Orchestra Biography-Updated-08-04-2018-For

Total Page:16

File Type:pdf, Size:1020Kb

Orchestra Biography-Updated-08-04-2018-For Biography of Orchestra Fuego Orchestra Fuego is a Salsa band from Tampa, Florida The group’s sound has maintained the integrity of what is referred to as “Old School Salsa or NYC Salsa”, but with a fresh twist. The blend of Afro-Cuban rhythms mixed with Nuyorican flavor sets the dance floor on fire. They perform original songs and some familiar songs with invigorating new arrangements. While the group’s main passion is for Salsa, they also perform a wide variety of other Latin music including Merengue, Bolero, Bachata and Cha-cha. Since their debut in 2014, Orchestra Fuego has ignited all types of dance floors throughout Florida with their upbeat; high energy performances. Their albums have been downloaded from Miami to Denmark and even Singapore.” Orchestra Fuego is one of the most newly sought out Salsa groups in the Tampa Bay, Ocala and Gainesville area in Florida. Event Planner, Nic Kalojiannis, comments, “We are a Country Club that hosts hundreds of special events per year that work with many different types of entertainment. Orchestra Fuego is by far the most entertaining, professional, and crowd pleasing that I have ever witnessed. The excitement from all the guests and the pure enjoyment of everyone is easily seen. I highly recommend Orchestra Fuego to all my clients and have included them on our preferred vendor list.” Nic continues, “Thank you Orchestra Fuego, not only do all the guests always enjoy your music, but myself and staff always look forward to your events.” Twelve-piece Salsa Band 02 Biography of Orchestra Fuego Orchestra Fuego started when Marcus Hernandez, piano player, and lead singer, Luis “Torpedo” Aponte, reunited in Florida several years after moving down from New York. The two performed together in the New York City scene in the late 70’s and 80’s when Salsa was at its peak. Fueled by their mutual interest in Salsa, they started performing together with other members of the original band also living in Florida. “After playing a few gigs,’’ says Marcus, “It became evident early on that the time was ripe to revive the classic Salsa sound.” These seasoned musicians perform in various entertainment venues such as parties, individual and corporate catering events, nightclubs, and restaurants. Their danceable beats bring energy and exciting entertainment to any occasion. An avid Salsa dancer, Fernando Alicea, states, “I’ve been clubbing around Tampa for some time, and I have never seen any band that comes close to Orchestra Fuego. They are hot!” Orchestra Fuego is excited about the enthusiastic fan following in Florida. Their goal is to perform throughout Florida and beyond. “We just want to get out there and share our music,” remarks Marcus. They have three albums, Encendido, Salsa Brava, and their newest, “Quemando La Pista.” Twelve-piece Salsa Band 03 Marcus Hernandez Marcus Hernandez Musical Director and Founder If Salsa music can be one of the DNA molecules, Marcus Hernandez has it in his veins. His love of Salsa led him to learning and playing the piano at a young age. In his early years as a musician, he studied under Oscar Hernandez and Gilberto Colon, and more recently with Victor Romero, an accomplished pianist. Marcus started playing in New York City during the late 70’s when Salsa music was at an all-time high. Marcus formed the Salsa group Fuego ‘77 and played at all top venues that included The Corso, Ipanema, Casa Blanca, Casino 14, and the Copa Cabana just to mention a few. Fuego ‘77 opened for mega Salsa artists such as Celia Cruz, Johnny Pacheco, and Hector LaVoe. Fuego ’77 recorded its first album in 1977 under the Alegre label which was a subsidiary of the famous Fania Records. Marcus composed and arranged eight of the ten songs on the album. In addition, Marcus performed with various popular artists such as Adalberto Santiago and Rafael de Jesus. Though Marcus has been away from performing music while pursuing an accounting career, his passion for Salsa was always simmering, but has recently been ignited by reuniting with former fellow musician Luis “Torpedo” Aponte, inspiring him to form Orchestra Fuego. Creating lively and refreshing arrangements of classic songs, as well as composing his own original music, is what he is most enthusiastic about. “Marcus has developed significantly as a musician and band leader,” comments lead singer, Torpedo. “He has everything needed to make the band successful. He is doing an awesome job and I admire that beyond words.” His passion for music coupled with his professionalism makes him a pleasure to work with. Twelve-piece Salsa Band 04 Luis “Torpedo” Aponte Luis “Torpedo” Aponte Lead Singer Torpedo credits Marcus for his inspiration as a musician. He and Marcus first met when Torpedo relocated from Puerto Rico to New York in the late 70’s. After auditioning, Marcus invited him to be the lead trumpet of his band called Fuego ’77. He recalls, “Marcus believed in me and took me to the studio to record the trumpet for his new album. From that experience, I became so passionate with performing that this was all I wanted to do.” Luis later started singing backup with many bands like Rafy Diaz, Tito Rojas, Marvin Santiago, Junior Toledo, Primi Cruz and many others. Until one-day Pedro Conga invited him to be a part of his band, La Orquesta Internacional. Since then, he’s both played and sung as part of many bands. Torpedo is influenced vocally by Axel Martinez from Pedro Conga’s band and Junior Toledo from Los Compadres. His timing, unique vocal sound, and spontaneous lyrics sets him apart from other singers. His improvisations come from his concentration of the song’s theme and keen observation of what is going on in the room, which makes his audience connected to what he is singing about. He makes it more entertaining by adding his infectious humor and vivacious spirit. When he first heard Marcus also moved to Florida, he was excited to work with him again after many years. Torpedo states, “It was like a party for me. I was so excited about this. He started me into this musical journey,” he adds, “and put me on the map of this wonderful world of music. After working with many artists and developing my skills over the years, it has come full circle now; and at just the right time to be working together again on the same path.” He looks forward to even greater accomplishments with Orchestra Fuego. Twelve-piece Salsa Band 05 Veronica Romero Veronica Romero Singer Veronica Romero was born in Chicago and raised in Puerto Rico. She started her professional career in 1997 as a backup vocalist for renowned artist Cano Estremera. Veronica shared the stage as a backup vocalist with greats like Andy Montañez, Hector Tricoche, Grammy Award Winner Lalo Rodriguez, Ismael Rivera Jr., Richy Ray and Bobby Cruz, Jose Alberto El Canario, Miles Peña, Edgar Joel, Paquito Guzman, Tommy Olivencia Jr., and many more. Her many talents, other than singing, include playing piano, guiro, pleneras (hand drums), and maracas. Veronica is co-owner of In Harmony Music School of Orlando, and Harmony Recording Studio where she collaborates in multiple recording sessions. In addition, Veronica is attractive and has a tremendous stage presence; fans love how she interacts with them. She joined Orchestra Fuego in 2016 during an audition for America’s Got Talent and moved from backup vocalist to singer. In a recently released album, Quemando La Pista, Veronica recorded as a soloist the hit track Mi Ritmo, a duet in Me Voy A Olvidar De Ti, and collaborations in Llego La Orquesta Fuego in addition to all backup vocals. Currently she is preparing for Orchestra Fuego’s 4th CD with a song titled Soy Rumbera. Twelve-piece Salsa Band 06 Awards of the Years In 2018 and beyond, Orchestra Fuego looks Forward hitting new markets with their music, especially New York City, Chicago and Carribean. With 3 albums, Encendido, Salsa Brava and their newest, “Quemando La Pista” they are even more eager to light up the dancefloors nationwide and has won best Awards of the year. Independent Music Awards in Chrismas Sonf of the Year Award from Orchestra Fuego was nominated for Best Latin Album and Latin Song of New York City. Jango Radio.com the Year Award for 2018 Twelve-piece Salsa Band 07 Work With Orchestra Fuego Marcus Hernandez, Musical Director Tampa, Florida. [email protected] “Encendido”, “Salsa Brava” & our newest released “Quemando La Pista” on these platforms:.
Recommended publications
  • Ismael Rivera: El Eterno Sonero Mayor
    • Ismael Rivera, ca. 1982 Ismael Rivera: el eterno Sonero mayor Ismael Rivera, o eterno Ismael Rivera: the eternal Sonero mayor Sonero mayor Robert Téllez Moreno* DOI: 10.30578/nomadas.n45a13 El artículo presenta un recorrido biográico y musical en torno al cantante y compositor puer- torriqueño Ismael Rivera, “El Sonero Mayor”. De la mano del artista, el texto provee claves para entender el surgimiento de la salsa como género musical, así como muestra algunos hitos en la historia del género. Concluye que la intervención de Rivera en la escena musical isleña y continental constituyó una revolución que dispersó las fronteras sociales de la exclusión cultu- ral. Por su parte, su estilo interpretativo se caracteriza por un inmenso sentimiento popular y una gran capacidad de improvisación. Palabras clave: Ismael Rivera, Puerto Rico, música popular, clave de son, salsa, racismo. O artigo apresenta um recorrido biográico e musical acerca do cantor e compositor Ismael Ri- vera, “El sonero mayor”, nascido em Puerto Rico. Da mão do artista, o texto oferece chaves para compreender o surgimento da salsa como gênero musical, ao tempo que mostra alguns marcos da história desse gênero. O autor conclui que a intervenção de Rivera no cenário musical da ilha e do continente constituiu uma revolução que dissipou as fronteiras sociais da exclusão cultural. O estilo interpretativo de Rivera é caraterizado por um enorme sentimento popular e por uma grande capacidade de improvisação. Palavras-chave: Ismael Rivera, Puerto Rico, música popular, clave de son, salsa, racismo. * Director y realizador del programa This article shows a biographical and musical overview of the Puerto Rican singer and son- Conversando la salsa de la Radio gwriter, Ismael Rivera, “El Sonero Mayor”.
    [Show full text]
  • View Centro's Film List
    About the Centro Film Collection The Centro Library and Archives houses one of the most extensive collections of films documenting the Puerto Rican experience. The collection includes documentaries, public service news programs; Hollywood produced feature films, as well as cinema films produced by the film industry in Puerto Rico. Presently we house over 500 titles, both in DVD and VHS format. Films from the collection may be borrowed, and are available for teaching, study, as well as for entertainment purposes with due consideration for copyright and intellectual property laws. Film Lending Policy Our policy requires that films be picked-up at our facility, we do not mail out. Films maybe borrowed by college professors, as well as public school teachers for classroom presentations during the school year. We also lend to student clubs and community-based organizations. For individuals conducting personal research, or for students who need to view films for class assignments, we ask that they call and make an appointment for viewing the film(s) at our facilities. Overview of collections: 366 documentary/special programs 67 feature films 11 Banco Popular programs on Puerto Rican Music 2 films (rough-cut copies) Roz Payne Archives 95 copies of WNBC Visiones programs 20 titles of WNET Realidades programs Total # of titles=559 (As of 9/2019) 1 Procedures for Borrowing Films 1. Reserve films one week in advance. 2. A maximum of 2 FILMS may be borrowed at a time. 3. Pick-up film(s) at the Centro Library and Archives with proper ID, and sign contract which specifies obligations and responsibilities while the film(s) is in your possession.
    [Show full text]
  • Que Pasa in La
    FEBRUARY 2011 ISSUE QUÉ PASA IN L.A.? By Rudy Mangual The 2010 holiday season in Los Angeles was a total blast, with celebrations that featured everything from salsa, bachata and flamenco, to disco and reggaetón. Highlights included Los Van Van’s Conga Room performances (on December 15th and 16th) and a New Year’s Eve Party on December 31st, featuring the salsa diva known as India. Costa Azul, a local group led by brothers Freddy and Johnny Crespo returned to Alma del Barrio (L.A.’s number one salsa/Latin jazz program, transmitted through KXLU-FM 88.9 and currently celebrating its 36th anniversary) for a live presentation on Sunday, January 2nd, 2011. Costazul’s performance was enhanced by the participation of guest musicians such as Johnny Polanco, Artie Webb, Arturo Velazco, Joey de León, Papo Rodríguez, Francisco Torres, Ileanna García, Eddie Resto and Dennis Jirón, among others. The broadcast of this live performance was organized by Alma del Barrio DJs Guido Herrera, Rosalba Lara and Lily Regalado, plus guest DJ Allen Geik. The band, powered by four amazing trombones and a solid rhythm section (reforced by Johnny Polanco on tres, Artie Webb on flute, and Freddy and Johnny Crespo on lead vocals) delivered a high-octane set of classic salsa tunes. Standouts included the selections Isla del Encanto, No Critiques, and Mujer Sandunguera. We thank Costazul and all the musicians that were a part of this live event, as well as all the DJs of Alma del Barrio that made it possible. Bobby Matos and his Afro-Latin Jazz Ensemble (with special guest Poncho Sánchez) performed at the Radisson Hotel’s Jazz Club in Culver City on Friday, January 15th to an appreciative crowd, while El Gran Combo de Puerto Rico took the stage of the Conga Room on January 27th, continuing a solid live musical beginning of 2011 in the City of Angels.
    [Show full text]
  • Mario Ortiz Jr
    Hom e | Features | Columns | Hit Parades | Reviews | Calendar | News | Contacts | Shopping | E-Back Issues NOVEMBER 2009 ISSUE FROM THE EDITOR Welcome to the home of Latin Beat Magazine Digital! After publishing Latin Beat Magazine for 19 years in both print and online, Yvette and I have decided to continue pursuing our passion for Latin music with a digital version only. Latin Beat Magazine will continue its coverage of Latin music through monthly in-depth articles, informative Streaming Music columns, concert and CD reviews, and extensive news and information for everyone. Access to Somos Son www.lbmo.com or www.latinbeatmagazine.com (Latin Beat Magazine Online) is free for a limited Bilongo time only. Windows Media Quicktime Your events and new music submissions are welcome and encouraged by emailing to: [email protected]. The Estrada Brothers Latin beat is number one in the world of authentic Latin music. For advertising opportunities in Mr. Ray lbmo.com, call (310) 516-6767 or request advertising information at Windows Media [email protected]. Quicktime Back issues are still in print! Please order thru the Shopping section! Manny Silvera Bassed in America This issue of Latin Beat Magazine Volume 19, Number 9, November 2009, is our annual "Special Windows Media Percussion/Drum Issue", which celebrates "National Drum Month" throughout North America. Our Quicktime featured artist this month is Puerto Rican percussionist/bandleader Richie Flores. In addition, also featured are Poncho Sanchez (who's enjoying the release of his latest production Psychedelic Blues), and trumpeter/bandleader Mario Ortiz Jr. (who has one of the hottest salsa Bobby Matos productions of the year).
    [Show full text]
  • Artarr Press Release Edit 3
    ***For Immediate Release*** Media Contact: Jesse P. Cutler JP Cutler Media 510.338.0881 [email protected] GRAMMY® Award-Winning Doug Beavers Releases New Album Art of the Arrangement Featuring Pedrito Martinez, Ray Santos, Oscar Hernández, Jose Madera, Angel Fernandez, Marty Sheller, Gonzalo Grau, Herman Olivera, Luques Curtis and More! New York, NY -- Tuesday, July 18, 2017 -- On his previous release, 2015’s Titanes del Trombón, the GRAMMY® Award-win- ning Doug Beavers -- as the album’s title suggested -- focused on honoring his fellow trombonists and pioneers such as J.J. John- son, Barry Rogers and Slide Hampton. The recording received universal praise with Jazzwax magazine calling it “absolutely hypnotic” and Latin Jazz Network deeming the release a “precious and significant work.” Publications as prestigious as Downbeat, JAZZIZ and Latino Magazine also joined in the chorus, each providing feature space to this magnificent project that paid tribute to some of the unsung masters of an often underappreciated instrument. At the time of the release of Titanes del Trombón, Beavers took note of the fact that many of the great trombonists of the past were also first-rate arrangers, and that steered him toward the music that now comprises his latest release, Art of the Arrangement (ArtistShare, August 25, 2017). The new collection is an homage to the greatest Latin jazz and salsa arrangers of our time, includ- ing Gil Evans, Ray Santos, Jose Madera, Oscar Hernández, Angel Fernandez, Marty Sheller, and Gonzalo Grau. Through- out the history of Latin jazz, and jazz in general, it’s the arrangers who have shaped the music, and quite often their contributions have been overlooked, or ignored altogether.
    [Show full text]
  • Periódico Horizontes, Pag
    ¿Qué opinan nuestros empleados? PUBLICACIÓN INFORMATIVA DE VEGACOOP • www.vegacoop.com • Vega Alta, Puerto Rico • diciembre 2003 ¡Felicidades! Páginas 6-7 125 estudiantes son Vega Alta Even Start: Ganadores becados por vehículo para el desarrollo certamen de VEGACOOP personal oratoria Página 10 Página 14 Página 7 El cristianismo de conversión en América Latina Páginas 18-19 ¡Gracias socios! Exitosa celebración de nuestros cincuenta Detalles en páginas años 8,10,16 y 28 Cómo protegerse del robo de identidad La pintura surrealista de Renoir Vega 10 buenas razones para ahorrar dinero Página 24 CON TENIDO Detrás de la portada... Nuevos servicios y modernas facilidades en Dorado y Vega Alta EN ESTA EDICIÓN Pag. 4 Homenaje a fundadores de VEGACOOP Pag. 5 Dígame, que yo le digo Pag. 6 ¿Qué opinan nuestros empleados? ¡Sueños cumplidos! Pag. 9 10 formas para protegerse contra el robo de identidad Por: Jorge Montijo Con esta edición termina nuestra celebración del 50 aniversario de Pag. 10 VEGACOOP. Durante las pasadas ediciones de Horizontes en el año 2003, 125 estudiantes reciben becas de VEGACOOP publicamos fotos, anécdotas e información histórica dando testimonio del esfuerzo que representó la fundación de lo que es hoy una cooperativa modelo dentro del cooperativismo puertorriqueño: VEGACOOP. De la Pag. 12 información publicada vimos que siempre estuvo presente la solidaridad y Estrategias para ahorrar dinero el compromiso de los socios fundadores. Esos dos factores continúan presentes hoy en VEGACOOP. Ha sido una constante que ayuda a explicar la solidez de nuestras funciones y el respaldo Pag. 15 de la comunidad. Si el cooperativismo ha demostrado su capacidad para Iniciativas religiosas renovables mantenerse ante muchas adversidades, es sin duda gracias a esa constante.
    [Show full text]
  • Rafael Cortijo Audición Mayo
    AMIGOS DEL SON CALI Audición Mayo 6 de 2011 “CORTIJO Y SU COMBO Y VIENTOS MOVIDOS PARA EL BAILADOR” RAFAEL CORTIJO Percusionista, Compositor y Director Fecha de nacimiento: 11 de diciembre de 1928 , Parada 21, Santurce, Puerto Rico Falleció el 3 de octubre de 1982 en Santurce, Puerto Rico En el diccionario de la música afroantillana, el nombre de Rafael Cortijo es sinónimo de leyenda. Una de sus figuras cumbres y más veneradas. Líder de una de las organizaciones rítmicas más admiradas durante la segunda mitad del Siglo 20: Cortijo y Su Combo. Maestro del tambor caribeño. Inspirador de dos generaciones de cultores de la rumba y de los puertorriqueñísimos ritmos de bomba y plena. Este personaje irrepetible, de origen muy humilde, era hijo de Juan Cortijo Clemente y Juana Verdejo, quienes también procrearon a Francisco, Cecilia, Rosa y Gilberto. Contaba 11 años cuando el trompetista Paulino Flores lo introdujo al fascinante universo de la música caribeña enseñándole lo elemental en la ejecu ción del bongó. En lo sucesivo, sin maestro, aprendió a ejecutar el timbal, las tumbadoras – o congas – y algunos acordes en la guitarra. A los 14 emprendió su carrera musical uniéndose, como bongosero, al Conjunto Hermanas Soustache (1943-1944). Posteriormente (1944-1947) figuró en el Conjunto Monterrey, de Monchito Muley y Juan Palm «Mentoquín». Durante el período 1947-1953 trabajó de manera alternada con las orquestas de Frank Madera, Armando Castro, Augusto Coén y Miguelito Miranda, así como con la Son ora Boricua de Daniel Santos y los conjuntos acompañantes de Bobby Capó, Myrta Silva, Ruth Fernández y Miguelito Valdés, culminando aquella etapa con el dirigido por el pianista Mario Román en La Riviera Night Club, en el Viejo San Juan.
    [Show full text]
  • Redalyc.Salsa Music As Expressive Liberation
    Centro Journal ISSN: 1538-6279 [email protected] The City University of New York Estados Unidos Berrios-Miranda, Marisol Salsa Music as Expressive Liberation Centro Journal, vol. XVI, núm. 2, fall, 2004, pp. 158-173 The City University of New York New York, Estados Unidos Available in: http://www.redalyc.org/articulo.oa?id=37716211 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Berrios(v7).qxd 3/1/05 7:33 AM Page 158 CENTRO Journal Volume7 xv1 Number 2 fall 2004 Salsa) Salsa Music as Expressive Liberation1 MARISOL BERRIOS-MIRANDA ABSTRACT In the span of a singe decade, the 1970s, young people in urban centers all over Latin America came to embrace salsa music as their preferred musical style and expression. Salsa’s unprecedented international popularity resulted from the confluence of several distinct social conditions and historical events: the Puerto Rican dilemma of colonial status, the civil rights and black pride movements in the U.S., the Cuban revolution’s promise of upliftment for the lower classes, urban migration, and the need for a Latino alter- native to the hegemony of Anglo rock. In this paper I will argue that salsa’s popularity needs to be understood in terms of a musical sound and a social style that responded effectively to these circumstances, captured beautifully in the film Our Latin Thing. I propose, furthermore, that the colonial dilemma of Puerto Ricans in the island and in New York motivated their creative contributions to salsa, which they experienced as a form expressive liberation and decolonization.
    [Show full text]
  • “Orgulloso De Mi Caserío Y De Quien Soy”: Race, Place, and Space in Puerto Rican Reggaetón by Petra Raquel Rivera a Disser
    “Orgulloso de mi Caserío y de Quien Soy”: Race, Place, and Space in Puerto Rican Reggaetón By Petra Raquel Rivera A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in African American Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Percy C. Hintzen, Chair Professor Leigh Raiford Professor Joceylne Guilbault Spring 2010 “Orgulloso de mi Caserío y de Quien Soy”: Race, Place, and Space in Puerto Rican Reggaetón © 2010 By Petra Raquel Rivera Abstract “Orgulloso de mi Caserío y de Quien Soy”: Race, Place, and Space in Puerto Rican Reggaetón by Petra Raquel Rivera Doctor of Philosophy in African American Studies University of California, Berkeley Professor Percy C. Hintzen, Chair My dissertation examines entanglements of race, place, gender, and class in Puerto Rican reggaetón. Based on ethnographic and archival research in San Juan, Puerto Rico, and in New York, New York, I argue that Puerto Rican youth engage with an African diasporic space via their participation in the popular music reggaetón. By African diasporic space, I refer to the process by which local groups incorporate diasporic resources such as cultural practices or icons from other sites in the African diaspora into new expressions of blackness that respond to their localized experiences of racial exclusion. Participation in African diasporic space not only facilitates cultural exchange across different African diasporic sites, but it also exposes local communities in these sites to new understandings and expressions of blackness from other places. As one manifestation of these processes in Puerto Rico, reggaetón refutes the hegemonic construction of Puerto Rican national identity as a “racial democracy.” Similar to countries such as Brazil and Cuba, the discourse of racial democracy in Puerto Rico posits that Puerto Ricans are descendents of European, African, and indigenous ancestors.
    [Show full text]
  • Managers Tun, to Indie Promotion
    ICD 08120 LO9O6 t13 1-1Dti30 ONO-1 z W13 01Lf tt d ti A 3 l 0 1 !' 0 A1N3389 A1NDW 4'a adW ß2?Z09t099010 slv * ** YY i r 1986/$3.50 (U.S.) VOLUME 98 NO. 21 THE INTERNATIONAL NEWSWEEKLY OF MUSIC AND HOME ENTERTAINMENT May 24, CDs Are A Growth Business LEVY ON AUDIO HARDWARE ONLY? For In -Store Thieves, T00 Senate Bill May Drop Tape Royalty Plan tion's higher cost, but also to tight provision to place a royalty fee on en -month -old bill, S. 1739, intro- BY GEOFF MAYFIELD supply. "When you've got a demand BY BILL HOLLAND blank tape when it takes the bill to duced by subcommittee chairman NEW YORK The compact disk is product that people can fence for WASHINGTON In a dramatic con- markup Wednesday (21). This could Charles McC. Mathias (R -Md.), may becoming the darling of profession- more than a record or tape -they cession to consumer electronics in- chop the anticipated $200 million an- find the necessary votes to send it al and amateur thieves. can get as much as $6 or $8 apiece dustry opponents of the audio-only nual royalty pool by more than half. to the full Judiciary Committee, At least two major chains and for CDs -the value of the product home taping bill, the Senate Copy- Sources say that with the hotly with only the hardware royalty fea- several regional webs report that (Continued on page 89) right Subcommittee may drop the contested provision deleted, the sev- ture intact.
    [Show full text]
  • Salsa Y Sociedad
    MÚSICA Y SOCIEDAD (INT – 151) Estudios Generales Letras Profesor: Jesús A. Cosamalón Aguilar Asistente: José Carlos Rojas Salsa! https://www.youtube.com/watch?v=NWejAsYs1NQ ENFOQUE TEMÁTICO “Mire señora agarre bien su cartera, no conoce este barrio aquí asaltan a cualquiera.” Es uno de los soneos más conocidos de Héctor Lavoe, parte de su interpretación de Calle Luna, Calle Sol. La canción es conocida en muchos países, incluyendo el Perú, a pesar de que la referencia urbana corresponde a la ciudad de San Juan (Puerto Rico). ¿Qué condiciones hacen posible que una producción musical elaborada para un lugar específico sea aceptada fuera de sus fronteras? ¿De qué manera la salsa expresa las características culturales de las poblaciones de América Latina? Estas son algunas de las preguntas que el curso pretende contestar. Para lograr ese objetivo abordaremos los estudios socioculturales que permiten relacionar la producción musical denominada salsa con la sociedad. Estos trabajos señalan la importancia de reconocer los códigos musicales, los intérpretes y el tipo de público que consumía este género musical. Luego pasaremos revista a la historia de la salsa, desde sus raíces en el Caribe hasta su difusión desde Nueva York y el resto de ciudades de América Latina. De este modo intentaremos comprender cómo la salsa expresa diversos contextos históricos comunes a varios países de América Latina: las tensiones de la modernización, las migraciones, la lucha contra la discriminación, la creciente pobreza, la marginalidad, entre otros aspectos. Por medio de esta perspectiva no solo se procura abrir un nuevo camino para entender a las sociedades de América Latina, también se pretende dar relevancia a productos culturales históricamente relegados de los estudios sociales, frecuentemente catalogados de manera inferior por su carácter popular o masivo.
    [Show full text]
  • Senado De Puerto Rico Diario De Sesiones Procedimientos Y Debates De La Decimocuarta Asamblea Legislativa Quinta Sesion Ordinaria Año 2003 Vol
    SENADO DE PUERTO RICO DIARIO DE SESIONES PROCEDIMIENTOS Y DEBATES DE LA DECIMOCUARTA ASAMBLEA LEGISLATIVA QUINTA SESION ORDINARIA AÑO 2003 VOL. LII San Juan, Puerto Rico Miércoles, 26 de marzo de 2003 Núm. 23 A las dos y veintiocho minutos de la tarde (2:28 p.m.) de este día, miércoles, 26 de marzo de 2003, el Senado reanuda sus trabajos bajo la Presidencia del señor Angel M. Rodríguez Otero, Presidente Accidental. ASISTENCIA Senadores: Modesto L. Agosto Alicea, Luz Z. Arce Ferrer, Eudaldo Báez Galib, Norma Burgos Andújar, Juan A. Cancel Alegría, José Luis Dalmau Santiago, Antonio J. Fas Alzamora, Velda González de Modestti, Sixto Hernández Serrano, Rafael L. Irizarry Cruz, Pablo Lafontaine Rodríguez, Fernando J. Martín García, Kenneth McClintock Hernández, Yasmín Mejías Lugo, José Alfredo Ortiz-Daliot, Margarita Ostolaza Bey, Migdalia Padilla Alvelo, Orlando Parga Figueroa, Sergio Peña Clos, Roberto L. Prats Palerm, Miriam J. Ramírez, Bruno A. Ramos Olivera, Jorge Alberto Ramos Vélez, Julio R. Rodríguez Gómez, Rafael A. Rodríguez Vargas, Cirilo Tirado Rivera, Roberto Vigoreaux Lorenzana y Angel M. Rodríguez Otero, Presidente Accidental. PRES. ACC. (SR. RODRIGUEZ OTERO): Se reanuda la sesión. INVOCACION El Diácono Carlos Morales y el Reverendo Heriberto Martínez, miembros del Cuerpo de Capellanes del Senado de Puerto Rico, proceden con la Invocación. DIACONO MORALES: Cuaresma es tiempo de conversión y cuaresma es tiempo de volver a Dios y por eso en esta tarde tomamos de la Carta del Apóstol Santiago a los hermanos lo que significa la verdadera sabiduría. Estamos en la Casa de las Leyes. En el Capítulo 3, Versículo 13 y siguientes, dice el Apóstol Santiago en el nombre del Padre, del Hijo y del Espíritu Santo.
    [Show full text]