'll say something like, "hey, didn't you say goodbye almost an hour ago?" and I'm smiling when they respond, "yeah but every time I started out the door, you'd play something so good I couldn't leave". Now that's a great feeling! On radio, I get a similar reaction and actually get to play a wider variety of music, which has been so well received. Some nights there are so many callers that I find myself juggling with answering the phones, selecting the music and talking to the listeners and inserting the discs remembering, "now what was I going to play?" It gets that busy and the three hours fly. The only difference is that in radio I'm talking to my live audience via a microphone and they can't see me. But I guarantee that they do indeed "feel" me, and what I share with them week after week after week. I truly love both. On keeping up with a very busy schedule: I'm happy to have such a busy schedule. Keeping up with it can at times be challenging at best. However, I wouldn't change a thing about my life, what I do and the blessings that I've received from being a Radio Host, Salsa DJ, Event Promoter and Executive Administrative Assistant for KBBF Radio. Believe me, they are all full time jobs and just because my three hours of on air finish at 10pm on Friday, that doesn't mean that I'm not working throughout the week getting ready for next week's program. I am. I'm a full time DJ / Radio Host / Event Promoter in my mind, heart and soul. I've juggled all three and the full time job at the station in addition to traveling more this year than every before. How do I do it? I just do. I just keep a positive chin up and when I'm tired I sleep and when I'm hungry I eat. "If you think you can, you can. If you think you can't, you're right about that too". Thank you for this opportunity to come into the homes of your readers and share my views about my life as a Lady Dj, Les. It's been a privilege to have you as my friend and I want to extend an invitation to any woman that feels like she'd like to be a Lady Dj or Radio Host to contact me and I'll see what I can to help. God Bless, Latin Lady Dj Margarita! www.latinladydj.com www.salsathon.com (707) 318-4299 |
America Rosa Celebrates 15 Years!
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America Rosa is celebrating their 15th Anniversary this weekend (Nov 19 & 20) at Azucar Latin Nightclub , and we wanted people to get to know this band and celebrate with them their obvious success in Edmonton and abroad. Question 1 : Of course members have come and gone like any band, we want to know who started this band and who were the original members of America Rosa? Also, who are the current members and their positions? Sergio Gonzalez: The founder of America Rosa of course it was me Sergio Gonzalez. My co-founder at the time was Mario Corte Lara. I won't tell you the original band members because there were too many to mention and too many changes through out the first year. Although, the only member that stuck with me through the years is my Mexican friend our keyboard player, Adelfo "Fito" Cerezo. The Present Band members are: Sergio Gonzalez : Lead Vocal Question 2 : Like any band, key people have to get you THE WORK and do alot to make sure the band stays fresh! Who has kept this well oiled machine together for its existence? Sergio Gonzalez: The band has been kept well together of course by me through the ups and downs no matter what all tese years. My dedication to my band and my band members is inmense. I had always worked with honesty and pride to whatever we produce in the band. Of course, my musical arrengers are very important in regard of keeping this band fresh in music and when we reherse the complete band puts and incredible input and energy to accomplish the end results. That is why this amazing musicians stick with the band. Question 3 : Of course many Latin Bands play alot of the same genres of music here. Is there anything that makes America Rosa different from the other Latin bands in Edmonton? Sergio Gonzalez : Our band is different from the other bands because of our dedication to the music, dedication to the people's disire of this music,and the continuing of always refreshing new Latin tunes. Question 4 : Most of our viewers on our site are Salsa enthusiasts and so we would like to know some of the Salsa songs America Rosa currently plays for its public. Sergio Gonzalez: Here are some Salsa tunes we presently play: Salsa con CoCo We are currently working on new salsa that everyone is going to love. Question 5 : Do you have future plans in the works that you would like the viewers to know about? Sergio Gonzalez : Yes. We are also working on original music that we would like to record by the end of next year. Chao Amigo nos vemos. Sergio >> FOR CONTACT INFO CLICK HERE Azucar Nightclub Future Dates - Nov 19, 20, 26, 27, Dec 10, 11 Delta hotel - New year's eve |
Salsa Freaks Love iBomba!
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The Salsa Freak Nights party at Alex Taylor on Saturday October 30th was billed as the super hot ticket for All Hallow's Eve. Ok, so it wasn't exactly Halloween but all the gouls and goblins and salsa freaks came out to party it up for a sold out party featuring the amazing Cuban style Jazz band iBOMBA!
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Etown Interview with Ismael & Jamie
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Etownsalsa.com had the privelege to interview Ismael Otero and Jamie Matos from Caribbean Soul at the Vancouver Salsa Congress, September 2004. We had a chance to ask them questions about themselves, their careers, and their plans for the future. Click the following links to see each part of the interview. Daine does some introductions Daine - How did you start salsa dancing individually? Ismael - For me it was pride! I was Puerto Rican and I couldnt dance. I use to be a good hip hop dancer and breakdancing and all that, and i use to think that salsa was for old people and wasnt interesting. So when I went to clubs in NY, I had to battle against all the guys. Then I noticed that all the salseros danced with all the girls. So I said there is something wrong here. I want to dance with girls and not with guys. So a friend of mine, he was a teacher. My mother said go to him , but i didnt like him. He's here now. Dont tell him. Luis Zegarra. He use to bother me back in the day. So anyway, I went to his classes. Picked up the basics, and after that, I put in my own style. And the next thing you know, I'm famous. Simple as that and Jamie... Jamie - For me ,I knew how to dance merengue , bachata, everything, except for salsa. I use to dance salsa like this (she demonstrates with her arms going in circles). The side thing, all the time. So I'm like, I want to perform. And I always thought that I wanted to perform merengue cause I was the bomb in merengue you know. I wanted to perform merengue in a band but merengue was not getting me anywhere. And i wanted to perform, so i met this one in a club. I didnt know he was a teacher. I was like this guy is like scrub, but i danced with him and i clicked. You know? I clicked dancing with him. I was dancing and dancing and dancing. So I was like alright. He told me he was a teacher. I was like "yeah ok". I didnt believe him up in the beginning. Afterwards, I saw him perform. And I was like wow, you know what, I want to do that. And then he won a contest and we won $2000. I was like I could dance and win money. I'm definitely going , and Itold him I said," you know what? Monday, I'll be there in class" , and he was like "yeah yeah", cause I always use to say that but never end up going. So I actually ended up going. And from that day on, I end up going every single time. Until NOW, and its been 4 years. And from my beginning basic till now I'm still with him. Ismael - The funny thing is in the beginning she never wanted to dance. We'd be like, come'on lets go practice. She be in front of the club . She'd be like "NO". I'm like "NO!, you dont say no to me". She could still say no, so then I forced her up, started dancing and everybody kept dancing around her, in the beginning, she wasnt that great, so all the good dancers wouldn't really look at her. But she started getting better and better and next thing you know she was a great follower. You could do anything. I was like, oh my gosh, she follows everything. And thats like her strong point , no matter what timing your on, 1,2 divide by 12, she'll follow you. You lead her right she'll follow you anything. So as far as following, she's like the best one in a ummm, the world! Jamie - thank you Ismael - There's a hand full of women that follow anything and shes definitely one of them. Daine - What is your teaching style? Ismael - Very simple, make people understand what their doing, they will pick it up. Because everybody thinks there is some big gigantic formula, you know like mixing nitroglycerin. But if they understand what they are doing and they are comfortable, everything is easy. It is very simple, if I could do it then anyone can. Daine - Whats your, whats your saying your always saying? (what she meant: What is the phrase you keep emphasizing in class?) Jamie - (interrupts) Wawawawawawawa Ismael - wawawawawawwawa Alex - (hinting) Basics is everything Ismael - my, oh, as far as teaching?? Daine - Yes! Ismael - Basics is everything, basics is everything, basics is everything, and everything is basic. Before you make a building, you build a foundation. Alex - You also talked about alot of students that come in usually will always go to more of an advanced level Ismael - YEAH! I say that in my class. (looking at jamie) Beginners take intermediate classes, intermediate students take advanced classes, and professionals take privates to learn basics, and so we do it in reverse. But you know, I dont blame them, cause as a student, you dont want to do boring stuff. You don't know that its the most important but thats why I am here to push it and let people know that AY! Because in the beginning I would teach like 30 steps in one class and nobody would learn , everybody I ever taught was fundamentals and their own style would come out. Cause I dont want them to look like anybody else. Daine - Like copycats. Jamie - clones... Daine- clones! Ismael - mambo robots! Daine - So what is that you dont like about Salsa? Ismael - Bbasically when people dont have fun. I just want to have a good time, no matter what level people are, i just want to have a good time, people that do too much choreography, and they dont.. BAD LEADING, STOP BAAAD LEADING!! you know do your job Jamie - learn how to lead! hehehehehe Ismael - (looking at Jamie) learn how to follow! (everybody starts laughing) Jamie - I follow Ismael - understand what they are doing, dancing has to feel good, people forget that, they mainly forget that, the reason they wanted to dance is to have fun! and they dont Jamie - and actually today, there was one guy who told me, you danced with me yesterday and how did I do? and he was like, is my timing ok?, is my feeling ok?, is this alright? and hes telling me, and I told him, actually I dont remember b/c I was actually enjoying what we were doing, I was you know, feeling you out, I wasnt thinking like , damn this guy is doing bad basics, or hes , im not thinking that , im thinking like , ok (i think the following was one word) whateverwedoingletmehavefunletmesmile, blah blah blah and we doin that , I go to him, now if you ask me, dance with me now and tell me what im doing wrong, then I would focus on that, but why should I be focusing on that when we are social dancing, Ismael - you just reminded me a guy came up to me, he goes, hey did you watch me dance, yeah I say you dancing, he goes, "do you think im a good dancer? " I go , "did you have fun?", "yeah" , "then your a good dancer" , common sense. Daine - what advice would you have for dancers? beginners, intermediates? i would say like more the beginners b/c beginners always have such a hard time , even intermediates. like once you get to the superstar level and you go to like congress its just sooo... Ismael - (interrupting) beginners are very simple, learn the basics, after you learn the basics , try to come up with your own natural style , dont like anybody, TRY IT! Jamie - dont be shy, I mean I know I was , extremely, I really do not know how did I learn how to dance b/c I would tell no to everybody, everybody who asked me , I would like, "no thank you, no thank you, no thank you" and really dont know how I ended up learning. b/c your not going to learn , your not going to learn if your staying in the same spot. Isamel - back in the day in New York , there was a club called SideStreet in the Bronx, there was only a hand full of good dancers , if you could do a triple turn, you was eh eh ahh, (silently he says "da shit!") and I knew one turn pattern , let me show them what it was, I love this story, in this club if you was by the stage , you was a beginner, if you was by the exit, you were a professional, I DIDNT CARE! i knew one turn pattern I was right into the profesionals area, every bodys looking at me you dont belong in this section, I DONT CARE! I paid $20 for this turn. And this is the turn (he demonstrates the pattern) , and this is how I'd do it, (shows it again even more exaggeratingly basic) and then id do a cross body lead, and 20 basics, and concentrate , and do it again, and I did this one turn all night long, and around me swishh swish swish (describing the pros dancing super fast around him) so by the end of the night,I was soo use to it, I was like (shows the pattern again at a more advanced level), yeah ok, wasup wasup, hah!, cause i got USE TO IT! so thats definitely you know, b/c of the basics , everything is easy, not complicated. Daine - so if people wanted to get information on how to take your classes or where, is there like a website or anything Ismael - www.carribeansouldancer.com , one "R" two "B's" Daine - and is there anything coming up , like are you guys going to be performing anywhere soon like ... Jamie - here!! Daine - is there any big festival, well not tonite but is there fest, like i heard there is something in New Jersey, Ismael - the New York / New Jersey Salsa Festival , thats going to be OFF DA HOOK, we have the best dancers in the world , El Gran Combo, Jamie - tropical Gem Ismael - tropical Gem, yeah man, b/c of them im going to be there, Alex - whens that? Ismael - on november 23, thanksgiving weekend, at the Hyatt, and the Hyatt is actually affordable, only like $98 a night, and also , its close to our house, theres going to be a room , were going to play a little folkloric rumba , bomba, bachata, a little bit of everything, just to break the cycle, we love salsa, but not all night long man, Alex - whos invited? Ismael - johnny vasquez, tropical gem, charisma , santo rico, ... umm Alex - not the performers though, Ismael - not the performers? Alex - yeah, whos invited? (hint) Everybody Ismael - everybody (of course!), especially New Jersey but you know, its right on the river , everyone window has a view of the manhattan skyline, plus if um, after the parties, people still want to dance, ill go open my study , we'd have an after party. Alex - Cool! Jamie - You got that on camera right! Alex - yeah, yeah yeah, we got that man, we're waiting for it. Daine - ok ,well thankyou guys so much, it was excellent learning from you, and having to meet you, it was a great , really humble, and inspiration to all of us dancers.
Ismael - (thumbs up) |
Larry Harlow – El Gran Maestro of Fiery Salsa!
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Ismael Miranda is announcing the lead-in to the next part of the song. Those sitting down are jumping up with a roar and a loud applause. The salsa dancers pause for a second to take a good look. Ismael’s subject of announcement, the piano player of the band, is already way into ripping the piano apart. The spectacular Fania All Stars are performing live, while their onstage dancers are displaying some mambo moves that blow the audience away. The next segment of the song is going into a frenzy crafted into a riveting instrumental crescendo. The enthusiastic hoopla is focused on TNT sparks from Fania’s solo piano segment. Larry Harlow is detonating powerful sound charges into the air. The 30,000 plus outdoor attendees at the Puerto Rico venue is ecstatic about having their megastar artist perform right in front of their eyes! Today, 30 years in passing since the concert, and millions of new fans later, Larry Harlow shows no signs of slowing down. He is about to depart for performances in Puerto Rico, Miami, Seattle, and Oakland in just two days. In the 1970s he became the Chief Producer and Musical Director of the Fania All Stars. Today, Harlow has his own bands (bands, as in plural!), carrying his career to new heights around the world, and he is releasing new heavy hitting CD’s at a rapid pace! Recommended Harlow CDs Our Latin Feeling Larry Harlow was born Lawrence Ira Kahn in Brooklyn on March 20, 1939 in Brooklyn, New York. In the late 1950’s he went to live in Cuba because of his early fascination with Latin rhythms. There he studied the true Afro-Cuban sounds, which represent the roots of salsa. He stayed in Cuba until he saw Fidel marching in. The many times Grammy Nominee is also passionately known as “El Judio Maravilloso” (“The Marvelous Jew”) and “The Latin Legend”. Harlow was inducted into the International Latin Music Hall of Fame on April 5, 2000. Always known to be a true Gentleman, the very enthusiastic, fast paced and beloved artist Larry Harlow is pausing in his very busy schedule for an interview. The quick thinking, funny and bright Harlow comes up with the interview answers faster than you can say “Latin Legend”: Les Rivera: You’re as popular as ever. Tell us about today’s Larry Harlow and his own band. Larry Harlow: Well, Larry Harlow runs FOUR different bands right now. They are the Latin Legends Band, which consists of many band leaders, like Bobby Sanabria, Louie Bauzo, Ralph Irrizarry and guys like that. They have all been band leaders or they are band leaders. We all get together and we play together like a “dream band”. It was started by Ray Baretto in 1994. He has since gone out to play jazz and he dropped out. We include guest artists like Yomo Toro, Ismael Miranda, Junior Gonzalez, Cano Estremera, and Alfredo de la Fe, etcétera, etcétera. It’s like an add-on band with a 14 piece basic, and then we take it from there. Then it’s the regular Larry Harlow Orchestra; two great vocalists and new young singers, Emo Luciano and Luis Rosario. Then I do a show called Sofrito. It’s a family oriented show. We’ve been running it for years now. It’s in the mornings, from 9 to 12. The venues are Lincoln Center kind of venues across the country, which are programmed for children. When did you hear of musicians working at 9 o’clock in the morning? Oh boy, I am rich (laughter)! And then I have my Latin Jazz Encounter, which is a six piece Latin jazz group. We did our first album on Latin Cool last year. We are working on a second (album) right now. That includes Bobby Sanabria, Guagua Rivera, Chembo Corniel, Ronnie Cuber, and Mac Gollehon. We do that in jazz venues or jazz clubs or jazz concerts. So I keep myself busy between the four. I self-promote myself and I am my own agent, my own man. I have nobody to deal with, except myself. Everything is done by me. I have an extensive website, and I get maybe 75% of my business from the web. LR: What’s the address of your website? LH: www.LarryHarlow.com. LR: How do you build up the tremendous energy and passion you display at your performances? LH: I hang out with young women (laughter). I marry younger wives; that’s really what it is (more laughter). I have been married several times, and I have a wonderful wife now who works as a video editor. She keeps me young, she keeps me moving and she keeps me healthy. We keep up a very nice regimen. I am kind of surprised by all of it that I am having this renaissance. I guess a lot of people have been dying off and a lot of names have been dying off. The more that pass the more popular I get, because I am one of the mainstream guys that started it all. LR: Yes, your popularity appears to be climbing again like crazy. LH: Yes it does. Plus, I am in touch with a lot of universities, big concert venues, and corporate affairs that go on throughout the country and around the world. That’s the kind of business I am looking for. I am assuming there are only two clubs playing in New York City when there used to be two hundred, and that makes it difficult to work dancehalls. LR: Are you currently working towards another CD release? LH: Yes, I have a box-set coming out shortly. The set is a double CD and a DVD of the 35th. Anniversary Concert down in Puerto Rico. Plus, my biography is attached as a bonus inside. I also have a Latin jazz thing coming out. Right now the record companies are kind of in turmoil. They don’t know in which direction they’re going, they are kind of waiting for the elections in November, and they’re waiting for new laws to be passed about downloads and bootlegs. So it’s a little hairy right now in the recording end. LR: How many albums have you released in your career? LH: I have 36 of my own, about another 40 with Fania, and I have produced another 300 more. It’s quite extensive. LR: What’s happening to salsa today? LH: I think salsa is great. The salseros from the ‘70’s and ‘80’s are all “male holding executive positions and companies” right now. They are the ones doing the hiring and the firing. I am getting calls from very strange places, such as from Knoxville, Tennessee; places I have never played before. Now there are more Hispanics in these places. The Hispanic population is growing. Unfortunately I do not see the young salseros 16, 17, 18, 20 years old, those who are going to be the next generation of entertainers. I am not talking about audience, I am talking about entertainers. What happens when we all pass? Who do the secrets get passed down to? I don’t see any young band leaders, who are 18-20 years old, and that’s what’s worrying me. I am producing a couple of young singers. But they are not like the musicians of years past. I am a little concerned about that. But right now I am just going with the flow. LR: What led to your discovery of Ruben Blades and Ismael Miranda? LH: I had been very Cuba oriented in my first couple of albums. Ismael Miranda was singing with my brother’s orchestra when I had an opening in my band, and he was brought to me. I gave him an audition and he was great! For one year he learned how to play maracas and sing coro. I took him to my house to send Arsenio Rodriguez-stuff and all that Cuban funk down his mind (laughter). He was a very handsome, energetic young man. We took off, because we had like ten single good looking guys in the band, with a hundred girls following us around. Then when you have a hundred girls you have three hundred guys following those one hundred girls (laughter)! In the late 60’s, 70’s there was fierce competition here in New York. There were ten great bands and there was a hundred places to play. We were always competing against each other. Therefore we were giving our all, giving 120 percent towards cutting up the other band. Then Ruben Blades was working in the mail room at Fania, licking stamps. He was sitting in the back of the room playing guitar and I listened to him. I was the main producer for Fania, and I said: Wow this guy can play! When there was an opening in Ray Baretto’s Band I kind of convinced Ray to take him in his band. When he left Ray’s band he came with me for a year. We did the La Raza Latina album, which was a Grammy nominee, which was a great album. We’ll probably be doing that again in 2005 if Ruben is available. He is a very creative man, a wonderful composer and a great singer. LR: How did your friendships with the likes of Arsenio, Perez Prado and Tito Puente influence each others as artists? LH: First of all I did not know Perez Prado very well; he’s more like a mentor. I met Arsenio when he was still in Cuba. But when he came here he used to come up and sit in with my band. He really influenced Latin music completely and not just me. Imagine, before Arsenio there were no conjuntos, there were no bands. And he introduced a piano in the band, he introduced the conga drum in the band, he introduced written arrangements to the band. He was a big influence on Afro-Cuban music. I just loved his lyrics, I just loved his songs, and I loved his talent! Tito Puente of course, you know, since I was a teenager I used to stick into the Palladium to watch him play. He was my idol and he taught me a lot about being a bandleader. He was just a good time Charlie, he told stories the old stuff and said hello to everybody. A great guy! LR: On June 5, 2004 you led the Legends of Fania at New Jersey Performing Arts Center (NJPAC) in a spectacular performance, a show which has salsa people still talking back East. I was told that show came with every bit of ingredient a today’s salsa audience could only dream of experiencing. An excerpt from a brilliant article on your website reads: Much like a yellow jacketed ringmaster at the center of a three ring circus, Larry Harlow led an artistic team of 32 musicians and dancers in a star studded tribute to 40 years of Latin music. With simulated palm trees swaying in the backdrop of the stage, the almost sold out NJPAC was decked in “salsafied” splendor with spectators sporting Puerto Rican flags reminiscent of the salsa fever that spread through New York during the ‘70s. LR: Can you give us your impressions of the show? LH: This thing that I put together, it’s kind of like a mini-Fania: We couldn’t use the name Fania All Stars, naturally, because they own the name. So this was Larry Harlow’s Latin Legends. I brought in my guests, who were all Fania recording artists and eight dancers. This was a beautiful, absolutely gorgeous venue. It was run by Concerts West, actually, which is part of Clear Channel I think. So, they really gave us a break and we made a lot of money. We had a nice budget to work with and no one thought we were going to do anything there, because it was the closing week of their series, but it was absolutely spectacular. We almost sold out the house with 2,800 seats. We’ll be doing this again across the world in a year or so. LR: Wow, that’s awesome! Thank you so much for your time; it was a true pleasure speaking with you. Please have a great time during your upcoming tour. LH: Thanks, let me know when it’s up okay. Bye bye Copyright © by Les Rivera, owner - SalsaRican.com and TropicalLatinCaribbean.com® All rights reserved by the respective sources. |
Let the world change you, and you can change the world.
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[NOTE: I went to watch this film and let me tell you, personally being of Chilean descent, WOW! the people, the scenery, the music, the cinematography was just AMAZING!! even the dancing was contageous. I recommend this film for every race but especially those latin countries mostly featured on this film were Argentineans, Chileans, Peruvians, Colombians, and Venezuelans. Not to mention this movie should be Oscar nominated. GO WATCH IT! If you have ever backpacked your travels, this film is especially for YOU.]
Let the world change you, and you can change the world. out of four starsThe setup: Two fun-loving medical students take a motorcycle tour of South America in the 1950s. One is Che Guevara.What works: A finely shaded performance by Gael Garcia Bernal that follows the gradual formation of Guevara's political conscience without requiring us to swallow any sudden shifts of belief. What doesn't: Viewers who know Guevara only from his iconic image on T-shirts will have to do some extracurricular research to get the full picture of his revolutionary career. Rating: R for language. Colin Covert is at ccovert@startribune.com. OFFICIAL WEBSITE www.MotorCycleDiariesMovie.com MOVIE TRAILER HISPEED - windows media player [ENGLISH] [ ESPAŃOL]
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Reminiscing Salsaloon.com
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Have any of you ever seen some of the awesome videos off of the Salsaloon.com website? For myself it was probably the first site to show off social dancing at its finest. If you haven't been there lately, they dont exist any more and wont be showing you those cool social dancing videos they were popular for. I recently emailed one of the developers of the site, Harry Lee, and he so kindly gave us permission here at www.EtownSalsa.com to show these videos for your viewing! The selected few are some top 10 favorites selected here. If you plan to view these videos more than once, please save them to your hard drive and open it from you computer. To do this, AT THE SAME TIME -> RIGHT CLICK on the link and press the ENTER key -> select SAVE AS TARGET. This will reduce the amount of bandwidth that is being used. Thank you! Francisco Vasquez (Los Rumberos) & partner Francisco Vasquez (Los Rumberos) & partner Johnny & Sarai Willy Narkorn & Melissa (Mas Salsa Brava) at Sportsmen Lodge Carlos & Sarai at Tiajuanas Apr 2003 Julian /Julio (twins) & Stracey Diaz San Diego Apr 2003 Cesar Iriyali & partner Performance - Victor & Gaby (before they were famous) Feb 2003 Performance - Troy and Olivia Dasso - June 2002 |
A Salsero in New York
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Found this excellent article on www.salsaroots.com. Just TRY to put in perspective, dancing in your neck of the woods, to dancing in NEW YORK. uh uh. NO, not possible. This is CRAZY!!! check it out!
A SALSERO IN NEW YORK
David Paris has a vast background in teaching and performing salsa in the US and around the world. Internationally, Dave has taught and performed in the International Salsa Festival in Italy; the World Dance Festival in South Korea and the Salsaweb festival in Canada. In the New York City, he is the founder, co-director, and choreographer for Mambo Theatre Dance Co; former principle dancer and instructor for Razzmatazz dance co; founder, director, and choreographer of Razzmatazz Junior; and a member of the New York City Latin Hustle Lift Team. You can find more information about him on his website, www.thesalsaguide.com. After the staff of www.salsacrazy.com and www.salsaroots.com talked with him during our last dance adventure back East, Dave kindly sent us this article about the Mambo/Salsa world of New York City. |
SALSA ORIGINS
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This article in its entirety was first published in the November 1991 issue of Latin Beat Magazine.The reason this article is being posted is because the word "Salsa" most people associate with today is DANCING, and the beats and rhythms directly related to this dance. But really, the origins really had nothing to do with dancing AT ALL! Anyways, read on to learn a little more history. Educate yo self! ;) SALSA ORIGINS By Max Salazar The popular usage of the word “salsa” for danceable Latin music began in 1933 when Cuban song composer Ignacio Pińerio wrote the song Échale Salsita. According to the late Alfredo Valdés Sr. whom I interviewed in 1974, he said “On July 6, 1933, I married Anita Purmuy, guitarist for the all-female band La Anacaona. I didn’t have a honeymoon because hours later I was on a boat with Nacional (Septeto) headed toward Miami…then on to the Chicago World’s Fair. On the train I rehearsed Ignacio’s new work Échale Salsita. He got the idea after tasting food which lacked the Cuban spices. It was a protest against tasteless food. |
2nd Musician's Seminar @ LA Congress
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The Musician's Seminar (May 23-25, 2005) Will Give Musician's From All Types Of Music The Opportunity To Be A Part Of A 3 Day (5-6 Hours Per Day plus Practice Time) Seminar. The Musician's Seminar Is Open To All Ages. It Will Be A Plus If You Read Music If You Plan On Participating In The Piano, Bass, Or Horn Classes. The Seminar Will Be Conducted By Some Of The Top Musician's In The World Of Salsa. (See Below) The Classes Will Be Divided By Instruments, And It's Instructor. Classes Will Also Be Limited To 15 Musicians Per Class. Upon Registration Each Musician Will Have To Decide The One Instrument Or Class That They Will Be Attending. Each Musician Will Be Given A Certificate Of Attendance Upon Completion. This Certificate Will Be Signed By All The Instructors. In Addition The Instructors Will Be Selecting 1-2 Musicians In Their Class To Be Part Of The 2nd ATP Salsa Congress Band With Rehersals On Wednesday (May 25) & Thursday (May 26). Rehersals & Arrangements To Be Conducted By Our Musical Director, Oscar Hernandez and Honorary Musical Director, Johnny Pacheco. Be A Part Of History! On Thursday Night The Band Of Selected Musicians And Singers Will Perform And Be Joined During The Encore By Their Instructors And Open Up The 7th Annual West Coast Salsa Congress. The Largest Salsa Congress In The World. Sort Of Like A Salsa Latino Idol. This will all be conducted by our Musical Director Oscar Hernandez and Honorary Musical Director, the living Legend, Johnny Pacheco. Media From Over 75 Worldwide Press Organizations Will Be Present, In Addition To Some Of The Top Salsa Promoters And Agents From All Over The World. Registration Will Open October 1, 2004. (Each Class Will Be Limited To 15 Students) Register On October 1, 2004. ALL CLASSES WILL SELL OUT QUICKLY! Cost Per Student: $300.00 USD (Oct 1,-Jan 31,2005) Cost Per Student: $325.00 USD (Feb 1-May 15,2005) Or Until We Sell Out! Cost Includes 3 Day Seminar, Entrance To Wednesday Pre-Congress Party And Thursday Night Evening Pass. For an additional $75.00 we will provide you with an evening pass for Fri, Sat & Sun. Bands Scheduled To Perform At The Congress: Bobby Valentin & His Orchestra Papo Lucca Y La Sonora Poncena Oscar D' Leon & His Orchestra Jose Alberto "El Canario" & His Orchestra Spanish Harlem & Special Guest (To Be Confirmed) Manny Oquendo Y Libre Jimmy Bosch & His Orchestra Diego Gale Y King Bongo (First Time In USA) Johnny Polanco Y Su Conjunto Amistad Special Guests: Johnny Pacheco & Alfredo De La Fe & Many More Suprises........ We Will Need To Know If You Are A Beginner, Intermediate or Experienced Musician Or Singer. We also want To Know if your expertise is in Latin Music (Salsa, Mambo), Jazz or Classical Music. Here Are The Confirmed Instructors: Piano / Arranger & Musical Director Of This Seminar / Oscar Hernandez Honorary Musical Director: Johnny Pacheco Bass / Andy Gonzalez Conga / Bobby Allende Timbales & Bongo (New School) Chino Nunez Timbales & Bongo (Old School) Manny Oquendo Trombone / Jimmy Bosch Trumpet / John Walsh Sax (Baritone & Tenor) Flute / Mitch Frohman Singers & Soneros / Ray De La Paz, Frankie Vazquez & Willie Torres For any other information call: 310 445 9705 or check: www.alberttorresevents.com |
Vancouver Congress Review
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UPDATED! SEPT 27, 2004 This weekend (Sept 3-5) Etownsalsa.com attended the Vancouver International Salsa Congress in Downtown Vancouver. What can I say, the Congress was bigger this year AND better! Radney and Ran "The Pita Man" , put on a fabuloso 3 day event along side their third partner in crime, Seńor Albert Torres. Of the three nights of dancing, I would say evening #2 displayed the professional performers the most on a social dancing level. Night #3, the Main Event, was probably the flashiest and most extravagant looking, as the evening was held at the Plush Night Club, which looked like a theatre, changed, night club. The performances were spread out into 2 sets, with lots of dancing before ,in between, and after. But of course, us hardcore salseros, could have had an extra couple more hours of dancing after closing(2am) to enjoy the night as we still were feeling like shaking our booties a little longer. There was descent representation from Calgary and Alberta, but the goal is to have alot more go next year. All in all, I could count about 25 Albertans, which is ok, but split that in two and thats less than 13 between Calgary and Edmonton. Lets aim for 30 from each city next year. In terms of performances, there was no Edmonton representation. Calgary had 4 performances. Vancouver had one group do 6 performances, just by themselves. And they could have done more!! WOW!! That was Grupo America. Amazing. Lets fix this for next year. Thank you to everyone who made our stay in Vancouver a welcome one. Special thanks to Radney, Ashkon from Los Rumberos, Doron and Dexter Bell (my homies), Ismael Otero & Jamie Matos(you two are so cool to hang with), and of course Diane Moy. Happy B-day again Diane! I had a blast hanging out with you. Your da'shit girl! Can I say that?? (wink wink Ismael). Also a thanks to some of the nice people I met out in Van, such as Jennifer, Alisha, Mathew, Joby and Ashkon's parents who treated us to some amazing Persian food at their restaurant. Also a special hi to Imann for coming out to see me. And a shout out to all our peeps in Ctown and Etown. We all had a blast out there! See you next year! Courtesy of Antouanet Zegarra check out some hot pictures at the congress!
Courtesy of www.Latin-soul.ca
check out some of their videos of the congress. |
One Step at the Time! Dont Get Frustrated!
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One of the most important things that should be in everyone's mind when learning or even progressing in our Salsa learning curve is to take it as fast as our bodies will allow us to. When someone starts to get into Salsa, the first thing they get to experience is how others dance it. They get to see how cool and fun it looks. What they don't see is that to get to that point one must go through different stages of learning and sometimes even frustration when doing so. It can get even worse on the frustration part if your goal is to be really good at it. One thing that I think people should learn when spreading Salsa is that they should also tell them up front somewhat what they will be going through. It is our job to make it sound cool and fun and exciting and more... but one thing that I see happen again and again is that most of those who get into it didn't expect it to be as time consuming as it is. Now, I am not saying to make it sound horrible... on no, no, no. Salsa is nothing but fun. But let's be realistic here, the more you get involved in it, the better you get, hence making you want to know more and get even better at it. So the more you get it, the more you will want, and that will take more time and effort, it's simple logistics. That is why I am making this article. I think that we should also give a little warning next to our sales pitch when spreading our Salsa gospel. A little sticker with a fine underline text should come with it. We have to let everyone know that when learning to dance Salsa, is good to know and remember that it requires some time and effort, so as might as well get comfortable and deal with it, there is no other way around it. It doesn't surprise me anymore seeing people frustrated and wanting to get there faster than what their bodies, mind and soul allows them to. The fact is that you will just get where you will feel comfortable with... in time! And that time has to take it's toll, it will never happen faster than what it should. Always remind yourself and everyone else for that matter... One Step at the Time People! That is a great line, ain't it? With that line I will try to give the best advice to most of the people who are getting involved into Salsa and some of those who are already in the very middle of it too. TIME'S THE BOSS HERE One thing to remember is that there are things that only time will teach you, there is no escaping from it. There are things that no instructor in the world or school will teach you. Those things will not come until time let's you open that door in front of you, and will only happen when you are ready to go through it, it's a freaky and magical thing really, it's fun and frustrating sometimes, and you have to be ready for those times, because they are just things that are there and it is no exception to anyone. I don't know if some of you have realized this, but the way I see it is that all your learning is really a bunch of closed doors in front of you, each one has a special key that only time will give you, but only when you are ready. And when you are... oooh yeah, you will feel so great because now you know what is behind that door, and it was exactly how you picture it and thought it would be, but now the bitter sweet part about feeling and getting here is that there is another closed door in front of you. And now, you will crave to open that one as well. Sometimes even, that last door that you just opened will give you an entrance to a place where you will find two or more doors closed and teasing you to open them. So as you can see, that is something that will happen to all of us. Even the great dancers out there are facing their own doors as we speak. ANGER IS YOUR ENEMY Always remember before anything that no matter who you are, you will always wish you could get better faster. That is just human nature my friends! You want to be good, and you want it to happen now. Not tomorrow or the next day, you want it right now! Because that is our nature, we have to keep our minds focussed on what our goals are. That is the only way to keep a steady course or even speed up the process of opening the doors in front of us. If you let anger and frustration get to you, forget about it. Those things are the things you want to stay away from, remember is a mind game against time. Be smarter than that! LOOK BEHIND THE PAINTING A way to escape those feelings is to look behind the painting. This is another human nature reaction when we contemplate something that we admire or want to have. Most of the people out there do NOT really look behind the painting, and if you are not understanding what I am trying to say here, here is what this sentence means. When people see a painting, they can truly admire how amazing it is, but for some reason they can not really see what it took to create it. They don't take into consideration the many hours, days, weeks, months or even years that it took the artist to get there. They don't seem to think about that at all. They just see that it is good, but don't really picture the effort on all those other paintings, and practice it took to get there. It is the samething with Salsa. Remember people, look behind the painting. It is great inspiration for us all, specially for those who are feeling frustrated and want to get there faster than what they are accomplishing now. Think that all those great dancers that you see out there, well guess what? They didn't get there just by blinking and wishing they were good. They put their hearts out there to get where they are, and if you want to be just as good, you will also need to work at it, and trust me - it will come. IT IS SO WORTH IT Many people get frustrated and give up, and for some reason this falls more on men that women. Who can blame them, they have to worry about more things than women do. Hence the faster learning curve for women. One thing that also has to be said to all of those who are waiting and working hard at it, is that it is so worth it. Always remember that good things take time, and Salsa is no exception to that rule, but what it is cool about it, is that it is just so worth it... way worth it. So remember, people, keep your feet moving, your head thinking and keep on breaking through all those doors... just one step at the time folks. |
Is Salsa dying?
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The state of salsa music and dance! Those of us growing up during the salsa era of the 1960’s and 1970’s can remember a time of unparalleled mass appeal in LATIN U.S.A., and especially in New York City! “Salsa” was a new word used to describe the further development of a type of music, which by many “old timers” is still being referred to as the “mambo”. Outside of the Latin world the “mambo” was associated with what people watched and listened to during the hilarious episodes being shown on TV, called “I Love Lucy”. The beloved Ricky Ricardo and his orchestra was perhaps the Ambassador or precursor to introducing mainstream U.S.A. to a taste of the “mambo”. Pa’ mantener la tradicion! Salsarican’s el gran baron presenting a furious Little Johnny Rivero style salsa tumbao on his bongos. …and who said salsa was dying out??? Wepa! Even today, when describing what salsa music sounds like to the mainstream world, some people can only associate what you are talking about if terms, such as a further development “Ricky Ricardo music” or “Cuban Buena Vista Social Club music” are used. In spite of claiming that “the salsa craze is sweeping the U.S.A.”, some people think salsa is, and I quote, “Mexican Tejano type music”! Mention Hector Lavoe, or El Gran Combo to mainstream America? Forgeddaboutit! Tito Puente or Celia Cruz? Maybe! One thing that has taken place, which is totally different from the 1960’s and the 1970’s, is that salsa has experienced a massive appeal and popularity outside of the Latin world. Instead of a huge confinement among Latin people and Latin places, such as in New York City, the U.S. North-East Coast, Florida, and of course Puerto Rico, Cuba and the Dominican Republic, the sparks began to spread like fireworks all over the globe. The secret weapon used to create that appeal? Salsa dancing! This beautiful form of dancing is often thought of, and especially among females, as being such “a sexy, sensual, romantic, gracious and smooth dance”. Many dance instructors would explain it this way: “We listen to the clave (beat) of salsa music to dance the mambo!” The dance, in turn, has developed into a multitude of styles. “Ballroom style” salsa dance, known as “On-1” was developed in California. “On-2” style is another form, very popular on the East Coast. Some even still master the art of “old time mambo dancing”, the way it was done in old Cuba from the 1930’s, or even during the New York 1950’s Palladium era. The latter is a slower but distinctly gracious foot/body movement of the dance. Just watch the first Cachao documentary “Como Su Ritmo No hay Dos” and witness actor Robert Duval demonstrate some basic old time mambo steps. Ask a casual not-into-modern-artsy-style New York Puerto Rican, or ask a native Puerto Rican who simply “dances salsa” which style he dances. The answer is often “what do you mean about style, I just dance”, while displaying those very Bronx originated NuYorican “side-to side like style dance movements”. One friend of mine from Puerto Rico, who’s an outstanding dancer here in New York claims that his style is dancing on-3! Regardless of dance style, they are all based on the basic beat of salsa. The difference lies in how you prefer to execute the foot/body movement to that clave. The difference is that some prefer to execute the first foot step on the first, second, or third beat of the clave, etc. For salsa fans not into dance, the music is simply riveting, funky, rhythmic, cosmopolitan, cool, and everything else above. They snap their fingers, tap their toe, and they get into the Latin Caribbean groove big time! Salsa venues, clubs, festivals and congresses are popping up everywhere. Salsa music can be heard in public places and driving cars from California to Japan to Europe to New York and everywhere else. Eddie Palmieri, the megastar of Latin Jazz, has capitalized on the salsa craze by turning his Latin Jazz music into salsa by making Latin Jazz danceable! Just listen to recent CD’s like Masterpiece and Perfecta II! Spanish Harlem Orchestra has turned old time 1960’s and 1970’s salsa smash hit tunes into a remix of modern day marvels. Okay, with all these wonderful claims that the salsa craze is sweeping the world, how can anyone question whether salsa is dying or not? Salsarican.com has interviewed hundreds of people to get feedback on the verdict of their first one to two dance lessons of salsa. We are also looking at other factors which may influence why salsa can’t gain the popularity of i.e. hip hop music in today’s world. It seems as more people who investigate salsa dancing for the first time who don’t take it any further sometimes feel turned off by what they perceive as a complexity surrounding the learning process. While some pick up the pace immediately, lots of people stop after one or two attempts. The main reason for this, based on people’s most commonly expressed concern, were that the lesson progressed too quick in a very short time. The beginner simply felt lost after barely starting. Those who kept going and took their skills to the next level most often continued with lesson after lesson until getting good or better. Just a thought, but could it be that some dance instructors allow the beginner to advance into the next step before the bare bone basic clave has been repeatedly practiced and mastered? Also, if the basic lesson was taught at a very slow pace, would more people permanently get hooked on salsa dancing? Or, would going really slow on the basic lesson turn the ones who quickly adapt away from salsa? Those not into the dance aspect of salsa are often hard core salsa music fans only. Just visit the NuYorican Poets Café in New York City during a live event night. There you can witness how the audience simply soaks up the clave by listening to the groovy beat! Another aspect of salsa music fans are from the Latin jazz audience, and naturally so. The Afro-Caribbean origin shines through in Latin jazz as well as in salsa. Or, at your next salsa event, take a moment to observe those who don’t dance. Do they enjoy going to a salsa event if they don’t dance? Heck yeah, you’d better believe it, they’re in heaven! If you don’t dance, my advice to you would be: Give salsa a chance and listen to the exotic beat! Some people say they don’t get into salsa because of its predominantly Spanish language lyrics. But, you don’t have to understand a word Spanish to listen to salsa. Allow the energy and excitement of the music itself to make you fall in love! On the issue of younger generations, many factors influence the impact of salsa. Peer pressure to listen to what the other kids listen to (i.e. hip hop), cultural backgrounds (i.e. a person’s own cultural background music), lack of widespread exposure to salsa, and other things are stumbling blocks to “new recruits”. But, is salsa dying? No way! Salsa music and dance is growing by the leaps and bounds worldwide. If you don’t believe me, just check out the next salsa venue in your area! If you’re already into salsa, please become an ambassador and help spread the word through encouragement and motivation to experience the experience! |
Los Caminantes Celebrate 25 Years!
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Recently Johnny Proano from Los Caminantes contacted us about celebrating their 25th anniversary for the band. I was like WOW!! I had no idea the group was around that long. So, I had the great opportunity to ask some questions about the group so our viewers get a chance to know this great veteran group of musicians that have entertained us for oh so many years. QUESTION : First off the bat, when is this big event for your band? ANSWER : We will be celebrating on Saturday September 4th at Mezza Luna... we start playing at 10 PM --> CLICK FOR DETAILS QUESTION : Do you have a record of the original Los Caminantes members and who are the current members and their positions in the group? ANSWER: When Los Caminantes was formed the original memebers were Gonzalo Proano;(Guitar) Ramiro Proano (Bass); German Obando (Timbales); Robert (Guitar) ; and Artino (Lead Vocals). Los Caminantes now consists of Gonzalo Proano (Piano/Keyboards); Ramiro; Proano (Bass); Johnny Proano (Percussion); Chris Murray (Trombone); and Rosina Rodrigues (Lead Vocals). QUESTION : We all know that the group plays the spectrum of latin beats out there such as Merengue, Cumbia, and Salsa. What we currently see now is a strong request for Salsa because of the dancing. How has the group developed in terms of its music over the last 25 years? Was Cumbia stronger back then for its popularity? ANSWER: The thing that people have always commented to us on and have always seemed to appericate about Los Caminantes is the fact that we are constantly changing the music that we play. We come out with new music on a constant basis so that things do not get too stale, it's a must that we do this since we are constantly playing every weekend. Over the past 25 years Los Caminantes have adapted to every changing style.. from the days when they would play anything from the Beatles, Randy Travis, George Strait, Elvis Presley, Eric Clapton to these days where the latin rhythm is the one in demand. In terms of Latin music Cumbia used to be the leader in requests and Los Caminantes played plenty of it.. Now these days with the hook being on Salsa, Los Caminantes have met the demand and although the mix we play is to please the whole crowd.. we do lean more towards the Salsa, we have recognised the demand for good Salsa so much that we have even added a new memeber to the band to bring more flavour to our Salsa. We now have a trombone player that adds depth to our Salsa music. QUESTION : Of course, 25 years is a milestone mark and without certain individuals to keep the vision and music alive, there WOULD BE no group. Who or which individuals are responsible for keeping the group's success alive for all these years? ANSWER : Many great musicians have passed thru with Los Caminantes but the nucleus has always Stayed the Same. The founders of the band are Gonzalo and Ramiro Proano. They have kept the band alive for all this time and have now assured the continuation with the addition of nephew Johnny Proano. The dream is to keep Los Caminantes going and going and going. QUESTION : Anything else you would like to add about the group? ANSWER : Los Caminantes has recently recorde a Live performance and a documentary style DVD will be realeased in the very near future. Los Caminantes would like to thank Edmonton and Calgary for all their support and appreciation and we hope to continue to bring the hot latin rythms for years to come. QUESTION : What is your contact information so others around Canada or outside Canada can get to listen to this great latin band? ANSWER : As of right now we are starting work on a Web site for the band and when that is complete perhaps you can help us get that out there as well... for any contract information anybody interested can contact Gonzalo Proano at(780) 481-0377. Thank-you guys so much for all your help if you need anymore information please get back to me. Best Regards, Johnny Here are some future dates for Los Caminantes:
Mezza Luna on September 3rd and 4th |
Welcome EdmontonAzucar.com!
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Azucar, the NEWEST and HOTTEST latin nightclub has just released their new website. Go to http://www.edmontonazucar.com to check out photos, current events, and contact information for Azucar. Just to make an official introduction, the family owned and run Azucar Latin Nightclub, located at 11733-78 St, Edmonton, Alberta, is the largest Latin nightclub in Alberta. They are currently open 4 days a week. Tuesdays is Traditional Country night, Thursdays is Urban Night (Hiphop), and Friday & Saturday is Hot Latin Nights (featuring a latin band) For the salsa, merengue, cumbia dancer, it has a fantastic dance floor, great Latin bands and a great environment!! The floor is kept in the best condition possible. Security keeps all drinks off the dance floor. WOW! You dont see that in any club. They also have two dance floors! Main level and 2nd level floor accomodates over flow dancing. And trust me, it gets crowded many latin nights. Azucar also wants to make sure they give you variety, so they have hired 3 great local latin bands. Each band alternates each week to play every Friday and Saturday. Currently playing are Orquesta Energia, Los Caminantes, and X-Band. On occasion Azucar is also looking to host international bands to spicen up the place even more! Recently the all girl Cuban band D'Talle played at Azucar for the first time, actually first time in Edmonton, for that matter. Their successful premiere will definitely bring them back for more gigs.
Come check out Azucar and their website. If you need further info,
Phone: 479-7400 or Email: edmontonazucar@yahoo.ca
website: www.edmontonazucar.com
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What is Salsa? Where and How Did it Start?
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What is Salsa? Where and How Did it Start? by Izzy "Mr. Salsa" Sanabria Publisher of Latin NY Magazine 1973-85 These are the very same questions journalists from around the world repeatedly asked me during the 1970s and they are still being asked today. Other questions also being asked are: “How did Salsa get its name?’ ‘What were the events and people that started the Salsa Explosion?” In recent years there's been an abundance of knowledgeable musicologists, music collectors and even college professors (world-wide) all "attempting" to answer those very questions. I said "attempting" because with a few exceptions, most are misinformed! I know I will be getting a lot of flack for my statements, so I will try to justify and give reasons for my opinions. Suddenly everybody is an expert on Salsa, each coming from their own perspectives and sometimes perhaps even their own agendas. Don't get me wrong, most of what appears in print or television documentaries, etc., seems to be well researched, informative and I suppose accurate. However, a few things that bother me are the points of view and agendas I see coming through. But then again, I also have my own agenda which is to get recognition for the contribution of Latino New Yorkers. I will do this by providing to those that are unaware that the cradle of Salsa as we know it today was New York city during the 1970s. The reason most Hispanic music historians have such little information of the 1970s (and its movement) is because the Spanish media completely ignored that era. More on this topic later. First, I'm quite sure I know a great deal less about the histories of our music (or music in general for that matter) than most of those writers do. However, if you weren't a part of the music and cultural movement in New York during the 70s, you cannot feel or fully understand what it was like to paint an accurate picture with the right information. I lived it, I helped create it and was in the center of it all seven days a week. So no matter how well they may have researched this period, it is still second-hand information. There were just too many details that even those in the music industry weren't aware of. Musicians for example were busy creating the music but played no role in promoting the name Salsa. In fact, as the term Salsa started to catch on, most serious musicians resented and resisted having their music labeled as such. Before I continue, perhaps I should first define from where or from whome the different points of view are coming from. For example, there are the two Cuban perspectives. The first was during the late seventies and the second is the nineties. One of the first Cuban reactions to the term Salsa as a name for New York's Latin music came from Machito, "There’s nothing new about Salsa, it is just the same old music that was played in Cuba for over fifty years. And they play it badly." Another coming out of Cuba was that Salsa was a scheme by the record companies to negate giving credit to Cuban music, in essence, stealing their music. Though it wasn't like that, I understood them because from their point of view it certainly looked that way. With the world now completely accepting the term Salsa (which in essence is Afro-Cuban music), everywhere you turn, another name pops up that long ago coined the word Salsa, or was somehow the first to use the word. Even Cuba is now using the term and in fact I saw one of their TV shows called Salsa. Just to set the record straight, I never claimed to have coined the word Salsa, or used it first (I’m too young). My claim to fame is being first to see the potential of the word as a marketing tool to promote New York’s Latin music (and hopefully my magazine "Latin NY" along with it). I had always felt that “Latin Music” was too broad a term (for the sound being created by Latino New Yorkers) and that it needed its own name like Jazz, Rock & Roll, Disco, R&B, Blues, etc., in order to define and identify it as an entity unto itself. A new name and image was needed that people could get excited about and be able to relate to. Salsa was easy enough for anyone to pronounce and, remember. I thought Salsa was just perfect. 1975: THE SPARK THAT IGNITED THE SALSA EXPLOSION! Its fire fanned by the Newyorican fervor, the Salsa scene was bursting at the seams. Like dynamite waiting for a spark to ignite- it, Salsa was ready to explode. Then in 1973, I hosted the television show "Salsa" which was the first reference to this particular music as Salsa. That year I also launched Latin NY Magazine. But the spark igniting the explosion came in the form of Latin NY's First Salsa Awards in May 1975. The Latin NY Music Awards received greater (pre and post) mass media coverage than was ever given to any Latin music event at that time and thus gave Salsa its biggest push and momentum. Two factors made the awards (by media standards) a “News Worthy” event that merited their attention. The first is that we publicized the event as “Latinos finally honoring their own with the first Salsa Awards Ceremonies.” The second factor was our intense public criticism of NARAS for ignoring our repeated requests to give Latin music its own separate category in the Grammys. . INTERNATIONAL RECOGNITION for LATIN NY MAGAZINE and SALSA The coverage by mainstream media such as The N.Y. Times, Newsweek and Time magazines, created an incredible worldwide avalanche of interest in Salsa. The unprecedented coverage and its impact caught everyone in the industry completely by surprise and unprepared. It prompted Harvey Averne from Coco records to comment, “I wish this would go away and return next year so we can get ready for it.” Though still largely ignored by local Spanish media, the rest of the world took notice. From Europe (Holland, Germany, France, Italy, England, etc.) and as far away as Japan, journalists and TV camera crews came to New York to comment on and document Salsa; what they perceived as a new phenomena of high energy rhythmic Latino urban music, its dancing and its lifestyles. They started with Latin NY as their central source of information and by interviewing me, Salsa’s most visible and articulate (self appointed) spokesman. I must emphasize self appointed because it is an important fact that punches holes in the “conspiracy to obscure Cuban music” theory. This world-wide attention established Latin NY as “the bible” of Salsa (its primary source of information). And as its most visible spokesman, earned me the title of Mr. Salsa. SELLING MEDIA the SALSA CONCEPT IN ORDER TO POPULARIZE the MUSIC If you have any general understanding of publicity or advertising, you can appreciate the way I sold Salsa to the media, thus getting millions of dollars worth of (Free) publicity (you couldn’t buy or pay for). The concept had to be presented in a way that was interesting, easy to understand and based on enough truth to give it credibility (see Promoting Half Truths). My idea was to sell Salsa as new music (which it was) and as an integral part of the cultural life-styles of young Latino New Yorkers. ANSWERING the MEDIA'S QUESTIONS: WHAT IS SALSA? The questions journalists most often asked me were, “What is Salsa?” and “Where and How did it start?” By then I had developed a concise simplified definition of Salsa specially prepared for the media. Directly translated, Salsa is sauce. it is what gives Latino cooking its flavor. Like in Italian cooking. What’s spaghetti without the sauce? Traditionally, in American music like Jazz (and Latin), when a band was really swinging, people would say, ‘They’re cooking’... in Spanish--‘Cocinando!’ And when all the ingredients were cookin' just right--the music hot and spicy, Latinos would say, ‘It had Salsa y Sabor’ (sauce and taste). So what it really denotes is music with flavor and spice.” WHERE and HOW DID SALSA START? My prepared stock answer was, “Salsa is Latin Soul. Salsa is Flavor and Spice. Salsa es Ritmo! Rhythm, the basis of Salsa. African slaves brought their rhythms to the Caribbean, mixed with the Indian, European melodies, Spanish lyrics and gave birth to Latin music. The sons and daughters came here, mixed in the high energy of New York, the influence of Jazz, added in some brass, and Salsa was born!" (I always added that Salsa’s rhythmic origins were Cuban, but that it was the young Puerto Ricans that developed and kept it alive in New York City). PROMOTING HALF TRUTHS "Salsa, in reality, was any musical form, cultivated in New York by Latinos, upon a Cuban base, but inventing and adding something new...” POPULARIZING the Name SALSA DESPITE STRONG OPPOSITION As Salsa's self appointed spokesman, I devoted all my talents and energies on a crusade to popularize the music and have it recognized and respected as an art form. A task made more difficult by the strong opposition from the very musicians it was meant to benefit. I was resented and opposed in an environment of inflated egos and misguided traditionalists. To help you understand what I was up against, I offer the following anecdotes. After the media interviewed me, took down my definitions, historical overviews and names of most prominent important musicians, it was only natural that they'd want to interview them; the real source of the music. And believe it or not, the following Machito and Puente quotes are typical of what they and most older musicians told the media again and again. Tito Puente: A New York born Puerto Rican that modernized Cuban based music thereby creating what I've always called the New York Latin Music. The sound that turned generations of Newyoricans (including me) from Rock & Roll to Latin music. Yet, despite his achievement, a thirst for recognition and an ego the size of a house, Puente had a favorite ( and humble?) witty anti-Salsa comment he consistently gave the media, “I am not a cook, I am a musician!” Machito: "Salsa is nothing new, its the same music I have been playing for over 40 years and these young people don’t even know how to play it." Now let me ask you, suppose I had said that Salsa was not new, but just the same old music Cubans had been playing for over 40 years. Do you honestly believe the media would have bothered to give it any coverage? I just had to laugh at their naiveté when it came to promotion and publicity. These were proud musicians that took their music very seriously with great respect for it, but were so deeply entrenched in its traditions that they resisted change. Deviations (like the Boogaloo) were seen as compromising, bastardizing or diluting the music. However, their pure and noble beliefs prevented them from realizing they were undermining publicity that could greatly benefit them by exposing them to new markets, new fans and, Financial Gains. Benefits reaped from a new interest in old Cuban music with a new name....Salsa! Years later, Puente told me, “Izzy you remember how much I hated and resisted the term Salsa? Well I’ve had to accept it because wherever I travel, I find my records under the category of Salsa.” So despite all the opposition, the name Salsa caught on. Today, Salsa is known world-wide as New York's Latino music. Ironically, as Salsa became a household word, I looked around one day and suddenly realized that everybody around me had made a fortune from Salsa except for me. To add insult to injury, there's only one musician I know of that has publicly given me any kind of credit in print, and that was Willie Colon. So why should you accept what I written so far as being true and accurate? Well for one thing, aside from having lived the Salsa experience, I have it all documented with American and international print media, Latin NY magazine and television coverage on video (dating back as far as 1971). A Final Note on Who is Really Responsible for Salsa's Explosion When evaluating or analyzing the 70s explosion and the people most responsible for it, there are some important factors to be considered (especially if looking for unbiased viewpoints to arrive at historical accuracy). The reality or truth is that a great number of people made viable contributions to Salsa, its popularity and recognition. The musicians who developed Salsa, as well as the people behind the scenes such as journalists, radio jocks, the record companies, the promoters and most important of all, the fans. In other words, nothing can be attributed to just one person. In the long run, it doesn’t matter who said or who did what first, but rather who or what developed it. In fact, if we were to honor the person most responsible for spreading Salsa world-wide during the 1980s and 1990s, that distinction would belong to Salsa’s greatest promoter and certainly the most prominent non-musician and central figure in Salsa today, Ralph Mercado....... But that’s another story. The Most Important Dates, Events & Occurrences that Contributed to the Salsa Explosion during the 1970s Salsa, like every major social or cultural movement starts with people. Starting in the late 60s and into the 70s, Latino music, fashions and lifestyles had a major cultural impact on New York City. The new Latino lifestyle started emerging in the 1960s with Latin Soul music (The Boogaloo) in places like the St George Hotel in Brooklyn. In the 1970s, the world famous Cheetah Discotheque became the showplace of these young Latinos. Then, following the massive gatherings in Central Park of the Flower Children, during the 60s and early 70s, the new generation of New York Puerto Rican baby boomers took over and gathered by the tens of thousands every Sunday in the park. Their immense presence literally Latinized Central Park as well as New York City itself with a new look and a new sound. 1971 The Fania All Stars are filmed at the Cheetah (August) 1972 FREE CENTRAL PK CONCERT (drew 50,000+) PROLAM (Puerto Rican Organization for Latin American Music), started by 17 year old Nancy Rodriguez who came to Izzy Sanabria for help in promoting her idea to get Latin music recognized and played on the radio. This was to influence Latin NY magazine's continuous crusade. PREMIER of the movie: OUR LATIN THING (July) Years later, it would have a greater impact than when originally released. 1973 LATIN NY MAGAZINE is launched from The Cheetah (January) FANIA ALL STARS Sell-Out Yankee Stadium & it is Filmed (August) Later Released in 1976 as the film "Salsa" SALSA TV SHOW hosted by Izzy Sanabria is taped at The Cheetah (November) First radio or TV show to start calling the music Salsa, thus helping to establish Salsa as the name of New York's Latin Music. 1975 LATIN NY MUSIC AWARDS - 1st SALSA AWARDS CEREMONY (May)* The event that catapulted Salsa to international status.Being a First, the Awards received the widest mass media coverage ever given to any Latino event. This in turn attracted international media coverage, that established Salsa and Latin NY magazine.* 1976 The 2nd LATIN NY MUSIC AWARDS TV SPECIAL (May) PREMIER of the movie: SALSA (March) * Once the curiosity in Salsa was aroused, the films "Our Latin Thing" and later "Salsa" which were Pre-Music Videos, provided the world with authentic visual images of New York's Salsa Scene--the musicians, their music and the people. This established The Fania All-Stars as the world's ultimate Salsa group. The Fania All-Stars' world-wide concert tours organized by Fania President, Jerry Masucci and promoter Ralph Mercado, followed-up the interest generated by the films. RMM's Annual New York Salsa Festivals reinforced New York as the Salsa capital of the world, and continues attracting world-wide media attention. IZZY SANABRIA |
NEW Jimmy Bosch CD!
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Jimmy Bosch will be releasing his new cd September 28, 2004. If you live in the U.S. you can pre-order. If you havent heard Jimmy Bosch he already has a couple CD's out, check out his website to listen to them . http://www.jimmybosch.com Here's a note by Jimmy himself. For an advance copy of the Jimmy Bosch CD scheduled to hit the stores on September 28th.... " El Avion De La Salsa " .... I am pre-selling the CD through my website exclusively... JRGR Records is accepting checks only.... [B]All Checks must be received by August30th, 2004.... You must indicate if you want the CD autographed by Jimmy Bosch.... $16 per unit including shipping and handling... United States and Puerto Rico only.... No international orders will be accepted at this time... All of the product will be shipped on September 14th, 2004 two weeks before the official release date of September 28th, 2004.... The goal is to pre-ship 2000 units... Help me to achieve this goal... Thanks in advance for your continued support in my journey as an artist! Peace love and respect, Jimmy Bosch Make checks payable to: JRGR Records Inc. 26 Franklin Street unit #9, Tenafly, NJ 07670-2000 Please make sure that your shipping address is clear and complete with Street name and number, Zip Code, apt number etc. etc. |
Jennifer Lopez pulls out of upcoming movie
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Jennifer Lopez has pulled out of starring in an upcoming movie with new husband Marc Anthony - and will produce it instead. The sexy singer, who married the salsa singer in a surprise ceremony last Saturday (05.06.04), has bought the rights to produce a film based on the life of Puerto Rican jazz legend Hector Lavoe - and has cast Marc in the lead role. However, following her disastrous collaborations with ex-fiancé Ben Affleck in 'Gigli', J.Lo has opted to not star alongside him. A source said: "She was going to play Hector's wife but she decided her talents would be equally useful behind the camera. She's desperate to give Marc his big break and wants to be around him 24/7." Earlier this week, it was reported that the star may be pregnant. Sources speculated the Latin beauty wed Marc in a last minute ceremony because she may be expecting his baby. She is also said to have been wearing loose clothing and covering up her cleavage, suggesting she may be trying to hide tell-tale signs of a pregnancy. The star's manager declined to comment on the rumours. Check out more on Hector Lavoe -->Hector Lavoe Story |
Foreigners Coming In
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Whenever I go out Salsa dancing, I can always spot the foreigners. Every time a big crowd emerges to watch a couple blasting some amazing moves in the middle, you can always see the hardcore fanatics next to them, the ones that are about to join in, the usuals that have seen the circles before, and also next in those lines, with eyes wide open and a face of curiosity and amazement, you get to see the foreigners in the scene. They are always the ones that are almost not dancing because they feel like they do not belong, or they feel like they will look bad doing it if they decide to ask someone to dance. For those people who just got in the scene or just came one time to the clubs, it is quite hard to get a head start in the Salsa world that we all love. Now you have to understand, there is three types of foreigners that come to our scene every time we go out to our spots. PASSING BY: These type of foreigners came either by accident, or just to enjoy a nice time out of their usual ritual. Most of the time these folks already have a pattern in their lives regarding in what they consider fun. And, most of the time, these type will usually come and we will not see them ever again, or maybe once in a very long, long time. They are having fun, but Salsa isn't really how they picture themselves spending their days in. LOOKING FOR SOMETHING: These folks are good to impress with our awesome scene because they don't just admire new and cool things, but are in the look for a new hobby or a new click they could do in their spare time. These type of people are trying things out and just happened to come to our scene to see if it is what they have been looking for, and if Salsa is what they have been looking for they will aproach others, including the ones that look amazing on the floor to find out how they can get involved or how they can learn to Salsa. They seemed very eager to learn, and are like very new junkies if in fact Salsa is what they have been looking for. SHOCK AND AWE: The third kind is also another keeper. These type of people might not have something to do on their free time, or if they in fact have already a pattern they are in shock and awe after seeing the beauty and amazing things you can do with Salsa. They look very surprise when witnessing a great couple inside the circle, they too want to learn and aproach whoever can get them in the right direction to experience what they just saw. Some of these people knew that Salsa existed, some of them did not even know what was it and got to our scene by accident, but the peculiar thing with these people is that these people get so shocked that they will look for new time to get this new thing into their lives. SOMEWHAT FOREIGNERS If you find yourself encoutering a foreigner, they will most likely fall in one of those categories above. But remember that they can vary in some aspect to what I just described, in fact there are many other types of people who would be consider foreigners, but do not really fall into one of the three branches that we described above. Check this out: THE ADMIRATORS To start let's talk about one that doesn't really fall directly into any category, we call them the "admirators", they always seem like they enjoy watching a couple dance, specially when they see a cool flip being performed - They are not really passing by because you will always see them in the scene, but also they are not really looking to get into the scene. We can think of them of another category in itself, but still they kind of fall into the SHOCK AND AWE because of their reaction. THE VIRGINS The "virgins" are the people that never danced Salsa but have seen it, they would love to dance the way they see some of the hardcore Salseros doing it, but don't really take the time to learn or want to invest that much time into getting in the scene. Once again, they are not really PASSING BY. They somewhat fall into the LOOKING FOR SOMETHING because they would like to know how to do it, but since they don't want to take the time to learn it, they don't exactly fit the criteria. THE LITTLE THUGS Let's not forget the "little thugs", yeah you heard me. You know, "the cholitos" - They like watching it, but that's about it. They don't picture themselves doing it, nor they would want to I guess, maybe, somewhat? I don't really know much about this kind, I guess it doesn't really matter since they do not want to get in the scene and live their lives. THE SUITS Another type that do not get exactly classified in the main criterias are "the suits" - They look like they are Salseros by the way they dressed and move. They are most of the time doing business or somewhat planning stuff. These people are in the scene but most of them don't really get down on the dance floor like the rest, I guess you can think of them as the organizers of events. Although not all of them do events, they just look like they are. THE ROCKEROS These folks are just as crazy as the Salseros, the only difference is that they don't really like Salsa as much or at all like we do. They don't dance that much, and their passion is in guitars and drum sets. They are the ones that shake their head so hard up and down until it is all messy and they get to jump around screaming out the songs instead of singing them. Cool people to know and check out in the scene, just not Salseros. THE RANCHEROS Quebradita or Banda anyone? Yeah, you know what I am talking about, "the rancheros" are the ones that love Tejano-Mexican music. You will not get to see them too much in our scene, because they have their own scene and clubs. But they will come to explore our parts once in a while. You will recognize them because they are the Latin Cowboys in the place. Check out the boots and buckles! cool eh? THE HOPPERS Yeah, these folks grew up listening to Hip Hop, Rap and R&B. These type of people can really relate to Salseros because they see that Salsa is somewhat of a rebel dance in the Latin rhythms. A lof of these guys in fact can cross over once they discover the cool things you can do with Salsa more than the other types. THE MYTH A big debate always happens when someone from other types of background starts to like the Salsa scene. Their mind asks them if they in fact have to leave something behind if they will take a new love instead. Is it necessary to replace something for other? Usually the question arises when they see that the Salsa bug is hitting them hard. Sometimes people get it so fast and hard that they stop doing anything else and are just Salsa dancing left and right. It is only fair to ask the question because people have seen it again and again. In fact, there is no direct response if you have to leave something behind, or replace something with your new Salsa addiction, it could happen in so many ways that you never know what could happen to this person, or that person and so on. Get the point? The important thing I guess is that no matter how huge of a Salsa Fanatic you become, you can always admire all types of hobbies, dancing and music. You can always do whatever you can and did before you became a hardcore Salsero even though sometimes you just can't get enough of it... the choice is really personal here. But let's be realistic here, once you hit the stage where you are dancing every weekend, and are listening to Salsa day and night, it is really less likely than you are STILL a foreigner! How can we help the foreigners who are trying to get into the scene, since we are already in it? Open your mind and teach them a thing or two to help them ease the pain of looking funny on the dance floor. You can always inform them where they can go to take some Salsa classes if you know of a good place, even better, you can introduce them to some of your hardcore Salsa friends who will help them and get them in the right direction. Instructors are always a good start, you can show them who are the instructors and introduce them to them. If you are in fact a foreigner, the best way to get started is to start taking classes. Trust me, this is something that will help you tremendously. Book privates for fast advancement - I know that you probably don't know who is the best instructor for you, but it doesn't hurt to try a bit of all of them to decide later on. Another good thing is to start going out and dancing as much as possible, I know that it is hard and very intimidating, but remember - Practice makes Better! NOTE: Check out more articles like this at http://www.utahsalsa.com or reply to this article and others on our site! (in the discussion forum under "Dance Discussions") Articles Include: Listen Up Salseras! DJ's Listen Up! Guys Not Dancing? When Someone Qualifies YOU as a ... Boring Dancer Let's Talk About Bad Breath Aaalright... Lets Talk Sweat! |
FYI Edmonton Salsa Club
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THE EDMONTON SALSA CLUB WILL NO LONGER STRIVE TO BECOME A NON-PROFIT ORGANIZATION AKA SOCIETY, DUE TO ADMINISTRATIVE AND PERSONNEL SHORT COMINGS. WE HOPE TO ACHIEVE THIS CLASSIFICATION ONE DAY WITH THE HELP , HARD WORK AND DEDICATION OF FUTURE EDMONTON SALSEROS. FOR THE TIME BEING IT WILL CONTINUE TO RUN UNDER THE UMBRELLA OF SPICE PRODUCTIONS AND DANCE WITH ME STUDIO, IF ANYONE "PAID MEMBER" IS UNSATISFIED WITH THE BENEFITS OF BEING PART OF THE CLUB, PLEASE CONTACT MYSELF OR JIM BANNISTER FOR A FULL REFUND. NOTE THE DISCOUNTS AND PERKS OF BEING A CLUB MEMBER WILL CONTINUE AND HOPEFULLY BECOME BIGGER AND BETTER. ANY QUESTIONS OR CONCERNS PLEASE CALL ME AT 953-2468 JULIAN IZQUIERDO DJ SPICE PRODUCTIONS EDMONTON SALSA CLUB spiceproducions@telus.net ********************************* In addition, EtownSalsa.com will no longer be the official website ,or home, of The Edmonton Salsa Club. Nor will EtownSalsa.com be in association with The Edmonton Salsa Club. EtownSalsa.com will still bring you current events ,news and much more! |
Salsa Sin Fronteras
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Japan's Orquesta de la Luz to perform at Salsa Congress, May 30,2004 Web Published 5.26.2004 Orquesta De La Luz was formed by singer Nora Shoji and percussionist Gen Ogimi twenty years ago in 1984, and became the only other Salsa band in Japan at the time, next to Orquesta del Sol. Nora and Gen, originally funk musicians, looked carefully into the work of Cuban artists such as Los Van Van, Alberto Alvarez, Chucho Valdez, and singers like Isaac Delgado and Celia Cruz [both of whom Nora would eventually sing along with] for inspiration and guidance. Nora studied Spanish, and the band created a repertoire of songs with Spanish, Japanese and English lyrics. Then in 1987 Nora traveled to New York carrying a demo tape, a video and some pictures of Orquesta De La Luz, and set to find an agent. Richie Bonilla responded to her call and was impressed by what he saw. He promised Nora that if her band managed to make it to New York, he would arrange some club bookings for it. Good on his word, two years later Orquesta De La Luz performed six times during their two-week stay in the city. After their last performance, Ralph Mercado, the leading Salsa promoter, discussed with them the possibility of a contract, and eventually became the band’s distributor in the U.S. Such was the beginning of ten years of prolific performance and recording work that resulted in many original songs and five albums. In 1997 the group dissolved so that its members’ could work on their solo careers. Four years later, in 2001, the thought of a reunion came up as a result of the unfortunate events of 9/11. Nora, who felt a special attachment to the city of New York, was devastated by the news of the terrorist attacks and felt the need to do something to help the affected and to encourage peace. She believed it would be especially symbolic if Orquesta De La Luz could get together for the cause, since back in 1993 the band had received a Metal of Peace from the United Nations. Her wish materialized when, on October 21st, 2002, ‘The One Day Reunion of Orquesta De La Luz for World Peace’ concert was held in Tokyo, Japan. The festival gathered funds that were later donated to the UNICEF. This Sunday, May 30th, Orquesta De La Luz will perform at the Hollywood Park Casino in Inglewood, as part of the West Coast Salsa Congress, sharing the stage with a band that needs no introduction, El Gran Combo de Puerto Rico. The $40 tickets can be purchased by calling 310/445 9705, logging to http://www.atpevents, or at the door. Consider the opportunity to see Orquesta De La Luz prove Nora’s song lyrics true, that “Salsa no tiene fronteras, la música no tiene fronteras”. |
Oscar Hernandez’s Spanish Harlem!
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The Spanish Harlem Orchestra (SHO) is one of the most popular Latin bands in the world today. SHO’s presentation of old but eternal 1960’s and 1970’s salsa tunes, mixed with some brand new songs written by bandleader Oscar Hernandez, have just given birth to their second CD “Across 110th Street”. The band’s name could not be more representing of the birthplace of New York’s very own Salsa Clasica. The name represents the native New York Puerto Rican (NuYorican) musical roots to a tee, it strongly represents the very lively Puerto Rican culture of New York’s Spanish Harlem (a.k.a. “el Barrio”), and the band has many of the world’s finest Latin artists performing together in a carefully tuned symphony of salsa. What originated among the millions of Puerto Ricans of New York City in the late 1960’s has spread to the rest of the world by a landslide! SHO’s pianist and bandleader Oscar Hernandez has experienced an unprecedented growth in the worldwide popularity of his band in just a short couple of years. One can easily imagine the world famous musical celebrity Oscar carrying a highly visible personality. But, Oscar Hernandez is a rather laid back, very likeable, and a humble person, taking everything day by day. His down to earth personality has made him most deserving of all the positive bravado that SHO has brought, a success which seems to have become another pinnacle of his career. Oscar has been around the Salsa, Latin Jazz and contemporary Latin music scene for decades. Among his historic and countless contributions in his capacities from Music Director to studio session player we can, among other things, hear him play the piano in the opening tune of television’s long running hit show “Sex and the City”! Les Rivera: Oscar, you seem to be busier than ever in these days! Oscar Hernandez: Les, always great speaking with you. It’s going real well. I have been so blessed and fortunate with the way things have happened here. LR: How has the reception been to your new CD “Across 110th Street”? OH: The CD has received great reviews. We have been featured in the New York Times, Daily News, New York Post, El Diario, and on the Sirius Satellite Radio. You have the Ruben Blades factor in this CD. The style of music carries a lot of compassion. Now I just hope the people will receive it favorably. LR: How did you choose the tracks on your CD? OH: I chose most of them. Frankie Vazquez recommended a couple of songs, such as ”Maestro De Rumbero”, but all the songs truly fit the style of the band. LR: “That New York sound” is an expression often used to describe the unique NuYorican salsa style. In your new CD you have recorded a cha-cha where you carry your audience into a mesmerizing masterpiece of a piano solo segment. “Eschucha El Ritmo” (“Listen to the Rhythm”) on track five is a new composition in a new CD that mostly consists of recordings of old songs. How did this new song get incorporated into the CD? OH: I wrote “Eschucha El Ritmo”. “Perla Morena” is another track I also composed for this CD. They are both my songs. Other songs I have composed or arranged can be found in our first CD “Un Gran Día En El Barrio” (“A Great Day in the Neighborhood”). I have been so fortunate with a good reception to the songs. LR: How did you come up with the band’s name “Spanish Harlem Orchestra”? OH: The name was Aaron Levinson’s idea. We have been so blessed with that name, as it carries such a significance. The band is all about Puerto Ricans here in New York, and the audience loves that. The band members are “real deal” people. These highly experienced and professional musicians have been around for a long time! LR: You have experienced an unprecedented rapid success growth for SHO. Barely before seen in the history of the music has a salsa band realized such an explosive progression to worldwide fame. Where are some of the places you have been performing? OH: Yes it’s almost unbelievable that we have grown so fast. Within the short time of two years we have been to Europe six times, Hong Kong, Japan, the West Coast four times, and we have performed at major Jazz festivals, among other things. LR: What are the factors making SHO the tremendous success it is? OH: That’s hard to figure out. We have good records. What’s interesting though, is, listening to the band live sounds even better than the CD’s! I use the same guys most of the time; they are all great musicians. We are like a basketball team. The guys are always musically on top of the game, they are happy with the success, every one contribute with an equally important piece, and they are involved with picking the songs we use. LR: Do you have anything you wish to tell your worldwide fans? OH: We are riding the crest of the waves for our audience. It’s because of them that we enjoy being out there, and we are very happy. On behalf of the band and myself I would like to thank all the people for their support, as I never take anything for granted. We’d like to do more and also improve our level of professionalism even more. It’s hard to maintain standards, but we are doing our best always. I am hoping that people will continue to support the music of mine, as well as the music of other musicians. Keeping our music alive with support is so important. It’s vital for us individually and for Latinos in general. Maintaining the tradition is important. LR: Where were you born and raised? OH: I was born and raised in Manhattan. Later on I was raised in South Bronx. My parents came to New York from Puerto Rico. That makes me a NuYorican. LR: Who are some of the names you were involved with prior to Spanish Harlem? OH: Before Spanish Harlem (pause) there were so many involvements. I was Ruben Blades’ Music Director from 1983 to 1996, Music Director for Hector Lavoe as well as pop-rock’s Paul Simon, Broadway Success, I was freelancing, I played with lots of great guys, such as Tito Rodriguez, Jr., Libre, the Bronx Horns, and many, many more. LR: Which artists have most influenced your career as a pianist? OH: It’s so hard to pick just one or two artists. I was 17 or 18 years old when I got started. From early on I drew attention to Eddie Palmieri, Azucar, Tito Rodriguez, Pachito, Tito Puente, Baretto, Willie Colon, Gran Combo and Ponceńa. From Cuban music I was influenced by greats like Aragon and Arsenio. There were so many good people out there. From Jazz I was influenced by Herbie Hancock, Chick Correa. I enjoyed everything from Swing to Bebop. Charlie Parker, Dizzy Gillespie and John Coltrane were others. LH: Oscar, it’s been a pleasure speaking with you again, as always. On behalf of salsarican.com we’re looking forward to your continued success and contributions to the Salsa and Latin music world for years to come! Who should people contact if they are interested in booking your Spanish Harlem Orchestra for a performance? OH: Anyone interested in booking us can contact me directly. They can either call my office at (845) 359-5265, or they can e-mail me at yapiano@aol.com. The SHO’s website can be found at www.SpanishHarlemOrchestra.com, and my personal website can be visited at www.OscarHernandezMusic.com. Thank you so much Les. Chevere, this was a fun interview. Hope to see you again soon. |
Hector Lavoe - Reflections on a Salsa Legend!
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The crowd was enormous. One could clearly feel the excitement in the air. Some females had a star stricken aura around them, as if “electrocuted” by their star about to go on stage. A couple of guys try to sneak into the front of the line. Within a microsecond they are treated to a hefty dose of New York style bluntness by the waiting crowd. The cheaters quickly disappear out of the line (and wisely so). If you wanted in you’d better sacrifice with a long wait. The word was out, that Willie Colon was also going to be present that night, to support Hector. The year was around 1975 in New York City. In just one hour, Hector Lavoe, the greatest singer I’d ever heard, was going to perform live in front of my very own eyes! Trying to recall, I believe this performance was another fine promoter legend Izzy Sanabria production. Sanabria provided the salsa world with some of the greatest events of the era! Decades later, and minus my 1970’s era “big” hair and disco style clothing with platform shoes, I am located in Los Angeles, discussing what I consider to be “the greatest male salsa singer of all time”. With me is Liz Rivera. Liz was born and raised in the Bronx. Her 1960’s-‘70’s Bronx Nuyorican upbringing represents about as authentic of a New York Puerto Rican salsa authority as can be. To Liz, Hector Lavoe wasn’t just her favorite singer. Her artist hero Hector Lavoe represents the greatest of Puerto Rican music… ever! Liz says “Hector Lavoe has left us, but he left us La Voz” (La Voz, meaning his voice). Her mind goes back to memories of a young Hector Lavoe and the bus trips (called “giras”) she used to take to upstate New York to see him perform live. She adds “that was shortly after Hector got together with Willie Colon”. Liz also saw Lavoe repeatedly perform in her beloved South Bronx, at the popular Club 310 ˝. “We could all relate so well to Hector. He popularized our native music, he sang about the toughness of the streets, the Nueva York barrio, and he sang about Puerto Rico” Liz says. When asking her which Lavoe song is her all-time favorite, her eyes light up enthusiastically… “Mi Gente!” she says… “apuntalo”! (period!), followed by her pleasant giggles. Hector “El Cantante” “La Voz” Perez Lavoe was born in Ponce, Puerto Rico, on September 30, 1946. As a child he developed a fascination to the Jibaro singers he listened to on the radio every day. Influenced by Jibaros, such as Chuito El De Bayamon and Daniel Santos he simply loved to sing along, imitating his early influences. Later on, singers such as Ismael Rivera and Ismael Quintana helped influence what was to shape Hector Lavoe into the megastar he was to become. Coming from a family of musicians his father steered him towards a musical education. At the Juan Morell Campos School of Music Hector began learning to play the saxophone. The interest in the saxophone soon faded. His interest was singing, and he did not feel he‘d ever master the saxophone well. To the dismay of his father Lavoe dropped out of school at the age of 14, pursuing odd singing jobs for low pay around Puerto Rico. The vision of stardom as a singer for a poor and troubled kid from Puerto Rico drove Hector to move to New York City. He felt he wasn’t going anywhere in Puerto Rico. Three years after dropping out of school, Lavoe arrived in New York on May 3, 1963, at the tender age of 17. His father’s strong objections to his son going to New York made Lavoe obsessed with proving to his father that he would succeed there. Prior to leaving Puerto Rico, his father had threatened to disown his son if he left for what in his father’s mind was the very same crime ridden city where Hector’s brother had died from a drug overdose. Upon his arrival in New York Hector was being cared for by his sister in the Bronx. His first job got him going in the direction he wanted. At $20 for three gigs, the word of mouth about this new singing talent began spreading. Hector Lavoe and Willie Colon first met in 1967. Prior to that Hector had jobs with Orquesta New York and Kakao and his All-Stars, and with Johnny Pacheco. Fania Records’ Johnny Pacheco got Hector Lavoe and Willie Colon together in his first album “El Malo”. After the recording was complete, Willie Colon simply instructed Hector to show up for a gig he had at the El Tropicoro Club. The record was published, and “El Malo” became a big success! This, in turn, brought Hector Lavoe and Willie Colon to instant fame! This marked the beginning of their well-known years of working together, bringing millions of worldwide fans to their feet. Hector Lavoe suffered many unfortunate tragedies in his life. El Cantante’s complex personality was certainly influenced by these turbulent events of his life, beginning with the loss of his mother as a young child. Losing his brother to a drug overdose, having his Queens home destroyed by fire, experiencing the brutal murder of his mother-in-law, losing his 17 year old son in an accidental shooting only compounded to his list of devastations. Later on, Hector barely survived his jumping from a hotel window in Puerto Rico. Permanent pain and damage from that incident caused him added suffering in his later years. Being obsessed with making his father proud of his accomplishments in New York added further pressure on Hector’s already turbulent life. After becoming famous Lavoe developed a serious drug problem. According to himself, Hector admitted he did not know how to deal with the success. The success simply came too overwhelmingly fast for him. The very success which fulfilled his artist dreams also marked the beginning of his tragic downfall as a human being. The drug problem led Lavoe to show up late, and not show up at all for his performances. The drug abuse led Willie Colon to fire Hector Lavoe. However, Willie Colon immediately did everything he could to help Lavoe overcome his close friend’s problems. Colon’s efforts, however, were to little or no avail. Hector Lavoe and Willie Colon split up in 1973. Colon wanted to explore his further potential as an artist. The events around their split led Hector to his further development into solo stardom. Lavoe’s first solo album was “La Voz” (“The Voice”), which success added another nickname to his already “El Cantante” (“The Singer”) nickname. With his own band and tours with the Fania All-Stars he soon achieved that world fame he’d always wanted. The top of his career had finally been reached! He was now loved by millions of fans around the globe. Hector Lavoe was very fond of his frequently expressed term “Yo soy un Jibarito” (“I am a humble Puerto Rican peasant”), never losing sight of his simple upbringing. His singing included everything from salsa to merengue to baladas to native Puerto Rican Jibaro tunes. The keys to his reaching superstardom as an artist were his crystal-clear voice, the greatest of lyrics improvisations, his witty and lovable personality, his handsome fan appeal, and his unstoppable Top Gun aggressive motivation to succeed. Often he told people that identity was the most important thing for him. He was on a mission to prove something not only to himself, but equally much, to his father! Hector Lavoe’s supreme talents were not an act. What we saw all came from his natural artistic genius. Hector was simply thriving by being his natural self on stage! Reflecting on Liz’s favorite song “Mi Gente” I can’t help thinking of the song I heard that night back in 1975 or so, when I saw Hector Lavoe live for the first time. That night he performed the song that has always been the Hector Lavoe song closest to my own heart: Canto a Borinquen Borinquen te quiero porque en ti nací y en ti fue que vi, el resplandor primero. Yo te soy sincero una enardecida serás bendecida aunque en ti moriré pero yo te cantaré desde la otra vida pero yo te cantaré Borinquen desde la otra vida. Tierra hospitalaria esa es Borinquen. Tierra de mi Edén oye mis plegaria. Tierra necesaria ˇoh! garza dormida, mi canción se inspira no te ha de olvidar y yo te voy a cantar desde la otra vida, y yo te voy a cantar Borinquen desde la otra vida. Al morirme un día yo no he de olvidarte y yo voy a cantarte toda mi alegría. En mis agonías Borinquen querida, mi alma aturdida no te olvidará y yo te voy a cantar desde la otra vida, y te voy a cantar Borinquen desde la otra vida. Hoy a dedicarte recuerdo te exijo, Borinquen soy tu hijo y no voy a olvidarte por eso al dejarte mi alma entristecida no será perdida tierra tropical pero yo te he de cantar desde la otra vida, yo te he de cantar Puerto Rico desde la otra vida. Lavoe died on June 29, 1993, in New York City. Great fortune made during his career had been wasted away. The cause of his death is still a mystery today. His funeral possession brought hundreds of thousands of people into the streets of New York City. Hector Lavoe had told his fans not to cry for him after his death. The crowd literally took his words at heart. His funeral route was filled with people singing, drumming, dancing, applauding, and playing his recordings on boom boxes. A packed gravesite had fans present to give Hector their tribute and last respect, just they way he wanted to have it done. His ageless music, however, lives on for eternity. Liz Rivera’s reflections could not be more accurate: “Hector Lavoe has left us, but he left us La Voz”! Check out his story at the following link --> Hector Lavoe story |
Celia Cruz: A Year Later
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NEW YORK - This July 17th. will be the one year anniversary of the death of “The queen of salsa” Celia Cruz. La guarachera de cuba, as she was also known, left us a year ago after years of fighting a cancerous tumor in the head. The singer of songs such as “Bemba Colora”, “La Sopita en Botella”, “La Negra Tiene Tumbao”, “Quimbara” and others, is still today present in the music scene as her records are still a favorite among the people. The Cuban day parade of Union City, NJ will be dedicated to the memory and legacy of this talented latin singer. Celia Cruz left her mark on this earth and the legacy of her music will live on forever. With a star on the Hollywood Walk of Fame, Celia Cruz was and is responsible for projecting latin music to the highest levels. Eventhough, her body is no longer here with us, her essence and her beauty will always be here present. Celia joins the roster of fallen latin stars such as Hector Lavoe, Ismael”maelo” Rivera, Ruben Gonzales, Juansito Torres, Frankie Ruiz, Joe Cuba, ect. |
GET YOUR ˇBOMBA! ON ACROSS THE COUNTRY
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A cold north wind might blow most of the year in Edmonton, but there’s a lot of heat being generated by Latin supergroup ˇBomba! Their current cause for celebration is their upcoming summer tour 2004, behind last year’s ‘A Mi Me Gusta’, the bands second album which blazes with superb musicianship, vibrant grooves and exquisite vocals. Since last year’s tour, ˇBomba! is grateful to have received: radio airplay in several markets; distribution for the new album with Festival Distribution in Vancouver; a nomination for a CMW Indie Outstanding Latin Music award; Canada Council tour support; a CBC/Galaxie Rising Star Award. ˇBomba! mix their salsa with jazz, funk, rumba, timba, son, and have come up with an amazing concoction. Starting late June, the band is taking their unique sound across the country this summer. tour itinerary June 19- Sidetrack in Edmonton Summer Tour 04 kick-off show 25/26- Winnipeg Cool Jazz Festival—Empire Cabaret Patio 28- Edmonton Jazz City-- The Jubilee Auditorium supporting Al Green 30- Calgary Jazz City-- The Jack Singer supporting Aaron Neville July 2- Victoria JazzFest-- Central Bar & Grill 3- Vancouver Jazz Festival-- David Lam Park Pacific Blvd. & Drake St 4- Sasktel Saskatchewan Jazz Festival--Delta Bessborough Gardens 8/9- SunFest ’04 London ON 10- Festival International de Jazz de Montréal- Labatt Bleue Stage 11- Global Café Toronto 12- Jazz East Halifax August 5 5- Victoria Latin Caribbean Festival September 18 & 19 Harvest Jazz & Blues Fest NB -------------------- www.bombaweb.com |
Latin Beat Joins 2005 Congress Offer
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2005 Salsa Congress Offer You Can't Refuse!!! Albert Torres Productions is offering a $200.00 Full Event Pass For next year's West Coast Salsa Congress (Value $350.00). This pass can be given as a gift or can be transferred to another person until January 1, 2005. This Offer is only good to the first 400 that take advantage of it or until June 30, 2004. Help keep the movement alive! As an added incentive, Latin Beat Magazine is offering 100 FREE SUBSCRIPTIONS to the FIRST 100 PEOPLE WHO BUY A $200 PASS from Albert Torres Productions for the 2005 Los Angeles Salsa Congress! Call 310-445-9705 for more information. |
ATP / 2005 Special Price Badges For Fundraiser
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To All My Salsero Friends, Some of you may have heard that the West Coast Salsa Congress was a great success. This is true! I am sorry to say that even though the congress was a great event, we found out why the numbers in the congress and the finances did not match. We had an average of 5,000-6,000 attendees each evening. Almost 85% from the domestic USA and 15% from the rest of the world. To recoup the money that was stolen from us, we are offering a $200.00 Full Event Pass For next years West Coast Salsa Congress (Value $350.00). This pass can be given as a gift or can be transferred to another person until January 1, 2005. This Offer is only good to the first 400 that take advantage of it or until June 30, 2004. Help keep the movement alive! Here is what happened if your are not aware: To All Salsa Music Lovers At SALSEROSWEB, I have been producing events in LA for close to ten years. I have no reason to lie to anyone on this board and have never asked anything of any of you. We at ATP were robbed this past weekend at the Salsa Congress by one of our own. You want proof. I called a phone number. Two others called the same number. All calls were answered by a female. We were all told to go to the address of the Rodeway Hotel on Prairie & Century to room #114 and we could get badges for $30 (value $40) for the Sunday night. If we had called days earlier we were told we could have gotten a full event pass for $150 (value $340) or a 3-4 evening pass for $75. This is the pass that many purchased. Many of the readers of this board were aware of this but were not couragous enough or as one person told me yesterday was having too much fun to anoymously call us and help stop this fraud. Another told me in front of the police officers that he couldn't afford the passes at my prices so he got it anyway he could. I wanted to knock his head off his neck but am leaving everything at this time in the hands of the law. When we realized that the attendance numbers each night were not matching the final figures, we were aware we had a problem. People in the parking lot were directing potential attendees to call a certain phone number, (the same one we called) Those that did not want to call the number were told that the Gran Combo had cancelled and many turned and left. We know this because today we got phone calls all day of people that went home when told that information. After making the phone call, we called the police. They are now very involved. Both ladies and their accomplishes including those that bought tickets are being investigated. You know who you are. It is your opportunity to come clean and get the real problem here, Angela Meier & Davina Sanmuganathan and their partners. We have all her info, it will be on every salsa website worldwide. Ask yourself if saving a little cash was worth it. Do you want your picture next to theirs? As you will notice up to now I have not mentioned any names of those that purchased tickets or knew about it, but believe me we are getting people spilling names left and right. It is up to you to do the right thing. It is now in the hands of the Inglewood Police Dept / Assault Division, Detective Pecerra where we are prosecuting for attempted murder with a moving vehicle, and robbery of badges, cameras & film and over $80,000 US Dollars. We have a private investigator and a bounty hunter. All willing to work for free to make sure this never happens again. Is your future career worth saving their a**? This Sunday at the Congress after calling the police I introduced Orq de la Luz. After introducing the band I went towards my front gate where I was informed that my staff had caught a couple of people that we all consider buddies of Salsa with badges bought at the hotel. These are people I and most of you know, and was ashamed for them that they had lowered themselves to do this to our community and to me. Upon seeing these people I could not hold myself back and went to the hotel, knocked on the door #114 and was met by Davina and she yelled for Angela who was in the shower to come to the door. Want more proof? I was informed by the acting front desk manager of this hotel that by law I cannot enter the room so they closed the door.(I feel that the front desk manager was also involved.). The police already have the info from all the rooms of the hotel that night. Angela put on some gym pants with a pink top. Davina was already dressed in a black dress and stockings. After 5 minutes both came out of the room and I told them that I had the police on the phone (which I did) and if they had nothing to hide to just wait 5 minutes. They left their clothes in the room and just grabbed a bag which I assume had the id cards and the cash. I followed her to the car and read her plate number to the officer and described the car. Black Toyota Celica. I told her to stop and at that point before I knew it I was on the hood of her car. She tried to run me over. I held on to the hood while still talking to the officer. I ended jumping off when she pushed the pedal to the ground and went on Century Blvd and turned north on Prairie. The police arrived 1 minute later tried to follow her but were unable to but promises that justice will be done very soon.. We have statements from many that bought the badges and are willing to save their careers and futures. They have described both of the girls as Angela and Davina. Imagine Angela is a mother of 3 children. What an example. Last year Angela volunteered for registration at the congress and stole some badges and cameras from us. We had no proof but asked her not to return this year. She registered as a volunteer under a different name (Jacqueline Layne) and only worked Thursday when we were missing 3 boxes of badges (750-1,000) and some cameras and film. This took a lot of planning. I would rather someone steal from me face to face than fool all of us in this great community. I still want to believe in our Salsa family, but it is hard. I almost disolved ATP yesterday because I didn't want to go through this pain again. I have come from a past of addiction and just wanted to bring some happiness through Salsa into this world and make a living. Is that a crime? Why so much jealousy? I am reconsidering what ATP's future will be. I want to thank those of my friends, my wife and family for being there for me yesterday when I lost it. I want to thank my wife for her unconditional support. Now I ask you, the Salsa world for yours. We had the most successful Congress in the world and we are in more debt than we have ever been in. I am not asking for financial support. I have the talent to survive and have come from hell back and forth through my past. What I am asking for is any support in finding the people behind this fraud and those that bought the tickets to make up the difference. No questions asked. You have no idea of the great plans we have for next year until this happened. Why do we allow great things in the Latino world to be sabotaged? I take responsability on my part for being too believing and trusting to help others. For not taking care of the badges in the proper manner. What is your responsability if any? How can we all help each other to make our community even stronger. I know there is a message for all of us through this. Believe me I am learning my message. Any info call 310 445 9705 Office Mailing Address: 2633 Lincoln Blvd #340 Santa Monica, CA 90405 Any info will be appreciated. Sorry for the black stains on the right leg of my pants when I introduced the 2nd show on Sunday. That was from the hood and tires of her car. I didn't know my pants were stained becaused I ran back grabbed the mike and jumped on stage. Also sorry to my friends for not being there for the traditional final number. I could hear it from my trailer but was in no shape or able to make it over to that tent. My leg was in lots of pain and I wasn't the happiest guy in SalsaLand at that time. Maybe next year???? Thank You Once Again For Your Support, Albert Torres |
Largest Salsa Congress In LA
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MEDIA ADVISORY THOUSANDS OF SALSA FANS FROM AROUND THE WORLD MAKE PILGRIMAGE TO LOS ANGELES TO ATTEND THE 6TH ANNUAL WEST COAST SALSA CONGRESS Attendees From Over Forty Countries and Over Two Hundred Cities Across The United States To Participate In World's Largest Salsa Congress "Creating Unity Through Salsa" Los Angeles, CA - Albert Torres Productions, Inc. and media sponsor Hoy Newspaper will be presenting the 6th Annual West Coast Salsa Congress May 27th through 30th, during the Memorial Day weekend. Due to the increased attendance, Albert Torres Productions, Inc. has built a 173,000 square foot venue referred to as "Salsa land" located in the parking lot of the Hollywood Casino located at 3883 W. Century Blvd. Salsa dancers and spectators will travel to Los Angeles from countries such as Australia, Belgium, Canada, Chile, Lebanon, France, India, Israel, Italy, Japan, Mexico, Netherlands, Norway, South Korea, United Kingdom, United Arab Emirates, Singapore, Sweden, Syria and Venezuela, to exhibit their cultural interpretation of Salsa dancing. The West Coast Salsa Congress, dedicated to "Creating Unity through Salsa," is an annual event for people of all ages and cultures to enjoy the common ground of Salsa. This year's event is expected to bring over 4000 dancers and participants from over 40 countries to Los Angeles to dance and celebrate Salsa dancing and music. Over the years, The West Coast Salsa Congress has attracted and honored many Southland local celebrities including Andy Garcia, Jimmy Smitts, Elliot Gould, Nicholas Gonzales and Eva Longoria. This year, the 6th Annual West Coast Salsa Congress will honor Don Pedro Knight music director and husband of the late Celia Cruz for his many contributions to Latin entertainment and his humanitarian efforts, along with music legend Johnny Pacheco among others. The 6th Annual West Coast Salsa Congress will feature nightly dancing from 8:00pm to 4:00am to notable performances by outstanding Latin music legends including direct from Africa and their only U.S. performance Africando, Johnny Pacheco, El Gran Combo De Puerto Rico, Roberto Roena and his orchestra, The Spanish Harlem Orchestra, direct from Japan Nora Y Su Orquesta De La Luz and west coast favorite Johnny Polanco Y Su Conjunto Amistad. The 6th Annual West Coast Salsa Congress will also showcase over 200 dance performances from dance teams from around the world. Music seminars and workshops, including dance classes taught by professional instructors who will host over 40 beginners; intermediate, and advanced dance workshops all day Saturday and Sunday from a Cardio-Salsa workout to a special Cuban style dance class. Albert Torres Productions, Inc. has become one of the largest promoters of Latin entertainment internationally, constantly presenting in Los Angeles and around the world the finest Latin entertainment. For further information and ticket sales, visit www.alberttorresevents.com or contact Albert Torres Productions, Inc. 310-445-9705. # # # FOR MEDIA INFORMATION REGARDING THE CONGRESS CONTACT: Cynthia Semon CS Communication 818-788-4468 FAX-788-4168 cscommunications@mindspring.com |
Johnny Pacheco & Africando Articles
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El Maestro Pacheco Johnny Pacheco will perform at the West Coast Salsa Congress, May 27 By Dena Burroughs | Web Published 5.18.2004 Johnny Pacheco will be 70 years old next March. For about fifty of those years he has been busy making music and helping the Latin scene develop into what it is today. Maestro Pacheco was born the 25 of March of 1935 in Santiago de los Caballeros, Dominican Republic, the son of the musician and bandleader Rafael Asarias Pacheco. Rafael moved his family out of the island when Johnny was about 11 years old, under pressure from the then-in-command dictator Trujillo, who insisted that Rafael’s band, ‘La Lira del Yaque’ be renamed ‘La Orquesta Generalisimo Trujillo’, which Rafael refused to do. That is how Johnny Pacheco ended up in New York, where he continued to be influenced by the music on the airwaves from Cuba, which he would listen to on a short-wave radio just as he used to do back home. Growing up in the Big Apple he studied music as well as electrical engineering, and fortunately, eventually saw more potential and a better future in his music. Once dedicated full time to it, he developed his skill and his relationships with other great ones such as Perez Prado, Xavier Cugat, Tito Puente, Eddie Palmieri, Willie Colon, Hector Lavoe, Celia Cruz, and so on. Johnny Pacheco, the child who first got a harmonica from his father around the age of seven, became proficient in the use of the accordion, the violin, the saxophone, the clarinet, all sorts of percussion instruments, and became one of the top flutists of his era. In 1964, along with Jerry Masucci, Pacheco founded the very successful Fania Records label, and a few years later became the musical director of the famous Fania All Stars. Today, Johnny Pacheco is a respected composer, arranger, bandleader and producer. Throughout his bright career he has accumulated important awards and recognitions, including nine Grammy nominations, ten Gold records and his induction to the International Latin Music Hall of Fame. Next Thursday, May 27th, Angelenos have the opportunity to see Maestro Pacheco perform live at the Hollywood Park Casino, on the opening night of the 6th Annual West Coast Salsa Congress. The night’s activities will go on from 8 pm to 4 am, and the $25 tickets can be purchased either at http://www.atpevents.com, or at the door. Johnny Pacheco is certainly “a pioneer, an innovator and more importantly a living legend”. Take advantage of the opportunity to see 50 years of musical genius perform live right in front of your eyes! Africando by Dena Burroughs Eleven years ago, musical director Boncana Maiga, from Mali, and producer Ibrahimi Sylla, from Senegal, brought together musicians Adalberto Santiago, Ronnie Baro, Sergio George, Bobby Allende and others from New York, and three singers from Senegal: Pape Seck, Nicolas Menheim and Medoune Diallo. Together they created a new band with a new sound, which they called 'Africando.' 'Africando’, which in the Senegalese language Wolof means 'Africa advancing together', has since its conception put together African and Caribbean sounds through the diverse expertise of its members. Its repertoire includes songs with lyrics in several African languages, such as Wolof, Kiswahili, Mandingue, Sambara, and Fon, as well as some in Spanish. Many of the songs are written and arranged by Boncana Maiga. Even though Africando’s line-up has undergone a series of changes, such as the unfortunate and untimely loss of singer Pape Seck to liver cancer in 1995, their sound has remained strong and appealing. The quality of Africando’s music has been recognized by musicians around the world, and validated by the enthusiasm of famous groups like Orquesta Aragon to cover their songs, i.e. the 1994 hit ‘Yaye Boy’. Some of Africando’s latest voice collaborators include Salif Keita, from Mali, the ‘Golden voice of Africa’, whose fantastic voice sings ‘Ntoman’ on their ‘Betece’ CD, and Koffi Olomide and Lokua Kanza from Congo, two well recognized singers in Africa who recorded ‘Mopao’ and ‘Miye Na We’ respectively, on the same CD. For the first time ever in the U.S., Africando will perform on Friday May 28th as part of the 6th West Coast Salsa Congress at the Hollywood Park Casino in Inglewood. The $40 tickets can be purchased by calling 310/445 9705, logging to To see and listen to what is coming our way, visit Africafest.com Africando is traveling a long way to appear in Los Angeles. Do not miss it!!! Thank You To: Dena Burroughs a.k.a. TICA |
Beginner, Intermediate or Advanced?
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Many salsa dancers may not be aware of where they stand as a dancer and whether they are still beginner, intermediate, advanced level dancers or something in between. I decided to ask various salsa and mambo instructors from the D.C. and New York area for their opinions on what places a dancer at a certain level. I have come to a few observations that can assist in determining your dancing level. The following is a description of the three major categories of dancing levels: Beginner, Intermediate and Advanced. Please keep in mind that within each category, you may fall somewhere between these levels. Beginner The word says it all, "BEGINNER". The beginner dancer is still in the stages of learning the basic step, right and left turns and other fundamentals of salsa dancing, like the cross body lead (CBL). The beginner should also be able to do a few simple turn patterns by applying these basics. Inexperienced dancers tend to use lots of basics between turn patterns and cross body leads while dancing. For the beginner, dancing consistently to the beat of the music (whether on 1 or 2 or whatever) is still an issue. Some beginners may periodically "get off the beat." Dancers at the beginner level do not have any styling and should not apply any styling as this can take away from mastering the basics and can lead to the creation of bad habits and bad technique. Intermediate When merging to the intermediate level there is a lack of confidence that makes the dancer still have to "go back to the basics." However, dancers should be able to keep the beat of the music most of the time. There is less of a tendency to use basics between each turn pattern. The lady’s following skills are still a little dependent on the man’s lead. She may look great on the dance floor to observers. However, men can detect how dependent a woman is by how "heavy" she feels. She may rely too much on the man to spin her, move her and turn her. At this level, she mainly expects the man to do all the work. For men, applying turn patterns to the beat becomes more of a challenge. They will be thinking about what to do next and when to do it. They will apply a lot of basic turns and CBLs to give them time to think. Once you are at the "Intermediate" and "Intermediate/Advanced" level you become more confident and your skill level increases dramatically. Ladies at these levels should be able to double and triple spin on her own. Women must be able to move on her own with little strength and effort from the man the majority of the time. Resistance during partner work should start to feel more even and smooth. The spinning levels for the men also apply. They should be good enough to spin twice on their own. Their lead should be confident and fluent and turn patterns should come naturally. Both the man and the woman are more comfortable with their own styling. The merging process to the advance level is said to be the hardest transition of all. Advanced At the advanced level, a couple dancing together should be able to dance spontaneously to breaks in the music, and execute styling and shines (open footwork) appropriate to the music with no effort at all. The dancer should be able to follow (ladies) or lead (men) anyone comfortably. Complicated turn patterns come naturally. Ladies should be able to spin more than three times effortlessly. For men, leading turn patterns is smooth and effortless, and they do not need to think hard to apply them. Sometimes even new turn patterns are made up while dancing and not even remembered after the song. Dancers at this level are usually professional dancers with years of experience. |
Do I Need To Learn How To Dance ON THE 2 ?
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So Where Do I Go To Learn More? An On-2 Chat with Lanre (conducted 'virtually' through MSN Messenger, 22nd October, 2002) It is a truth universally acknowledged that a salsa dancer in possession of a few good moves and a modicum of dance floor confidence must be in want of the two. The two. You can’t just say it, you’ve got to moan it or spit it out in a husky baritone with a cod-American accent and inbuilt reverb. The kind of voice used for blockbuster trailers and breakfast cereal adverts. The Two. For those of us who are still doing it only on the one, the two has started to take on a near-mystical significance. Not just a question of beats, or breaks, the two in London is fast becoming a Salsa Holy Grail, just as Puerto Rican moves were in the good/bad old days When-Everyone-Danced-Cuban; a kind of Instant Cool. The badge of salsa-savvy. Just add a splash of mambo and buy the t-shirt to prove it. Along with this kabalistic obsession with numbers come the mythical boasts: more spins can be slotted into the bar on two, it’s more expressive, more in-sync with the music, Bloch shoes are made for it, girls prefer their boys to be on it, web-sites are dedicated to it, babies crawl on it. Some say Frankie Martinez even farts on two, but so far this is uncorroborated hearsay. Let’s get this straight. I’ve got nothing against the two. Some of my best friends dance on-2. Much of the spleen I’m about to vent might be neatly filed under Sour Grapes. But I just can’t help asking the question as I massage my wallet and get ready for the next bout of lessons is: do I/we really need it? Or is it just The Next Big Thing (read: the next big money spinner for salsa teachers who’ve run out of stuff to teach us on the 1, and are now readying themselves to do the same repertoire on the next beat.) So let’s subject some of these on-2 myths to a bit of levelheaded scrutiny and see if we can’t get them to wobble just a bit. Dancing on-2 gives you more time to do interesting and complicated moves. This one is for the Star Trek fans. Listening to the purveyors of Two, one would think that as the right foot sinks into clave, an immense gulf in the space-time continuum opens in which multiple spins, loops, hammerlocks, and generally twisty things can be executed, still leaving one enough time to style, wink, wipe the sweat off one’s brow, and convey to the DJ in sign language that the new Marc Anthony single would be appreciated. And yet, certain immutable laws tell us that whether one rests on the one or the eight, there are still only four beats to the bar in which to get funky. It’s as if on-2 those three beats in between str-e-tch to accommodate everything one doesn’t have enough time to accomplish on-1. What actually happens, and perhaps explains this phenomenon, is that those sneaky on-2 dancers step on two, but actually spin and cross-body on the downbeat, buying themselves some extra time in the process. In other words: they get to have their cake and hammerlock it. This is blatantly unfair and is something the on-1 police will no doubt have to legislate on in the future. Dancing on-2, you’re more ‘in-tune’ with the music. Most on-2 dancers get their bearings from the tumbao, that slap of the conga, which serendipitously lands on two and six. I know this because I am the not-so-proud owner of both Eddie Torres’s Ear Training Method ™ (audio) and Salsa Nightclub Style™ Vols 1&2 (video), in which Eddie, wearing extremely shiny and elongated dance shoes, admonishes us, along with the help of charts and smiley conguero Eddie (Montalo) to ‘learn how to dance correctly, on time [i.e. on-2] with the music [i.e. the conga]. (One might assume from the somewhat arch tone I employ with regard to these learning aids, that I’ve got something against The Guru Himself. Heaven forbid I should start dissing almighty Eddie. Let me only say that in terms of production values and more importantly substance…ok, moves, ET gives one as much pop for one’s buck as the Millennium Dome gave the average British taxpayer.) But to get back to tumbao. Aren’t we getting just a little bit conga centric here? It’s not like nothing is happening on the downbeat. Only…the melody. Even on-2 academics will admit that the one ‘is the strongest feeling beat of the measure. That is when a dancer feels the "thrust" or "power" of the rhythm.’ [Steven Shaw: ‘Definition of Dancing On Two’ mambocity.co.uk] Dancing on-2 is more ‘authentic’. This is tied up with the above point, and general bowing in the direction of The Almighty Clave. But in the mish-mash world of salsa, surely the dance stopped being authentic as soon as we put on shoes and started counting. If we want real ‘authenticity’, perhaps we should look to the unschooled Salsa Primitivos, da street kids who dance to dance. Grandmaster Isaac Altman, the seemingly self-appointed Big Cheese of The World Salsa Federation points out: ‘When we watch this cross-section of street dancing Latinos dancing to Salsa music, they almost always either break on 1 or 3. These are people that have no formal training, no idea of counts or breaks. They hear the music and then dance. They do not worry about what foot to start with nor are they concerned about the clave. Almost all of them will start on count 1, either to the side, or forward…. I have traveled and performed in almost every South American and Central American country to view how Latinos dance to Salsa…breaking on 1 seems to be dominate (from An Interview with Isaac Altman, worldsalsafederation.com) So there. I don’t think London’s fascination with the two is going to diminish. I think it’s going to get even more prevalent. I envisage clubs driven by beat-apartheid with the flash on-2meisters getting their own floors, with us clodhoppy on-1ers making do with the dodgier partners, and having to do our stuff in the cloakroom, or the passageway between the dance floor and the toilets. The girls I now want to dance with want the two. And that’s enough motivation for me to start doing the lessons…. But there is hope. The on-1 posse will clearly not take this invasion lying down. My friend D. is very proud of his ‘On-1ers Get There First!’ bumper sticker. And a few weeks back at Bar Salsa, I saw one of my favourite dancers wearing a Velcro-panel t-shirt with ‘On-1 and proud of it’ flashing. And maybe all this on-1/on-2 business is really just another salsa storm in a tumbao. Last week I met a lady from New York at La Finca who replied to my query of whether she ‘missed the two’ with: ‘Geez, you Brits are so anal about this kinda stuff! One, two, pooh, shmoo. Fuggetaboutit! [Actually, she didn’t come out with this particular Soprano-ism, but wouldn’t it have been great if she had?] In Noo-Yawwwk we just dance!’ |
Good Salsa Dance Songs
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GOOD SALSA DANCE SONGS These songs are all chosen from the point of view of the On 2 mambo dancer. These are not DJ choices or musician choices or Latin music lover or webmaster choices; these are strictly dancer choices. Unlike each of these other music listeners and experts, we dancers spend hours & hours dancing to one song after another with different partners. More than anyone else, we know best what music goes well with our way of dancing. Almost every one of these songs will be well received at a New York/New Jersey On 2 mambo party although, obviously, in any given mambo crowd different dancers prefer different songs. For those living outside the New York metropolitan area, these songs will give you some idea of what we love to dance to, and also the kind of music our style of dancing goes best to. These songs should be played following the Guidelines For DJ's listed above. Certainly, this list is far from complete. There are many other great salsa & cha cha dance songs, both old and new. Over time, I will be adding more songs to this list. To find out where to buy CDs from stores & internet sellers with large Latin music collections, click on Where To Buy Latin Music . If you would like to find out which CD a particular song is from, see the excellent web site www.Descarga.com , where you can look up songs either by title or singer/band. You can also purchase your CDs through this site. Ahora Me Da Pena - Henry Fiol Ahora Si - La Sonora Ponceńa A La Hora Que Me Llamen Voy - Jose Alberto "El Canario" Aqui Hay Un Hombre Gozando - Charanga de la 4 Alta Marea - Erick Amor A Control Remoto - El Gran Combo Ampárame - El Gran Combo Anuncio Clasificado - Willie Rosario Apiádate De Mi - Victor Manuel Arińańara - Eddie Torres Mambo Kings Orchestra Armonioso - Wayne Gorbea Arrepentida - Angel Canales Arrepentios Pecadores - Willie Rosario Asia Mood - Tito Puente Asi Son - El Gran Combo Azucar Negra - Celia Cruz Azucar Pa' Un Amargao - El Gran Combo Azuquita P'al Café - Gran Combo Babarabatiri - Tito Puente Babarabatiri - Willie Rosario Baila Mi Musica - Orquesta Inmensidad Bailando - Frankie Ruiz Baila Que Baila - José Alberto "El Canario" Bamboleo - Celia Cruz & Fania All Stars Besitos De Coco - Azabache Bétece - Africando Bilongo - Eddie Palmieri Bochinchosa - Los Hermanos Moreno Borinquen - La Sonora Ponceńa (skip first 3:14 minutes) Brujería - El Gran Combo Buenas Noches Che Che - Tito Rodriguez (Sr.) Bumba Carabumba - Angel Canales Caballero Y Dama - Celia Cruz Y Willie Chirino Campanero - Jose Mangual Jr. Cancion - La Sonora Ponceńa Canto Al Amor - La Sonora Ponceńa Cao Cao Mani Picao - Celia Cruz Cara De Nińo - Jerry Rivera Caravan - Eddie Torres Mambo Kings Orchestra Celoso - La Sonora Poncena Chango Ta Beni (Sarabanda) - Gilberto Santa Rosa Chango Ta Beni (Sarabanda) - Willie Rosario Chotorro - Madera Fina Cielo De Tambores - Grupo Niche Cinco A Diez - Azabache Clave Mambo - Joe Cuba Como Lo Canto Yo - Justo Betancourt Como Lo Hacen - Frankie Ruiz Como Me Ha Insultado - Son Café Como Quiera - José Alberto "El Canario" Con Eso - El Gran Combo Con Sandra En La Cama - José Alberto "El Canario" Crueldad - Mi Son Sabroso Cua Cua - Tito Puente Cuando Parará La Lluvia - Johnny Rivera Cuando Se Canta Bonita - Willie Rosario Cuban Fantasy - Estrellas Caiman Cúcala - Celia Cruz Dale Duro - Hansel Camacho Dame Ese Placer - Erick Débate - Tommy Olivencia Déjame Sońar - Tito Puente & Tony Vega Dame Esa Placer - Erick Déjete Quierer - Jose Alberto "El Canario" Descarga 72 - Orquesta Willie Rodriguez Descarga A La Moderna (slowed down) - Ray Barretto Descarga Cachao - Cachao Descarga Lebron - Lebron Brothers Dime Que Quieres - El Gran Combo Donde Quiera Que Estes - Isidro Infante Duele Mas - Grupo Niche El Apartamento - Willie Rosario El As De La Rumba - José Alberto "El Canario" El Callejero - Willie Rosario El Cantante Y La Orquesta - Angel Canales El Chisme - Celia Cruz & Ray Barretto (slow down) El Curandero - Raulín Rosendo El Flamboyan - Willie Rosario El Mangonero - Marvin Santiago (slowed down) El Manisero - Willie Chirino El Menú - El Gran Combo El Preso - Fruko Y Sus Tesos El Que No Sufre No Vive - Ismael Rivera El Que Se Fue - Tito Rodriguez & Gilberto Santa Rosa El Swing - Andy Montanez El Verdadero Son - Estrellas Caiman El Yo Yo - Wayne Gorbea (slow down) Esa Mujer - Tony Vega Esas Lágrimas - Gilberto Santa Rosa Esperaré A Que Decidas - Tony Vega Étnia - Grupo Niche Faisan - Conjunto Classico Falso Amor - Willie Rosario Fe - Lebron Brothers Feo Pero Sabroso - Louie Ramirez Fiesta A La King - Tito Puente Fuego A La Jicotea - Marvin Santiago Gotas De Lluvia - Grupo Niche Goza La Vida - Conjunto Libre (skip long introduction) Gracias - El Gran Combo Guaguancó Callejera ("Ave Maria") - Guayacan Guaguanco Con Rumba - Johnny Polanco Guanguancó Del Gran Combo - El Gran Combo Guatacando - Fania All Stars Háblame - Frankie Ruiz Hacha Y Machete - Hector Lavoe Homenaje A Los Tres - Papo Lucca Hong Kong Mambo - Tito Puente Intente - Cali Aleman Isla Del Encanto - Orquesta Broadway Ken Moussoul - Africando La Chica De Mis Suenos - El Gran Combo La Cura - Frankie Ruiz La Familia - Ray Barretto La Fe Tiene Calentura - Alfredo de la Fe La Fiesta De Pilito - El Gran Combo La Gitana - Jose Alberto "El Canario" La Guitarra - Erick La Loca De La Garita - Raphie Leavitt La Loma Del Tamarindo - El Gran Combo La Muerte - El Gran Combo La Paella - José Alberto "El Canario" La Palomilla - Joe Cuba La Peluca - Dave Santiago La Rebelion - Raulín Rosendo La Salsa Llegó - Alfa 8 La Salsa Nunca Se Acabo - Susie Hansen Las Mujeres - Los Nemus Del Pacifico La Soledad - Ismael Rivera La Sopa En Botella - Celia Cruz Lady - Orquesta Palabra Lejos De Ti - Angel Canales Lejos De Ti - Son Boricua Lindo Yambú - Cheo Feliciano Llorando - Orlando Lluvia - Eddie Santiago Lluvia - Willie Rosario Lo Bonito Y Lo Feo - Grupo Niche Lo Que Traigo Es Sabroso - Eddie Torres Luna Negra - Rey Ruiz Madre - Melcochita Malagueńa Salerosa - Eddie Palmieri Malanga Amarilla - Cachao Mama Guela - Spanish Harlem Orchestra Mama Kiyelele - Ricardo Lemvo & Makina Loca Mambo - Cachao Mambo Diablo - Tito Puente Mambo Inn - Tito Puente Mambo Inn - Pablo Sanchez Mambo Mongo - Mongo Santamaria Mambo Yo Yo - Ricardo Lemvo & Makina Loca Marca Mi Número - Justo Betancourt Margarita - Johnny Ray Mascarada - Johnny Ray Matrimonio Feliz - Willie Rosario (slowed down) Me Dices Que Te Vas - Miles Peńa Medley - Raulín Rosendo Barranquillero La Guayava Rebelión Me Liberé - Gran Combo Meneame La Cuna Ramon - Roberto Torres Merecumbé - Johnny Colon Me Voy Pa' Colombia - Johnny Polanco Mi Gente - Oscar D'Leon Mi Lindo Yambú - La Sonora Ponceńa Mi Ritmo Está Bueno - Javier Vazquez Micaela - Sonora Carruseles Mirame La Cara - Miles Peńa Miye Na We - Africando Montuno Street - Azabache Mujer Erótica - Tito Rodriguez Mujer Celosa - Gran Combo Mulato Rumbero - Jimmy Sabater Mulato Rumbero - Eddie Torres & His Mambo Kings Orchestra Muńeca - Alfredo de la Fe Mundy Baja - El Gran Combo Nadie Se Salva De La Rumba - Celia Cruz, Ray Barretto, Adelberto Santiago Nariz Millonaria - Raul Marrero Nica's Mambo Dream - La Sonora Ponceńa Night In Tunisia - La Sonora Ponceńa Nińa Y Seńora - Tito Puente No Dejemos Que Muera El Amor - Miles Peńa No Digas Que No - Gran Combo No Me Canta Na - Gilberto Santa Rosa Ojos Chinos - El Gran Combo Otra Oportunidad - Jimmy Bosch Pa' Bravo Yo - Pupi Santiago Pa' Curubande Yo Voy - Los Brillánticos Pa' Gozar Contigo - Quinto Mayor Para Darte Fuego - Frankie Ruiz Para La Luna - Los Nemus Del Pacifico Para Ochun - Hector Lavoe Paris Mambo - Tito Puente & Eddie Palmieri Pepe Machete - Ray Cruz Perdóname - Gilberto Santa Rosa Perico Macumba - Angel Canales Periquito Pin Pin - Tommy Olivencia Perla Fina - Monguito Picadillo - Eddie Palmieri Picadillo A Lo Puente - Tito Puente Picadillo Jam - Eddie Palmieri & Tito Puente Plante Bandera - Tommy Olivencia Plante Bandera (rap version) - Tego Calderon Ponme El Alcolado Juana - El Gran Combo Porque Te Vas - Rey Ruiz Primeroso Cantar - Johnny Pacheco Puerto Rico - Eddie Palmieri Puerto Rico - Frankie Ruiz Que Bueno Baila Usted - Oscar D'Leon Que Chevere - Orlando Marin Que Me Lo Den En Vida - El Gran Combo Que Te Vaya Bien - Raulín Rosendo Qui Qui Qui Qui - Andy Montańez Quien - Raulín Rosendo Quiero Olvidarte Y No Puedo - Erick Ran Kan Kan - Tito Puente Remembranza - La Sonora Ponceńa Rumbera - Willie Chirping Salsa Buena - Frankie Ruiz Salsa Romantica - Louis Ramirez Salsa Y Charanga - La Son Charanga Sama Thiel - Africando Sandra Ines - Los Del Camay Santo Domingo - Raulín Rosendo Se Me Fue - Conjunto Yumuri Si Esa Mujer Me Dice Que Si - Frankie Ruiz Si La Tierra Tiembla - Carlos Guerrero Si Te Busco En El Baile - Edwin Bonilla Si Tu No Vienes, No Bailas Conmigo - Edwin Bonilla Sin Sentimientos - Grupo Niche Solo Contigo - Victor Manuelle Solo Se Que Tiene Nombre De Mujer - Angel Canales Somos Iguales - Spanish Harlem Orchestra Sońando - Erick Soneros De Bailadores - Combinación Perfecta - Cheo Feliciano & Pete "El Conde" Rodriguez Sorpresa De Flauta - Geovonie Diaz Soy Dichoso - Ray Barretto Soy Yo - Cheo Feliciano Sun Sun Babe - Tito Rodriguez Jr. Swing La Moderna - Ray Barretto Tata Masamba - Ricardo Lemvo & Makina Loca Te Vas De Mí - La Sonora Ponceńa Temedi - Africando Tengo Una Copa De Vino - Raulín Rosendo Thinking Of You - Lenny Kravitz This Moment - Azabache Timbalero - El Gran Combo Toby's Mambo - Tito Rodriguez Jr. Tres Dias De Carnival - Celia Cruz Trombon Criolla - Cachao Trukutu - Tommy Olivencia Tu Carińo Se Me Va - Erick Tumba El Quinto - Linda Leida Tu No Me Has Visto, Miguel - Javier Vasquez Tu No Sabes Quierer - Lalo Rodriguez (slow down) Tu Nuevo Amor - Ismael Miranda and Junior Gonzalez Tu Tu Ta Ta - Eddie Palmieri Ublabadú - Fania All Stars Un Alto En El Camino - Grupo Niche Un Poquito Más - Jimmy Bosch Vasos De Colores - Marvin Santiago Ven - Jose Bello Ven A Medellin - Grupo Galé Viva Cepeda (slowed down) - Cal Tjader Viva Puente - El Gran Combo Vitamina - Sonora Carruseles Volver, Volver - Grupo Galé Witinila - Ismael Rivera Y Eso Duele - Gilberto Santa Rosa Y No Hago Mas Na' - Gran Combo Ya No Puede Ser - Celia Cruz, Adalberto Santiago, Ray Barretto Yay Boy - Africando Yolanda - Guayacan Orquesta Yo Tengo Pena - Jorge Maldonado GOOD CHA CHA DANCE SONGS Abajo Y Ariba - Tito Puente A Donde Vas - Tito Puente Apagame El Fuego - Lebron Brothers (slowed) Aprieta El Pollo - Ray Barretto Aye Que Rico - Eddie Palmieri Baila Mi Son - Charanga 4 Besame Mama - Mongo Santamaria & Poncho Sanchez Blues For Louie - Son Boricua Bodacious Q - Poncho Sanchez Bruca Manigua - Ray Barretto Cafe - Eddie Palmieri Cayuco - Tito Puente Chambique - Mongo Santamaria Chanchullo - Tito Puente Chocolate Ice Cream - Eddie Palmieri Cinderella - Poncho Sanchez Cinturita - Eddie Palmieri Cocinando - Ray Barretto Cocinando Suave - Ray Barretto (slowed) Cocinando Un Son - Johnny Polanco Cuenta Bien - Edwin Bonilla Cuidate Compay - Eddie Palmieri Donna Lee - Manny Oquendo Y Conjunto Libre (start @ 1:24) El Son De Santurce - El Gran Combo El Tramposo - Joe Cuba Estaca De Guayacan (slowed down) - Marvin Santiago Funky Latin Boogaloo - Patricia Melecio Grog Moin - Africando Guachi Guara - Jam Miami Guajira En Azul - Cal Tjader & Eddie Palmieri Guantanamera - Charanga Cubana Killer Joe - Jorge Dalto Leyte - Pete Escovedo Llego La India (slowed down) - La India & Eddie Palmieri Los Sitios Llaman - Tipica 73 Mami Me Gusto - Gabino Pampini Mas Bajo - Tito Puente Mata Siguaraya - Oscar D'Leon Me & You Baby - Mongo Santamaria Mi Chiquita Quiere - Papaito (slowed) Mi Negrita Me Espera - Ismael Rivera Mi Sonsito - Eddie Palmieri Misteriosa Mujer - Tommy Olivencia Mofongo - Jovenes Del Barrio Ndiabaane - Africando Ode To Cachao - Tito Puente Oriente - Henry Fiol Oye Como Va - Tito Puente Pa' Gozar - Eddie Torres Mambo Kings Orchestra Pa' Huele - Estrellas Caiman Poinciana - Cal Tjader & Eddie Palmieri Point East Memories - Tito Puente Que Cosas Tendran - El Gran Combo Que Son Uno - Joe Cuba Quitate Tu - Fania All Stars (shorten) Relax & Mambo - Machito Sabor Sabor - Wayne Gorbea Salchicha Con Huevos - Jimmy Sabater Salsa Y Bembe - Joe Cuba Satelite - Ismael Rivera Si Las Nenas Me Dejan, Que - Eddie Palmieri Sofrito - Mongo Santamaria Sonando - Poncho Sanchez Suave - Eddie Palmieri Subway Harry - Poncho Sanchez Summertime - Ray Barretto Tema Del Apollo - Eddie Palmieri Tinguaro - Johnny Pacheco Tu Bombon - Joe Cuba Un Mensaje Para Brenda - Johnny Polanco Volver A Verte - Oscar D'Leon Watermelon Man - Poncho Sanchez Yerbero Moderno - Celia Cruz |
ˇBOMBA! WIN CBC GALAXIE RISING STAR AWARD AT JUNOFEST
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Local Latin supergroup ˇBomba! were honoured and proud to be the recipients of the Galaxie Rising Stars Program at JunoFest 2004. Galaxie, CBC’s Continuous Music Network partnered with JUNOFest 04 in the promotion of home-grown talent through its Rising Stars Program. Galaxie champions Canadian talent by supporting the development and promotion of musicians, this program recognizes Canada’s up-and-coming stars. “We share a deep sense of passion for music with our partners and embrace the bright talent of Canadian artists on the rise. For ˇBomba!, the Rising Stars award is a mark of respect and recognition. For Galaxie, it is our way of showing how proud we are of our artists!” mentions Jean-Richard Lefebvre, Manager Development, Partnership, and Programming. * * * GET YOUR ˇBOMBA! ON MUCH MORE MUSIC ˇBomba! is the featured subject of next week’s Clip Trip on MuchMoreMusic. The special was filmed when the band was last in Toronto promoting its latest CD, A Mi Me Gusta. Hosted by World music expert Diego Fuentes, the show will air Monday, April 19 at 10:30 pm mst, and re-broadcast on Tuesday, April 20 at 12midnite and Sunday, April 25 at 4:00 am. * * * ˇBOMBA! PLAY NIGHT OF ARTISTS ˇBomba! play the Night of Artist’s gala art, fashion and music show Friday, April 16 at The Westin Hotel Ballroom, ˇBomba!’s on at 9:30 pm, tickets at the door. visit www.bombaweb.com |
6th Annual West Coast Salsa Congress
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ALBERT TORRES PRODUCTIONS, INC PROUDLY PRESENTS: 6th ANNUAL WEST COAST SALSA CONGRESS HAVE YOU REGISTERED YET???? WHAT ARE YOU WAITING FOR??? ONLY 42 MORE DAYS! VERY FEW ROOMS AVAILABLE AT THE CONGRESS HOTEL.. GET YOUR ROOM TODAY! www.alberttorresevents.com OVER 2,000 SALSA MUSIC LOVERS & DANCERS HAVE REGISTERED TO ATTEND THE LARGEST SALSA CONGRESS IN THE WORLD! ATTENDEES FROM OVER 30 COUNTRIES / OVER 200 U.S. CITIES & 31 STATES HAVE REGISTED AS OF APRIL 10, 2004. JOIN US AT THE 6th ANNUAL WEST COAST SALSA CONGRESS "CREATING UNITY THROUGH SALSA" MAY 24-30, 2004 LAX MARRIOTT & THE HOLLYWOOD PARK CASINO LOS ANGELES, CALIFORNIA MONDAY, MAY 24 & TUESDAY, MAY 25 1st ANNUAL MUSICIAN'S SEMINAR SPECIAL DINNER ON MONDAY NIGHT (Additional Cost) CALL OR E MAIL FOR MORE DETAILS. WEDNESDAY, MAY 26 BUS SIGHTSEEING TOUR & SHOPPING IN DOWNTOWN LA INSTRUCTOR TRAINING SEMINAR w/ EDIE & AL / Noon-4pm (Additional Cost) MUSICAL "GUAGUANCO, OYELO BIEN" (8PM) 1 HOUR & 1/2 SHOW 18 Dancers From Cuba Sharing The History Of Cuban Music Through Dance) PRE CONGRESS DANCE w/ ORQUESTA SON MAYOR (10pm-2am) THURSDAY, MAY 27 SUCESS IN SALSA SEMINAR w/ JOBY & LUIS VAZQUEZ OF SALSA BRAVA (11am-4pm) (Additional Cost) AFTERNOON BEACH PARTY(Noon-5pm) OPENING NIGHT OF THE CONGRESS (8pm-4am) EVENING DJ'S & DANCE TEAM SHOWS FROM AROUND THE WORLD 1st ANNUAL ATP MUSICIAN'S SEMINAR BAND (LED BY JOHNNY PACHECO & OSCAR HERNANDEZ) Also Direct From NY / JOHNNY PACHECO & HIS ORCHESTRA Feat. HECTOR CASANOVA FRIDAY,MAY 28 SALSA RHYTHMS FOR DANCERS SEMINAR w/ MIKE BELLO (9am-noon) (Additional Cost) DAYTIME DANCE WORKSHOPS (1pm-4pm) AFTERNOON PERFORMANCES (4:30-6pm) EVENING DJ'S & DANCE TEAM SHOWS FROM AROUND THE WORLD (8pm-4am) DIRECT FROM AFRICA / 1st TIME ON WEST COAST / AFRICANDO Also DIRECT FROM PUERTO RICO ROBERTO ROENA Y SU ORQUESTA SATURDAY, MAY 29 DAYTIME DANCE WORKSHOPS 99am-4pm) AFTERNOON PERFORMANCES (4:30-6pm) EVENING DJ'S & DANCE TEAM SHOWS FROM AROUND THE WORLD (8pm-4am) SPECIAL TRIBUTE TO DON PEDRO KNIGHT (CELIA CRUZ'S HUSBAND) FROM LOS ANGELES: JOHNNY POLANCO Y SU CONJUNTO AMISTAD Also DIRECT FROM NEW YORK: SPANISH HARLEM ORCHESTRA SUNDAY, MAY 30 DAYTIME DANCE WORKSHOPS (9am-4pm) AFTERNOON PERFORMANCES (4:30-6pm) EVENING DJ'S & DANCE TEAM SHOWS FROM AROUND THE WORLD (8pm-4am) DIRECT FROM JAPAN: NORA & ORQUESTA DE LA LUZ Also DIRECT FROM PUERTO RICO: EL GRAN COMBO FOR MORE INFO: www.alberttorresevents.com 310 445 9705 We respect your privacy. If you prefer not to receive Albert Torres Productions, Inc offers in the future, click below: www.alberttorresevents.com/events/unsubscribe.asp |
The Catskills Meet Castro: 'Dirty Dancing' in Cuba
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SAN JUAN, P.R. KEEP up your energy," the choreographer Joann Jansen called to the dancers swaying to the mambo in an opulent ballroom here last April. She was fine-tuning a scene in "Dirty Dancing: Havana Nights," a remake of the 1987 hit movie "Dirty Dancing," which opens on Friday. When the sequence ended, she took the dancers aside. "Listen," she said, "you have to look like you're loving it even if you've been doing this scene for hours." Standing in front of them, elegant in black slacks and shirt, she rolled her hips and twisted her torso about as provocatively as Mary Poppins might have. They looked at her sheepishly. The next time she did the movements, she turned on all her sensuality. "Hey, come on," she said. "This is about bodies communicating their desire for one another. It has to be hot." Ms. Jansen, whose choreographic credits include "Along Came Polly" and "Pirates of the Caribbean" and who was the associate producer of "Fresh" and "White Man's Burden," has a lot invested in this film. She is not only its choreographer and co-producer; she also inspired the story. "It's about my first love," she said. "We got to know each other through dancing together. And that's what this love story is also about." The plot closely follows Ms. Jansen's teenage experience, which she chronicles in a book that she has nearly completed. In 1959, shortly before the Cuban Revolution she and her parents moved from St. Louis to Havana, where her father managed a plant for Reynolds Aluminum. Though initially unhappy about leaving her old high school, she soon fell for a Cuban boy who worked at the hotel where her family stayed. Like the lovers in the original "Dirty Dancing," they hid their affection from her parents because of their class differences. But the Havana of that time was far more volatile than the Catskill resort in 1963 where the previous film was set, and Ms. Jansen's romance was interrupted by a revolution, not just the end of a summer vacation. The new film features Romola Garai, who starred in "I Captured the Castle," and Diego Luna, who won acclaim for his performance in "Y Tu Mamá También." "Joann's personal connection adds a tremendous amount of emotional resonance to the film," said Sarah Green, its producer. "You feel she fully empathizes with the young couple. She understands that people reveal themselves in how they dance. As a result, if you watch nothing but the dancing, you'll understand the story." Ms. Jansen paid close attention to Ms. Garai and Mr. Luna as they moved confidently on the dance floor during that day's shoot. They looked glamorous in their evening clothes and very much in love. As the Latin band pumped out a spirited salsa, Mr. Luna swung Ms. Garai, her dress swirling around her hips, before pulling her close to his chest and dipping her backward. Moving in a tight embrace, they appeared to have been dancing together forever. "I'm really proud of them," Ms. Jansen said. "They hardly knew anything about dancing before this film." At Ms. Jansen's request, relatively unknown actors were chosen for the major parts, as in the earlier film. But Patrick Swayze, whose career took off after he appeared in "Dirty Dancing," does play a cameo role as a dance instructor, and he and Ms. Jansen briefly dance together, doing a side lift that was copied from the last film. "It's a sweet little homage," she said. Ms. Garai and Mr. Luna had a good sense of rhythm, Ms. Jansen recalls, but even so she had to work with them daily for two months before beginning to choreograph. She started with physical training, and moved on to elaborate footwork and Afro Cuban movement. She also showed Mr. Luna how to lead a partner. Ms. Jansen also taught them dance phrases that combined Latin and ballroom styles. "Sometimes it was very, very frustrating," Ms. Garai said. "But we didn't want doubles to dance in our places. It was a matter of pride." Ms. Jansen was particularly aware of the difference in their body types. "You accentuate a person's characteristics," she said. "Romola is tall and statuesque, and Diego has a funky way of holding himself. I wouldn't try to make her look small or give her small steps. For Diego, who is cute and sexy with a flirty way about him, I incorporated his natural mannerisms into his arm gestures and how he turns his head and looks at her. By the time we started filming, they could even figure out what fit and what didn't in a dance sequence." In the final dance, Ms. Jansen said, "I wanted to show Romola bringing her knowledge of ballroom and mambo to their relationship and Diego his experience in Afro-Cuban and salsa. As they share what they know, they fall in love." Though she had studied at the School of American Ballet and had run her own modern dance company in New York for several years, she said that creating choreography for film required her to think like a director. For starters, she broke down the story by shots. "I had to figure out for the cameras what movements best express the meaning of the story and illuminate the characters," she said. During the shooting that day, Ms. Jansen went up to the balcony above the ballroom floor and spoke to a cameraman. "I want viewers to feel like they are watching the dancers from tables around the ballroom floor," she told him. "So these have to be long shots." In the nightclub scenes, where the dancing is sexier, she had the camera zoom in on the dancers' bodies and faces. "The main camera gets the stars from all perspectives," she explained, and the other camera mainly goes for close-ups of body parts — hips, feet, torsos — of the other dancers." When the day's shoot came to an end, Mr. Luna, sweaty and tired, came over to review some moves with Ms. Jansen. "The only time I danced before this movie was when I was drunk or wanted to get close to a girl," he said. "The hardest part was believing I could do it, that I could really move my hips, my shoulders and my feet all at the same time. Joann gave me the confidence to try. Now it's good-bye to two-left-feet Diego." |
How Was FULANITO?
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Last night Fulanito came to E-town and the show was HOTT!! Well worth the $40. Its a good sign of more things to come in our province for latin artists. A note to you C-towners getting ready for the show tonite. GO!! GO!!! GO!!! With the exception of the organizers trying to live up to their name in the beginning, (liquor license not getting in on time and equipment getting setup), DJ Chico and his crew managed to get back on track and get the show pumping hard! Good job man! DJ Chico got the party started with Calgary's Orquesta Saboga Bay. Once you got this group warmed up, they got even the grandmas shaking some booty. Next to Bomba and Energia, Edmonton's pride and joy, is where I personally would rank this group at THIS MOMENT. Although this group is an ambitious group of musicians, having opened up for Oscar d'Leon last summer in E-town and C-town, as well at Expo Latino in Calgary, and now for Fulanito, this group is going to be dangerous with another year under their belt. Saboga Bay is relatively a very new band and one of the very few bands in Western Canada to boast a full complement of percussion, rhythm, and horns. With Fulanito being known more for their Merengue rhythms, and as a hardcore salsero myself, the salsa's played by Saboga Bay and DJ Marco "El Padrino" and DJ Fuego were an excellent compliment to the night and well worth your money to get some good salsa going. The night even had a couple hardcore Latino rapero's Estilo Frio out of C-town wrecking the mic. If one of the artists had not boldly wore a Calgary Flames jersey, they may have had more support from the crowd, instead being boo'd on the stage. A confident couple of guys, they managed to win the crowd over after they dropped some lyrics. Good luck to you boys! With alot of anticipation, Fulanito finally came on stage being received by a majority female crowd. The boys came out fully geared in black suits and dress shirts, absolutely flirting with all the girls in the hall. Even the boyfriends and husbands were feeling the lack of love from their female counterpart. With that said, the quartet of Fulanito fully satisfied the crowds expectations. They played all their popular songs with the exception of no band present. Of course it would get a little expensive to bring the whole band to compliment the vocals, but at least bring the accordian player. He's the guy that gets the whole thing pumping. I dont know, thats just my opinion. Even without him, everyone was jumping and getting a good workout. DJ Chico even announced the possibility of Grupo Niche (Colombian Salsa Band, OH YEAH!) coming down this summer to Alberta. Keep it coming Chico, as ESC (Edmonton Salsa Club) is also going to pull off some big acts to come to E-town and C-town in the future. Also please take time to check out our discussion forum where you can reply to this article or talk about your experiences with the group or even just the night. >> CLICK HERE << and then click Dance Discussions and then the article. Then Press reply. Thanks amigos |
Is salsa world's savior?
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Forget diversity training and cultural sensitivity seminars. I have the ultimate solution to all our social ills. It's a simple thing, one that brings together people of all backgrounds in a place where they are judged not by how they hold themselves, but how well they let go. Where, for a few hours, racial divisions, the rigid rules of social interaction and political correctness are all suspended. It's called salsa, and it could just save the world. The music and dance style of the same name that has been gaining steady popularity in Los Angeles, salsa is a flashier version of the mambo, the mid-20th century Latin dance craze that calls to mind Ricky Ricardo and pre-Castro Cuba. And on any given night across greater L.A., thousands of people are crowding dance floors in some of the most unlikely places: a Studio City lodge, a Santa Monica pub, a tiny Hollywood restaurant. Los Angeles' Western location makes it an odd choice as a mecca for the newest generation of salsa, a movement born out of Afro-Caribbean music in cities like Havana, San Juan, Miami and New York City. Los Angeles' Latino population and culture has been shaped largely by Mexican influences, which are known more for a polka beat than a Caribbean one. But that's exactly what this city has become in just a few years. Odder still, its genesis can be traced to the San Fernando Valley's own old boys' club icon, the Sportsmen's Lodge, and the determination of a former New Yorker, Albert Torres, now Los Angeles' pre-eminent salsa event producer. Ten years ago, Los Angeles wasn't even a blip on the worldwide salsa radar. Salsa meant chunky tomato stuff in a bowl for the chips. "Is there anything drier than a desert?" Torres jokes. "L.A. was known as a place where, to New York musicians, that's where you go when there's nothing else left." But Torres and others kept plugging away, talking big-name salsa bands from the East Coast and Cuba or Puerto Rico to come to play at the main salsa venue, the Sportsmen's Lodge. Sometimes, the only stop that these groups would make on the West Coast would be in Studio City. These days, the West Coast is the oasis. Every night across the Los Angeles region, salsa clubs are packed. A new club opened in Alhambra in January and was full immediately. Torres is putting together events these days and doesn't have to hope for a few hundred dancers, but that he can accommodate a few thousand. You know a trend has arrived when celebrities and politicians want in. John Kerry's people called Torres last week to see whether the Democratic presidential front-runner could speak to the thousands at the next Salsa Congress in May. Whoopie Goldberg, who's said to be playing the late Queen of Salsa in the biopic about Celia Cruz, has called as well. There's a reason behind the exploding popularity of salsa. And with all due respect to the work Torres has done, I believe it has much to do with what's missing in the lives of people living in a city built on separation. There are few places in our society where people can touch each other legally, and without reproach or paying a fee. Even modern dance tends to be individuals gyrating around, but never quite touching one another. Salsa allows an easy, and socially acceptable intimacy that few of us get outside of our primary relationships. There are also few places where sex roles are clearly defined -- men lead, women twirl. It's great that women are able to do whatever they want in this world, from running for office to playing professional sports. But sometimes even the most high-powered executive just wants to put on a cute dress, some strappy shoes, and be a girl. Obesity is a growing problem in the United States, enough so that governments are launching "wars" against fat. Well, salsa dancing is a workout, especially for the women who are spun relentlessly around the dance floor without falling down. But the most socially important aspect of the salsa dance is this: Nowhere else in this city can you find the regular and easy co-mingling of people from all backgrounds. Where a lawyer and a busboy become equals in step with a song. This is not a Latino-only endeavor. The salsa nights are a sea of brown, white, black, yellow. Salsa crosses cultural, economic and age boundaries. And no one thinks twice about it. Salsa alone might not be able to save the world. But it's a heck of a lot more fun than a cultural sensitivity training seminar. Mariel Garza is an editorial writer and columnist for the Los Angeles Daily News. |
Havana Nights Preview
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Havana: November, 1958. Eighteen-year-old Katey Miller brings an innate curiosity--and a smattering of Spanish--to her new life in Cuba’s lush capital, where her father has taken an executive posting at Chrysler. Schooled by her parents in the art of ballroom dancing, Katey is expected to join the smart set of American teenagers who are the Miller’s neighbors at the exclusive Oceana Hotel. But Katey finds herself drawn instead to the proud, purposeful Javier--a waiter who also happens to be brilliant dancer. Determined to learn the slinky, spectacular moves that Javier seems to know in his bones, Katey persuades him to partner with her in a prestigious national dance competition at a grand local nightclub, The Palace. Meeting secretly in an out-of-the-way Havana nightclub, Katey and Javier practice their steps--their bodies aligning in a sensual harmony that mirrors the growing passion between them. As the night of the contest finally arrives, Katey and Javier are ! ready to take their place as a couple on the dance floor--unaware that the country club, and the streets of Havana itself, are about to erupt in revolutionary violence. Heres the release dates for Havana Nights by country. 27th February 2004 US Release 27th February 2004 Canada Release 14th April 2004 Belgium Release 14th April 2004 France Release 6th May 2004 Netherlands Release 13th May 2004 Germany Release 13th May 2004 Russia Release 20th May 2004 Argentina Release 21st May 2004 UK Release For more info: >>For a Yahoo Movies preview<< |
VOTE ˇBOMBA!
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VOTE ˇBOMBA! FOR FAVOURITE LATIN ALTERNATIVE ARTIST/GROUP It’s 40 below in Edmonton right now, but it’s getting hot in here. The heat’s being generated by our current cause for celebration, the announcement of ˇBomba!’s nomination for a Canadian Independent Music Awards (“The Indies”) in the Favourite Latin/Alternative category. Nominees are chosen by committees comprised of industry professionals from all areas of the Canadian music scene and this year the fans will decide on the winners by voting online for their favorite independent recording artist from January 26 to February 15. |
Monday Night Growth Opportunity for Etown Salsa
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Dear Salsa Club Members, As a member of the Club, I am committed to the continued growth of Salsa in Edmonton. A Salsero who recently came back from Montreal said he was really impressed with the quality of Salsa dancing in Edmonton. One of the ways we can ensure the continuation of growth in quality and quantity is caring, and sharing. The Dance With Me Studio is not going away. They are here to stay and have given us Monday nights. The benefit for them is they get to continue being a dance studio through supporting various types of social dance . The benefits of Monday Night Salsa and a stable location for people who love Salsa and The Edmonton Salsa Club are many. We get to: Create an opportunity for continued growth Salsa in Edmonton. Create a home base for Salsa in a large smoke-free space. Support the continued growth of Casino Rueda. Create a home base for Casino Rueda Gives Edm. Salsa Club a home base for meetings and dancing. Create the opportunity for Salsa Club members to teach Salsa when they are ready and want to. Provide a non-smoking, clean air space for people to dance consistently . Give new moms and dads a place to come and dance Salsa on a regular basis if they can't get away on weekends because they are with their kids. Create Community. United we stand, and continue to grow. Provide opportunity for new dancers to come and watch experienced Salseros. The new people really like that. Provide a place for dancers to come back and practice if they have been away for a while. Socialize, Catch up on the latest . I am sure you can think of a few other pluses to having a great wooden floor, a large dancespace, with an open bar , snacks and no smoking. As a paid up club member you will: Take classes (optional) for 40% discount. - $6 instead of $10. Have a opportunity to teach and make all your money back! The cost for Salsa members to practice and dance without taking lessons will be $3. That is less than a beer at Mezza Luna. They have to charge something because it costs the studio money to turn the lights on and heat the place for us. We cannot get it for free. Sorry! It will take the consistency and commitment from members of The Edm. Salsa Club to have the club grow and continue. The Club is a good thing for everyone. If you have a better idea right now for opportunities for all of us Salseros to benefit from, please let the executive know. Hope to see you at the studio on Monday night. Address - 101 Ave and 61 St. beside the Mohawk. 7:00 - Advanced class-Different teacher each time-$6 for club members 8:00 - Beginners - SalsaMaria teaching - $6 for Club members 9:00 - Social dancing-$3 for club members. $5 for nonmembers Open bar, snacks, and water. Sincerely, Viva la Salsa! SalsaMaria , Bamboleo Latin Lounge |
Snow 'n Salsa 2004
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Who said Skiing or Snowboarding and Salsa dont go together, it's like Pizza & Beer, well maybe not but anyway I'm inviting any and all snowlovers to come on an annual Ski trip to the mountains of Kelowna BC from March 4th -7th. I usually throw a party down there at a local club or we rent a space. The more Salseros come the more Salsa I can play. It's always a blast and not only for expert riders. Let's make it an annual Edmonton Salsa Club event as well. Snow 'n Salsa 2004!!!!! We will be staying in deluxe condominiums with Hot tubs, up to 6 per room, plus skilifts and transportation from $360.00 It's a great deal. Click below for more details. Official LAZE SNOW TRIP Website COOL VIDEO of the 2003 Trip - Make sure you have a current version of windows media player and hi-speed connection 19.6 mb file (Big White, Kelowna, BC) March 5-7, 2004 Just a reminder that Deposits are needed soon and Final Payments next month. Get your deposits of $100 in to reserve your space, you don't want to miss this year. Any questions or concern give me a shout. My number is below, Spice 953-2468 |
Top 10 - Reasons to Start Salsa This Year
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10 - The new Dirty Dancing movie called Havana Nights is coming out soon and you want to be part of the new dance craze called Salsa! 9 - Your friends bought you some free salsa lessons for Xmas 3 YEARS ago that you STILL havent used up. 8 - Doctor says if you dont start Salsa dancing soon, your going to die of a Salsamus Maximus attack - (Definition - A type of heart attack in where a lack of hydro-phenal enzymes is provided to your brain which then makes its way throughout your body to cause dysfunctional freeze in your major organs, targeting more specifically your heart. Remedy for this disease is Salsa dancing. Go to your nearest instructor for more ways to combat this infectious disease.) 7 - Your office job has you sitting all day and now you've developed a huge ass butt that you need to get rid of and Salsa was recommended to you by some co-workers. Not that it was suppose to get rid of that huge ass butt. The alternative was lipo-butt-suction? 6 - Your trying to run away from the police and your under cover alias is a super star salsa dancer called Alfonzo "Liquid Palmolive" Espinozer and you have to learn real fast! 5 - You want to impress this girl/guy that dances salsa by going into this small little Salsa competition called The Mayan ?? 4 - You found out that J-Lo LOVES salsa and so cause you are in love with her, you decided to take up the dance so that one day you could dance with her, marry her, (since Ben is off the block now) and have little baby J-Lo's. 3 - Grandmas last dying wish was to see her little bubushka dance Salsa. Awww.... ;) 2 - You've been a regular at Mezza Luna (formerly La Havana Nightclub) for the last 20 years or so and you still havent even learned how to Merengue , let alone Salsa! 1 - Top Reason why you should start salsa. You heard of this dude called Uswucama?, Wasupma?, Lusukama?, Raspukama? your not exactly sure what his name is, but you heard that he's a bad ass dancer though, and you want to learn from HIM. Bamboleo latin lounge |
Ruben Gonzalez (1919 - 2003)
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It is with deep sadness that we have learned of the passing of Rubén González, who died at home in Havana on December 8 th 2003, aged 84. With a career spanning sixty years, Rubén's contribution to Cuban music was immense and his virtuosity on the piano has been an inspiration to generations of musicians & music lovers . The young Rubén González was an accomplished classical pianist and in his youth was planning to become a doctor. In 1941 he gave up his studies of classical music and medicine to begin his professional career playing dance music, playing with most of the major orchestras in Cuba. He began his recording career in 1943 with the pioneering bandleader Arsenio Rodríguez, who would help revolutionise the sound of Cuban music. Rubén explained that he approached the piano not as an accompanying instrument but one that also 'leads', whilst still maintaining the rhythm. Along with Lilí Martínez and Peruchin, Rubén was part of a trio of pianists who helped shape the way in which this music would develop. Having established his own distinctive style Rubén went on to play in various orchestras throughout South America before returning to Cuba. In the early 1960s Rubén became pianist for Enrique Jorrín, the man credited for inventing the cha cha cha , and would continue to play for him for the next 25 years. In 1979 the cream of Cuba's musicians got together for the Estrellas De Areito sessions. Hand picked especially for these recordings, the stellar line-up included Rubén González as a featured soloist. After Jorrín's death in the mid-80s Rubén briefly took over the role as band leader but would choose to retire soon after. It wasn't until 1996, and the famous Afro Cuban All Stars sessions that Rubén would play again professionally. The album was conceived as a meeting of past and present generations of Cuban musicians, Juan de Marcos Gonzalez invited Rubén to contribute to the project. During the recording of the album in EGREM studios he was constantly practicing on their piano and was spotted by World Circuit's Nick Gold, who knew he had something special. Rubén was asked to stay on, and in the same week he would participate in the now legendary 'Buena Vista Social Club Ô ' album. Keen to capture this outpouring of talent, Gold brought Rubén to the forefront and within two days his debut album 'Introducing Rubén González' was recorded. After years without owning a piano, and despite the onset of arthritis, the music flowed out of him prompting Ry Cooder to call him "the greatest piano soloist I have ever heard in my life." Both albums would become commercial and critical phenomena and finally brought Rubén the international recognition that he richly deserved. Rubén's piano playing is an essential feature on the solo albums of fellow Buena Vista stars Ibrahim Ferrer and Omara Portuondo. The trio of celebrated musicians toured the world several times over, delighting ecstatic audiences everywhere they went. In 2000, aged 81, Rubén recorded what would be his swansong, 'Chanchullo', an album full vigour and inventiveness. Clearly inspired by his newfound success, a rejuvenated Rubén played with a power, swing and vitality that belied his years, and health. Prior to the late-90s Rubén had never toured internationally and what touched him the most was that, unlike the years he spent playing at dances, audiences were now actually listening to what he was playing. Sadly, as his health deteriorated, Rubén would be forced to retire from performing. He would remain with his family in Havana, Cuba. Rubén González was a greatly loved individual, whose life force flowed through his playing. He had a wicked sense of humour, with an energy and passion for music that couldn't fail to touch all those who had the pleasure of knowing him, or as Ry Cooder put it, "he's like a cross between Thelonious Monk and Felix the Cat". Rubén was unable to pass a piano without playing it, and the joy he got from the instrument would radiate through his very being. The world of music has lost one of the all time greats, his family and friends mourn the passing of a great man. Although he will be sadly missed, whenever one thinks of Rubén it will be of the happiness he brought to all those around him, and to the millions more that will enjoy his music for many years to come. |
Latin Christmas Charity Ball
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Ho Ho Ho! Wanna get on Santa’s good list this year? Come and show your support for the Stollery Children’s Hospital Foundation and the Alberta Cancer Foundation at this year’s Latin Christmas Charity Ball! Presented by Diane Moy at the Velvet Lounge on December 20, the evening will involve free salsa lessons, drink specials, draws, and door prizes. Not only will you have a great evening, but you will also be showing your support for a great cause. You can purchase your tickets in advance at Integration Pilates Dance Studio on Sunday’s from 4:30pm - 9:30pm or call Diane @ (780) 433 - 8314. The proceeds will go 100% to these two fantastic foundations. Let’s get together and do what we can to make sure that everyone has a merrier Christmas!!
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Salsational Workshops Ana & Orville!
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UPDATED!! 11/27/03
Not really knowing what to expect, the workshop turned out to be a great success. Ana and Orville are a very energetic couple and clearly they love their salsa. With a great turn out of about 20 couples and more, we had a blast warming up with Salsa on 2. After that Orville decided to spice it up by showing us a very sexy pattern. I think the guys had a lot of fun with this one because it definitely required a bit of maneuvering around of the ladies. If you’re interested in the pattern, just ask anyone who was there (Alex, Usukuma, Diane, or Joseph just to name a few) and they’ll probably be more then glad to show you. The highlight of the day was probably the footwork routine. Ana taught the girls and Orville taught the boys. After about 45 min of trying to memorize our routines, it was time to put them to work. The boys tried to out-show the girls, but we all know who won in the end ;). Applause goes out to everyone who participated; those routines were not easy! Finally, we ended the day off with a few really neat dips. Although not overly complicated, the dips are definitely something you’d want to try with someone you trust! A big thanks goes out to Ana and Orville and best of luck to them, hopefully it won’t be long before they visit sexy E-town again! If you want more information on Ana and Orville just check out www.salsation.ca Ciao ciao. |
Wanna Learn Salsa??
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Finally, we have a steady schedule of Salsa classes from absolute beginners to advanced. The Edmonton Salsa Club has covered almost the whole week in classes so all of you can become pros in no time. Please check out the current schedule by clicking here. In our line up of instructors includes Maria "Salsa Maria" Yakula, Paul Stickney, Denise Ramsankar, Joseph Surmava, Cubana Jeni, Ross White, Diane Moy, Usukama Ekuere, and myself Alex Rojas. For more info about us, CLICK HERE. Please make sure in checking these schedules that they are up to date. Go to each parties particular site for the most current information if the information on etownsalsa.com is not. We will make an effort to make sure though that you do get the latest info about lessons. Please call or email the instructors to register your spot as well. Please do it early!! Lessons include from beginner to advanced levels so make sure you call or email before attending as the more advanced levels may frustrate the beginner salsero/a. The last thing we want is for a beginner to lose their confidence when you are already nervous. So please check or even call the instructor to personally recommend an appropriate class for you. With all that said, have a great time and keep the Salsa alive! QUE VIVA LA SALSA!
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Etownsalsa.com is LIVE!!
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We are OFFICIALLY LIVE AMIGOS!! After long hours and a short period of time to really work on the site, the first phase is now launched. Everything about salsa from current events, news, socials, videos, pictures, forums, and much more will be available at Etownsalsa.com.
The second phase of the site will be to work on updating the lessons available in Etown. Edmonton Salsa Club (ESC) will offer its own member instructors section. If you are an ESC Member, and you are a Salsa instructor, please send your classes or workshop info to rojas@etownsalsa.com to update the site. We will also be developing THE HOT CHILIPAPER so that its offered in PDF Acrobat Reader format for everyone to be able to print its intended layout. A salsa discussion forum will also be offered to members, along with other member benefits. The photo and video gallery will be part of PHASE III of this project and this will be where we will really be rolling in the hits with social dancing videos, along with some combination salsa moves available for members. Stayed tuned salseros! Etown will be representing with our share of "unity through salsa".
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DJ Spice on the Internet
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ETOWNSALSA.COM - Your Guide to the Salsa and Latin Music scene in Edmonton Hola Amigos y Familia You can now enjoy some Hot Latin Music via the internet on a Weekly radio show hosted by Dj Spice. Log on to www.sinfronteras2000.com, You will then download the file and play streaming audio on your Realplayer software. If you do not have it installed you can also download it for free from this page. Hope con |
Based in Edmonton, Alberta, Canada, our vision is to promote Salsa, Bachata, and Latin Dance! Thanks for visiting Edmonton's #1 Latin Dance Central Resource Portal! We are your resource for the best EDMONTON Dance Classes or Lessons or workshops. We post mostly all events, festivals, lessons, and concerts. dance code studio, Edmonton dance classes, spa lady, curves fitness, zumba fitnessedmonton dance lessons, edmonton latin channel, edmonton latin festival, on the rocks, dance alberta, azucar picante, la kantina, salsa new years, edmonton dance workshops |
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