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NEW YORK NUEVA YORK Beginning in the Early 20Th Century, the Contract Says You Have to Músicos Profesionales De El “Sun Sun Babae” Hizo Llover Yeso En El Bar

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NEW YORK NUEVA YORK Beginning in the Early 20Th Century, the Contract Says You Have to Músicos Profesionales De El “Sun Sun Babae” Hizo Llover Yeso En El Bar Join us each Wednesday through November 14 to learn about Acompáñenos cada miércoles hasta el 14 de noviembre para explorar the profound influence and impact of Latinos on American la profunda influencia e impacto que han tenido los latinos en la popular music. Produced in partnership with EMP|SFM. música popular norteamericana. Una producción conjunta EMP|SFM. NEW YORK NUEVA YORK Beginning in the early 20th century, the contract says you have to Músicos profesionales de el “Sun Sun Babae” hizo llover yeso en el bar. professional musicians from all over Latin leave the arrangement of ‘Sun toda América Latina, desde En otra ocasión, estando yo en el bar, escuché America have immigrated to New York Sun Babae,’ give it to me at the principios del siglo veinte, cómo retumbaba el techo, uau, hasta se podían City to participate in its recording industry beginning of your engagement.” han emigrado a Nueva escuchar los pies golpeando el piso. Una noche as well as live performance opportunities. He put it in the safe and at the York para participar de su que vine a trabajar me encontré con una barrera Although the Argentinean tango was the end of the engagement he’d give it industria disquera, y de las en el medio de la pista de baile, y le pregunté a first type of Latin music to become widely back to Tito Rodriguez. oportunidades para actuaciones un amigo: Ah — me dijo—, ayer cuando estaban popular, Caribbean styles and influences en persona. Aunque el tango tocando el ‘Sun Sun Babae’ se les cayó el piso. have been especially important to the Latino Along with the influence of argentino fue el primer tipo Después de eso, Maxwell Hyman, el propietario music scene in New York. New York-based Caribbean musicians, a second de música latina en hacerse del Palladium, le prohibió tajantemente a Tito bands and recording labels popularized strand in the history of Latino popular, los estilos e influencias Rodriguez volver a tocar ese arreglo. Así que dances like the Cuban-originated rumba, music in New York City has been del Caribe han alcanzado especial cuando lo contrataba, le decía: “Está en el mambo and cha cha cha beginning in the interaction and collaboration between importancia en el ambiente musical contrato, el contrato te prohíbe tocar ese arreglo 1930s. Today these styles are found most Latino and black artists, both in latino neoyorquino. A partir de los años del ‘Sun Sun Babae’, dámelo al principio de cada often at ballroom dance competitions and professional orchestras and in working- 30, sus orquestas y empresas disqueras temporada”. Entonces metía el arreglo en su senior-center parties. In 1950s New York, class neighborhoods in Manhattan, Brooklyn popularizaron bailes como los cubanísimos caja fuerte y, al final de cada temporada, se lo however, the young Latin dance crowd and the Bronx. In the 1960s, for instance, young mambo, rumba y cha cha cha. Ahora esos estilos devolvía a Tito. could be as raucous as the modern club Nuyoricans (Puerto Ricans born in New York) se escuchan sobre todo en las competencias de scene. who had grown up listening bailes de salón y las fiestas A la par de los músicos caribeños, existe una to R&B, soul and rock ‘n’ para personas mayores. segunda corriente en la historia de la música Saxophonist and arranger Ray Santos roll expressed their mixed Sin embargo, el ambiente latina en Nueva York. Aparece con la influencia remembers playing Manhattan’s Palladium, cultural experience in the de los salones de baile de la interacción y colaboración entre los artistas the most famous Latin dance hall, with bugalú. Inspired by the de los años 50 podía ser latinos y afros, tanto en orquestas profesionales Puerto Rican bandleader Tito Rodriguez: African American dance tan estridente como el como en los barrios obreros de Manhattan, style called boogaloo, the Brooklyn y el Bronx. Por ejemplo, en los años 60, One tune [was] an arrangement for Tito ambiente de los clubes bugalú combined Latin modernos de hoy. jóvenes nuyorricanos (puertorriqueños nacidos Rodriguez, a tune called “Sun Sun Babae.” rhythms with an R&B back en Nueva York), que habían crecido escuchando There was a middle part where the bass and beat. In the 1970s, Puerto Ray Santos, saxofonista los R&B, soul y rock ‘n’ roll expresaban su piano would go bong-bong-bong bo-dingoo Ricans played a major role y arreglista, recuerda experiencia multicultural a través del bugalú. bam-bam-bam bo-dingoo, and you get 200 in the development of hip- una función con el Inspirado en el estilo de baile afroamericano people on the dance floor stomping — hop as DJs, MCs, break director de orquesta boogaloo, el bugalú presenta ritmos latinos con bom-bom-bom bo-dumpa, bom-bom. So dancers and graffiti artists. puertorriqueño fondo de R&B. En los 70, los puertorriqueños when you get 200 people stomping in time However, when the record Tito Rodríguez, desempeñaron un papel importante en el on a wooden floor, something’s going to industry picked up the style, en el Palladium de desarrollo del hip-hop como disc jockeys, happen to that wooden floor. When it first execs tended to market Manhattan, el salón de maestros de ceremonia, bailarines de breakdance started, there was a bar downstairs and it as “black” music and baile latino más famoso y artistas de graffiti. Sin embargo, cuando la after a while the ceiling started to weaken excluded Latino rappers from de ese entonces: industria disquera decidió lanzar el estilo, lo hizo because of boom-boom-boom bo-dum. contracts. como música afro excluyendo de sus contratos a One evening the plaster all rained down on Un número era un los rappers latinos. the people in the bar downstairs because arreglo para Tito of “Sun Sun Babae.” I was down in the Listen: Rodríguez llamado bar one night and I could hear all that “Sun Sun Babae,” by Tito Joe Cuba band Músico de la “Sun Sun Babae”. Había Escuchen: stomping upstairs, wow, you could just Rodriguez; “Bang Bang,” by member dancing orquesta de Joe una parte en el medio “Sun Sun Babae” por Tito Rodriguez’, “Bang hear the feet stomping. I came to work one Joe Cuba (bugalú); “Fresh, with partner at Cuba bailando donde el bajo y el piano Bang” por Joe Cuba (bugalú), “Fresh, Wild, Fly night and I saw there’s a [barrier] across Wild, Fly & Bold,” by The the Palladium, con su pareja en el iban: bong-bong-bong & Bold” por The Cold Crush Brothers. half the dance floor and a friend of mine New York City, Palladium, Nueva bo-dingú bam-bam-bam Cold Crush Brothers. circa 1955, York, circa 1955; told me, “Well, last night they played ‘Sun courtesy of Johan cortesía: Johan bo-dingú, que sacaba a Actividades: Sun Babae’ and the floor caved in.” After Kugelberg. Kugelberg. 200 personas a pisotear that, Maxwell Hyman, the owner of the Activities: la pista de baile — bom- • Lee el artículo de esta semana, y luego piensa Palladium, prohibited Tito Rodriguez from • After reading this week’s bom-bom bo-dumpa, en algo que te gustaría investigar más. Obtén playing that arrangement anymore. So when article, think of a question you have that you bom-bom. Cuando doscientas personas le ponen más información sobre el tema y preséntala al he [hired him, he] said, “It’s in the contract, would like to research further. Find out more suela a un piso de madera, algo le va a pasar a ese resto del salón. about the topic and present your findings together piso. Cuando comenzó, había un bar en el piso de in class. abajo y, con el tiempo, se le empezó a debilitar el techo de tanto bum-bum-bum bo-dum. Una tarde 08076352 - 10/17/07 NIE educators! Join us for a free EMP SFM open house in celebration of NIE offers FREE fun and engaging school programs for I educators.To find out more or to register, visit us at American Sabor: Latinos in U.S. Popular Music with live music and light desserts included. Thursday, October 18, 2007 – 5:30 PM to 7:30 PM seattletimes.com/nie or call 206/652-6290. RSVP at [email protected] or 206/770-2765 .
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