2020

How Jacira Castro and Salsa Power changed the Latin music scene

How did Salsa Power start?

Latin culture, specifically the musical part, has had a large group of unconditional allies who have promoted it worldwide through their work and platforms, being Chilean-American Jacira Castro one of the best known. Jacira is a salsa casino-style salsa teacher and web designer who had the dream of spreading the typical rhythms of our countries, but she did not figure out how until she came up with a revolutionary idea: Salsa Power.

Salsa Power was born in 1999 as part of an initiative created by Castro and graphic designer Julian Mejia, who practically became her partner until the moment when the page stopped working. From that year on that the dance instructor began to generate contacts and develop human networks with people inside and outside the world of music, especially from the salsa genre. A particularity of this system devised by Jacira was that it was fed by the information received from people from anyqhere in the world about everything related to concerts, festivals, press conferences, autograph signings and much more.

Jacira Castro - Salsa Power — Dance instructor and web designer Jacira Castro – Salsa Power

How did this project work?

Thanks to the technology that was advancing little by little in all this time, there were many more contact ways and social media came along to facilitate these activities. The website grew to such an extent that it came to have more than 300 correspondents in over 60 countries, many of whom did not even have professions or occupations related to music, but wanted to strive to make the initiative successful and Latin artists and orchestras have a dependable space to promote their work.

Contrary to what many readers may have thought, everyone involved in this project never received a single cent or publicity in return for all the work being done. In fact, it was Jacira herself who had to pay for all the expenses related to Salsa Power such as plane tickets, travel, lodging, food, wardrobe, among other things. Not to mention the website maintenance and other hosting costs for the domain to work properly.

Fortunately, all that effort and money were worth it because Salsa Power rose to become the largest salsa website on the internet and a true reference for any independent media planning to do anything remotely like that. Much of the fruits harvested by this beautiful project can still be found on the internet and consist of articles, interviews, event coverage, videos and many other things.

The name Salsa Power was so respected that you could not talk about the Latin salsa scene in the United States without mentioning it, especially in South Florida, a place where competition for the first places was at its higuest. This competition was not only between artists and musical groups, but also between media, associations and academies, triggering some inconvenience and regrettable situations like the one experienced by Jacira and Julián a few years ago.

Jacira paid for all the expenses related to Salsa Power

Controversies

Jacira has had run-ins with some important personalities of the Latin music community in Florida because of her political positions, which went against the current of a large number of Latin artists and dancers at that time, especially those who are part of the Cuban exile. Her attitudes towards the political situation in Cuba have been highly controversial, mainly those related to the U.S. economic embargo on the Caribbean country and the limitations on free cultural exchange between both nations. Both Castro and other leaders of the entertainment industry were opposed to the decades-old blockade, which has been maintained until today.

This caused the dance teacher to make some enemies in the Miami music scene, which led to the hacking of Salsa Power with the caption ”This is a communist website” in big red letters along with a message whose author calls Jacira ”communist” and ”pro-Fidel Castro”. Obviously, she got worried and immediately called Julian to bring down the page.

As they began to diagnose the issue and its possible causes, they concluded that those responsible were part of an association composed of a dozen dance schools in Miami and its sorroundings called Salsa United. Around the same time, this organization had just created its own website, which published content very similar to that of Salsa Power, so much so that its principal spokesperson Jolexy Hurtado and Jacira came to have some arguments and run-ins due to how much alike the interviews were in both websites. The conflict reached at such a level that Jacira states that Hurtado told her she was messing with the wrong guy.

Undoubtedly, this whole situation was a big headache for the web designer, but has never let any of this daunt her or make her feel inadequate. On the contrary, she has grown before adversities and has faced them with the gallantry that has always characterized her, since she knows what her work is worth in terms of quality and globality.

However, there comes a point when the effort and time invested are not enough, so it is time to be realistic and assume that everything has its end, as the great Héctor Lavoe would say.

Jacira and Larry — Jacira Castro with producer, composer, and pianist Larry Harlow

Farewell to Salsa Power and Jacira’s current life

After 22 years of operation of the Salsa Power project, many of the correspondents who provided information for the page got married, had children, studied, moved and pursued other professional opportunities that did not allow them to continue their work. For the same reason, Jacira had no choice but to terminate the project that was her life for more than two decades and publish a farewell message thanking all her readers for their support over the years and assuring that she will continue to travel and enjoy salsa and dance.

In spite of abandoning her duties as administrator of Salsa Power, the great impact of the Chilean-American’s work on those who have come to know her and collaborate with her cannot be denied. On her LinkedIn profile, there plenty of favorable reviews about her professionalism and commitment in every activity she makes.

From International Salsa Magazine, we wish her the greatest success in every project she undertakes and that she enjoys all the stages that are to come.

In front of adversity we grow with Johnny Cruz .

North America/ All USA

Johnny Cruz : This month I wanted to dedicate myself to good news, highlighting the work of those who, despite adversity, continue to strive to bring the best to the public. We keep working!

Gilberto Santa Rosa surprises us with his new album Colegas. His most recent phonogram. In this, Santa Rosa invested the last six years and presents 16 collaborations with Cuban artists -Isaac Delgado and Juan Jose Hernandez-Puerto Ricans -Tito Nieves, Tito Rojas, Luisito Carrion, Pirulo, Nino Segarra, Choco Orta among others-, as well as with a Dominican – Jose Alberto “El Canario” -.

Gilberto Santa Rosa - Colegas — Gilberto Santa Rosa – Colegas

The album is preceded by “40… y contando en vivo desde Puerto Rico”, an album recorded in 2018 live at the Coliseo de Puerto Rico in San Juan, to celebrate its 40 years of musical career. The majestic arrangements were the work of Dino Nugent (Apaga La Luz), Marty Sheller (Caminalo, Ban Ban Quere), Ramón Sánchez (Que Se Sepa), Javier Fernández (Tremendo Coco, Masacote), Louis García (Por La Calle Del Medio, Ocana Sordi, El Guateque De Chombo), Ricky González (Vamos a Bailar El Son, Eque Tumba), Manolito Rodríguez (Medley Boleros), José Madera (Bailadores), Rene González (Estoy como Nunca), Isidro Infante (Mario Ague, El Mejor Sonero, Sonerito), James Hernández (La Fonda De Bienvenido).

In good time Santa Rosa presents this production. He positions him on the GRAMMY platform and refreshes him in his role as sonero and incidentally, he extends a helping hand to some who had not recorded Salsa Brava again.

Tracks: La Familia; Caminalo; Que Se Sepa; Mazacote; Apaga La Luz; Sonerito; Por La Calle Del Medio; Nos Vamos A Bailar El Son; Medley Boleros; Ocana Sordi; Bailadores; El Mejor Sonero; Tremendo Coco; Estoy Como Nunca; Mario Ague; Eque Tumbao; La Fonda De Bienvenido; Ban Ban Quere; Guateque De Chombo.

Members: Angie Machado, Jan Duclerc, Jesús Alonso, turbidity Vilchez – trumpet; Charlie Sierra – maracas; Dino Nugent – violín; Johnny Torres, Pedro Perez – bass; Manolito Rodriguez – timbal; Rafy Torres, Toñito Vásquez, Víctor Vázquez, Reynaldo Jorge – trombones – trombone; Richie Bastar – bongo; Sammy García, Jimmie Morales – congas; Sammy Vélez, Josué Urbina; Pedro Méndez, Frankie Pérez, Janice Maysonet – saxophone; Luis Marín, Isidro Infante, Javi Fernández, Ricky González – piano; Orestes Vilató – timpani; Pablo “El Indio” Rosario – percussion; Meñique, Paquito Guzmán, Víctor Manuelle, Luisito Carrion, Justo Betancourt – backing vocals. Guests: Víctor Manuelle, Choco Orta, Juan José Hernández, Isaac Delgado, Yan Collazo, Luisito Carrion, Pirulo, Tito Nieves, Tito Rojas “El Gallo”, Ismael Rivera Jr., José Alberto “El Canario”, Carlitos Ramírez, Michelle Brava, Herman Olivera, Maelo Ruiz.

I take this opportunity to greet my good friend Johnny Rodríguez Jr., better known as Johnny “Dandy” Rodríguez, is an American bongo player. He was Tito Puente’s longtime bongo player, and also played with Tito Rodríguez, Ray Barretto, and Alfredo de la Fe. He belonged to various popular bands of the salsa era such as Tico All-Stars, Fania All-Stars, and Typica 73. He is a proud son of El Barrio (Spanish Harlem), New York, and stickball (street baseball) was more interested than music.

Marco Bermúdez - En mi voz — Marco Bermúdez – En mi voz

However, influenced by his father, Johnny, 17, earned the position of playing bongos in the Tito Puente Orchestra. Johnny spent more than 30 years with the orchestra, also working with Tito Rodríguez from 1965 to 1968 and with Ray Barretto from 1970 until the end of 1972. Johnny went on to form Tipica 73, of which he remained a member until 1979. He then returned to the band. Tito’s band, playing alongside him until the time of Tito’s death in May 2000.

Johnny “Dandy” Rodríguez Jr. continues to be a Latin jazz and salsa percussionist. Today he works as a percussionist in different Latin music ensembles, He is unstoppable and is very active with the Latin Jazz Giants (alongside his colleagues and Exclusive LP Artists Jose Madera and George Delgado) and that includes the stars from the original Tito Puente Orchestra. The band plays the famous music from the Palladium days of Tito Puente, Tito Rodríguez, and Machito, and also recorded The Giants Play the Music of the Palladium.

In 2008, Johhny entrusted LP’s Research and Development Department with the design of the John “Dandy” Rodríguez Jr. bongoes from the Legends series. John is proud that these drums, which bear his name, present such a sound and visual characteristics outstanding. Keep going, Johnny!

A few days ago, En Mi Voz, the solo debut of the Ecuadorian singer Marco Bermúdez, was officially launched on the market. This is a very good selection of ten songs, under the master hand of Oscar Hernández, the prestigious and renowned musician who is making his debut as a record producer with Ovation Records.

Pedro Bermudez - Arrasando — Pedro Bermudez – Arrasando

Marco has not saved anything for this premiere. He has met with his colleagues from the “Hispánica del Barrio” and the result could not be better: Jerry Madera, Máximo Rodríguez, Maneco Ruiz, Héctor Colón, Doug Beavers, Reynaldo Jorge, Jeremy Bosch, George Delgado, Luisito Quintero and Jorge González give solvency and flavor to En Mi Voz. The album opens with “Amanecer Contigo”, composed with four hands between Hernández and Bermúdez, where the trumpet solos by Maneco Ruiz and flute by Jeremy Bosch stand out.

Jeremy is also heard with his flute in his fine and heartfelt composition “Canto a mi Mamá” and in “Únicamente tú”, making Marco the second voice. The romantic spirit of the singer of the Spanish Harlem Orchestra and Mambo Legends Orchestra is confirmed in songs like “Solo Basta” and “Tu Regreso”. Oscar’s arrangements guarantee the key melody. Highly recommended this album, it has no waste!

I send my greetings and wishes for a reunion with this excellent salsa singer: Hermenegildo Olivera, or Herman Olivera. Born in Newark, New Jersey, the son of Puerto Rican parents and from an early age linked to Latin music. In the 70s, in the middle of the salsa boom, Herman began his love of singing by listening to the interpretations of Chamaco Ramírez, Héctor Lavoe, Cheo Feliciano and Marvin Santiago, among others. These vocalists were primarily his source of inspiration. When he was just 15 years old, Herman began his career as a salsa interpreter with an orchestra called La Justicia.

Later he was part of the band La Sónica, where he met his friend and trombonist Jimmy Bosch. After this he spent time with the Caramelo orchestra to later take the most important leap in his career by being part of the Conjunto Libre in 1978, where he left his voice reflected for the first time in the Incredible LP of 1981 under the direction of percussionist Manolo Oquendo and bassist Andy González, where he stands out with the theme Decídete.

In 1990, he was invited to record on the album Salsa Sudada, from the Valdesa Records label of Víctor Raúl Sánchez “Patillas” and with the musical direction of Isidro Infante, sharing vocalization with Mario Muñoz “Papaíto”, Adalberto Santiago, Eladio Peguero “Yayo El Indio” and Pablo Villanueva Branda “Melcochita”; in this work he interprets the songs La Aguja and a tribute to the city of Cali called Valle Plateado de Salsa. Later, it launched an independent project called Herman Olivera y La Exclusiva. Chequea la Mercancía.

Produced by Fernando Pastrana where the song Me Extraña Araña is one of the most outstanding. For 1997 he participates in the CD of the band Rikoson All Stars, called Evoluciones del Son, where he stands out very well in the romantic theme Aquella Noche. In 1998 he was requested by the piano teacher Eddie Palmieri and together with the vocalist Wichy Camacho they recorded the album El Rumbero del Piano, where he stands out as a singer on the songs Malagueña alerosa and Oiga mi Guaguancó.

That same year he was invited to the recording studios by the trombonist Jimmy Bosch and they released the album titled Soneando Trombón, which contains the hit Otra Oportunidad. Who plays a duet with Frankie Vázquez. On this CD also appears the song Descargarana. That same duo, Olivera and Bosch, meet the following year (1999) and produce Salsa Dura, where Herman shines performing the full Impacto Tendremos. The album also features the participation of singers Frankie “Nene” Morales and Frankie Vázquez. Parallel to this album, the RMM label launches a live CD and DVD titled Eddie Palmieri & Friend’s, where Herman looks excellent in the number Palo pa ’Rumba.

The invitation to tune in to the new Fm / Internet radio station on Live365.com continues: Salsagallery. Good music, interviews with the artists and much more… now with the participation of Felix Villalobos who joins Salsagallery Radio with a segment in which we will be talking about Music.

At the Spanish Harlem Salsa Gallery Museum we are happy to say that we are gradually returning to our activities and we will be opening the gallery sporadically. We do not stop, we continue to work for our music and we will always keep you informed through our social networks. We hope to have more news shortly and that we can return to normal soon.

Understanding the music business

By: Eduardo Guilarte.

Why are so many artists broke

The mystifying extravagant language of music disseminates passions in a land the written word has never known. Music fulfills two major human needs, the need for self-identity, and to be accepted, to belong. Freud- “adopting the model of another is the psychological process of Self-Identity”. That T-shirt with “Rolling Stones,” is broadcasting “these are my values” does anyone out there feel the same?

Music identifies and defines our values. When music is sold, there’s a lot more being sold. Your values are what is sold. Your musical selection makes you predictable. Madison Avenue advertising was excited, with needs there are opportunities. Not much different than “sex sells.” Well, music sells.

The merchants learned the art & science of anchoring. Take the Pepsi / Michael Jackson commercial. Story says, that Pepsi offered Michael $15 million dollars for a commercial. However, Michael set conditions. He refused to tell people to drink Pepsi, wouldn’t hold the product in his hands, the product could not appear in the same frame as Michael. Pepsi agreed to all the conditions. Michael appeared performing, followed by series of fade in and out. Michael never appeared in the same frame with Pepsi. The commercial was a resounding success, shot with Michael Jackson performing, then a series of fades-in/out.

Technology is changing music

Technology is constantly changing industry and the world. Look at taxis. A New York taxi medallion was selling for $250,00 to $500,000, then Uber happened. An application with a better formula. Uber gave better security, women could work as drivers, no exchange of money, work the hours you choose, response time greatly reduced, and a great contributor to the reduction of unemployment.

Another example of technology at work are applications like Shazam, Sound hound, Hound, Spot search. You hear a song playing and you want to know the name and artists. Apart from giving you the information for free, what it is really doing is gathering data for the industry. These apps are really telling the industry who and what is popular with the people. It’s a guide to very current trends.

The dot com era revolutionized the music industry. In 1999, Shawn Fanning and Sean Parker, developed MP3 file sharing. Napster, with 80 million users taught a new way of consuming music. Universal, Warner and Sony who control 80% of western music were furious. Lawsuits were filed, arguing copyright infringement and pirating. Although a 9^th circuit Federal judge blocked Napster, the door was now open. Through that door entered Spotify, Apple Music, Tidal, Deezer, You Tube Music, Pandora, Google Music and others with music streaming services.

First equipment for entertainment — record player, television and radio

There has always been a music industry. The 20^th century invention of the radio, television and record player redefined the industry. Those inventions became the start of what we call today the music industry. A multi-billion-dollar industry. Commercializing music is very different from being a minstrel. Two very different animals.

The world’s leading contemporary music institution, recommends that if you want to go into the music business, you take a year off and study the “business.” ICE, Institute for Creative Entrepreneurship at the Berklee College of Music in Boston, MA, offers online or on campus programs to learn the business. Berklee College phone +1617 266-1400.

It’s an understatement when they say that “how the music industry works and how the money is distributed, is very hard to understand.” Publications on the subject are:

All you need to know about the Music Business by Donald S Passman, top music attorney Harvard Law. Reputed to know his business but he doesn’t go into music streaming which is what happens now.
Music Money and Success by Jeffrey Brabec & Todd Brabec, twins, tracs the flow of money, using real examples. Not an easy read but it goes in depth. Todd was executive VP for ASCAP for more than 30 years
Artist Management for the music business by Paul Allen, as the importance of labels diminishes, the manager’s role is more important.
Hit Men: Power Brokers and Fast Money Inside the Music Business by Fredaic Dannen, it has become the unofficial history of the pop music business. Journalist who investigated the behind-the-scenes activity of the major labels in the 70’s and 80’s. Reporting excess, greed, ruthless practices, struggle for money and power and bitter rivalries between biggest labels at the height of the industry. However, he is heavily criticked by former CBS head Walter Yetnikoff.

The first order of business is understanding the elements that go into making a song. Author of the lyrics, composer of the music. A trademark is not a copyright. Examples of what you can copyright are novels, poems, photographs, movies, lyrics to a song, musical compositions in the form of sheet music, sound recordings, paintings and more, like software code for a website or code for an application.

Once the work is created you acquire rights, often referred to as the bundle of rights. They are the right to:

To reproduce including phonorecords, physical or digital format
Prepare derivative works based on the original
Distribute and sell copies of the work, or rent, lease or transfer ownership.
To perform the work
To display
Audio transmission publicly or digital

These rights are yours regardless of filing a copyright. However, you should copyright the song. 17 U.S. Code §106 is where you will find the copyright law that talks about the bundle of rights that the bill gives to copyright owners. At www.Copyright.gov you can create an online account and register your song. A publisher promotes the song, gets it added to musical libraries, pitches it film, radio, television, etc.

Copyritht

Anyone who uses your work, including streaming, must pay mechanical royalties. So, who will collect the royalties for you? Performance Rights Organizations/Societies are tasked with getting you your money. ASCAP, BMI, PRS, SOUND EXCHANGE, Descarga.com, Kobalt Music are some of the PRO’s.

In the United States the government has predetermined mechanically the royalties. Any artist can record your song under the law of “compulsory licenses.” They must put the author on notice of intent and pay the royalties. As an example Simon Diaz wrote and composed “Caballo Viejo.” Many artists recorded their own versions, like Roberto Torres, Celia Cruz, Ray Conniff, Ruben Blades, and Placido Domingo. Simon Diaz

The power of the major labels usually dictated who became a star and who got sent home. Not always though, we hear that Shakira auditioned for Sony and was told to go home, that she didn’t know how to sing. They also passed on “The Beatles” losing an incredible fortune. It was common for artists to throw themselves at the feet of the labels signing predatory contracts.

We hear of advance money being paid if the artist signed. These were contracts that indicated 15% of the record sales to the artist and the other 85% to the label. However, the contracts had clauses in which the artist sold the ownership copyrights, and agreed to pay many costs, which resulted in the 15% being reduced beyond zero, resulting in an artist in debt.

How money moves in contracts — Flow Chart

Historically Major Labels have had the funds to commercialize new talent and pay advances. Yet, technology is again making changes and opening new doors to the artists. Artists are using Social Media to create a following for their music. Kobalt is the world’s leading independent music services company. Founded by Swedish musician Willard Ahdritz, Founder & CEO who says that old model is on the way out. Kobalt was ahead with its technology. In 2017 it reported representing over 25,000 songwriters, 600 publishers, and 20,000 independent artists. On average over 40% of the top 100 songs both in US and UK. Kobalt’s global technology platform is uniquely able to track and collect royalties for the billions of micro-payments per song in digital music today [email protected]

Home

José Madera Niño “Salsa became part of my growth”.

Latinoamerica / Venezuela / Caraca

The also visual artist has the technology to complete his project in the middle of the COVID-19 pandemic.

The Venezuelan José Madera Niño & 3er.Mundo Orchestra launched its new song “Me gusta, pero…” in the voice of guest singer Memo Arroyave, accompanied by a video clip showing the other facet of Madera Niño: painting. This single is the fifth one to be included in his second album Matices.

The musician, composer, and orchestra leader said: “This song of my own was already in post-production when the pandemic was announced. It would not have been possible to complete this project from our homes without technology, the dedication and commitment of Irving Manuel and Jorge Estevez to mixing and mastering, the working hours of Alfredo Montilla for the editing of the video between Venezuela and Colombia“.

José “Flaco” Bermúdez was at the forefront of the musical direction and arrangements. Yomar Méndez “Caballo” (timbal), Arnaldo Guacarán “Patatín” (bongó and bell), Wilman Sánchez Jr. (trumpets), Hugo Olivero (saxophone), José Antonio Padilla (trombone), David González (bass) and Irving Manuel (piano); Rodrigo Mendoza and Eloy Ríos on backing vocals, with José Madera Niño (congas and minor percussion) as executive producer.

Matices combines the voice color diversity of each of the guest soloists thus far such as Pedrito Flores, Irving Manuel, and Charlie Guzman. This salsa album will be composed of ten pieces and shall have the participation of several performers: “We want to present the world with good music, food for the soul and for the spirit in this difficult time we are living“.

MULTIFACETED

La orquesta venezolana José Madera Niño & 3er.Mundo lanzó su nueva canción "Me gusta, pero..." — José Madera Niño “Salsa became part of my growth”.

It should be emphad that José Madera Niño is extremely multifaceted because in addition to be a visual artist as a profession, he is also a musician by conviction: “I have been drawing as far back as I can remember. When I was 14, I entered the School of Plastic Arts Cristóbal Rojas. I alternated my artistic activities with my high school studies and weekends were for the music”.

From there, he became a self-taught percussionist from a very young age thanks to the salsa boom in Venezuela in the mid-70s. This synergy between his two passions led him to form his orchestra: José Madera Niño & 3er Mundo, which flirts with Latin Jazz.

It seeks to extrapolate his plastic compositions to music and then create true works of art for the demanding music lover’s ear and the elegant dancer at the same time.

His first recording De amor, desamor y rumba took four years to come to light, due to the pauses imposed by self-management: “It is not easy to make an album without sound financial support. This first album is a sort of day-in and day-out chronicle of any ordinary individual. Inspired by all the music I listened to in my teens in simple and clear language”.

"It's not easy to make a record without a solid financial backing. This first album is a kind of chronicle of the everyday life of any ordinary person. Inspired by all the music I listened to in my adolescence, with a simple and diaphanous language". — The Venezuelan orchestra José Madera Niño ; 3er.Mundo

Journalist María Fernanda León recently interviewed him about his second CD Matices, consisting of ten musical tracks. He has released four of them on digital platforms from last year to 2020.

-Why the name 3er Mundo?

-The name thing was an irreverent way of saying that in spite of our disadvantages, we are capable of great things from passion, talent, and study. We are much more than a qualification.

-Why salsa and not another genre?

-I listen to all kinds of music. In fact, when deciding to live from it, we get to handle different genres and I enjoy that, but I have a special taste for salsa because it became part of my growth. It was always present in the atmosphere while I was playing in the street in my neighborhood, in high school, and on the bus when I was going to art school.

– Most of the songs are written in your handwriting, what inspires you?

-I was always interested in writing, I had a lot of unfinished ideas. When I began pre-production I dusted off all that material and turned it into songs.

-Why Matices?

– This production is a kind of canvas; music is the pigment, the stuff. The musicians and singers are their nuances. I think it is a different production from the first one, but the same essence.

-You changed your concept of an album with only one performer. Now you invited several of them…

-For me, it was very important to build a sonority for the public to recognize us when listening to one of our songs. Gustavo Gerardo was for a long time the voice that identified us, but it is not easy to hold someone if you cannot guarantee economic stability. Besides, he was already planning to start a career as a soloist, which by the way is already beginning to bear its first fruits at an international level.

-Who is participating?

-In this second production I have Pedrito Flores, who is an excellent singer and inherited this responsibility of being at the forefront of the band in live performances. Besides, I am privileged to have several guest vocalists such as Rodrigo Mendoza, Irving Manuel, Charlie Guzmán, and Memo Arroyave, among others that I will soon announce. All this with the intention of reaching a wider audience. I think such alliances are beneficial for the genre.

-When will all the songs come out of the oven?

-I have been presenting the songs as singles. Every month or every 45 days I make a release until completing the ten songs. Later last year, I have been released four songs. However, the pandemic that affects the entire world delays the production a little bit further, but we continue to work.

– You are an artist. How do you shuttle between your two passions?

-It’s not easy but I think it would be more difficult not to. I’m not very organized so I live in a constant effort to divide my time. I have participated in more than sixty group exhibitions and three solo exhibitions. My work is present in several art galleries and private collections.

-Your son also ventured into salsa last year. What do you think of the support offered to talent today?

-I think the boys are increasingly better prepared to meet the challenges.

The industry has changed and maybe those of us who have years of experience years in the business spend more time assimilating it. Young people know that besides recording on their own, they have to handle the many forms of promotion, know about graphic design, marketing, etc. That is very good because there are no record labels that invest in emerging artists. There are lots of young talent.

-How do you see salsa in Venezuela? Is there sufficient promotion and support?

-There is not sufficient support so I think we cannot wait any longer, we have to conduct ourselves. Work hard toward our dreams, we must learn to use the tools that technology offers us.

-Do you consider your albums a work of art?

– Yes, they consist of the same elements: color, balance, space, and atmospheres.

-What does José Madera Niño want to show every time he is on stage?

-A good show, a well-assembled band, a costume according to the situation, in short, the respect the public deserves.

Editor/ Lic. María Fernanda León

President of San Juan Producciones

Photos/ Courtesy: José Madera Niño

Por Maria Fernanda Leon, ISM Corresponsal – Caracas – Venezuela

Home

Manny Cruz and Daniel Santacruz in Forbes magazine

Both artists are on the “most creative” list of the prestigious magazine

The Dominican Republic edition of the prestigious Forbes magazine has put Manny Cruz and Daniel Santacruz on the cover. There is an article dedicated to both of them as “the most creative in the region”.

In the article we see many compliments towards both brothers, where they highlight how much Manny’s lyrics have meant for the audiences, saying that little by little he has become “one of the main exponents of the new merengue generation”, something that is easy to say, but that has been a difficult achievement to reach. The magazine also summarizes the artistic career of the Dominican, highlighting the most important moments of his career, such as the beginning of this, as well as the most impressive goals he has achieved over the years.

On the other hand, his brother Daniel received a lot of compliments too, to get an idea, we just need to know that the article describes him as “the world ambassador of bachata”, a title that he has earned through the years. The singer has crossed all kinds of borders, becoming a highly recognized artist internationally.

In addition to these talented brothers review, we can also perceive how excited both artists are when reading their words about their new single together, which, although at the moment the exact month of the release is not known, the American has made it clear that it will come out early next year, so the followers of both are waiting for the news on this promising song.

Manny Cruz and Daniel Santacruz in the prestigious Forbes magazine

The 2020 of the brothers

Without a doubt, 2020 has been one of the most unpredictable years in recent times, and there is no wonder why, with a threatening pandemic that has been around since the end of 2019, the complications for all have been many, and artists are no exception. However, the inconveniences that have arisen have not been enough to stop the success of these two singers.

Manny Cruz has said in interviews that he is very happy with the commercial impact that this year has had, making it clear that the success of his songs in countries like Venezuela makes his heart overflow with joy. Regarding his success, he also said that he has always dreamed big, and pointed out the importance of setting clear goals to achieve. On the other hand, Daniel Santacruz has been genuinely happy to get the prestigious “Latin Grammy” for best merengue and / or bachata album, a goal that countless artists dream of reaching.

They come with the best vibes for this new year, also with very ambitious projects in which they are putting all their hearts.

Despite how strange the situation was in 2020, both artists have had very good moments, which makes us think that 2021 can be even better, not only because of the promising song they made together, but also because everything seems to indicate that their careers will not stop progressing in a positive way.