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Biography

Lenin Francisco Domingo Cerda, better known as Frankie Dante, the “Underground” and “Irreverent” of Salsa in New York in the 60’s and 70’s.

“Cerda If I were president, if I were a president, there would be no armed forces, wars would end, the boys would go home where they belong.”

Lenin Francisco Domingo Cerda, mejor conocido como Frankie Dante el “Underground” e “Irreverente” de la Salsa en New York
Lenin Francisco Domingo Cerda, mejor conocido como Frankie Dante el “Underground” e “Irreverente” de la Salsa en New York

Lenin Francisco Domingo Cerda, known as Frankie Dante, was born in Santo Domingo, Dominican Republic, on September 15, 1945.

He traveled to New York City in search of the sound of the barrio, influenced by Willie Colón and Eddie Palmieri with his Orquesta La Perfecta.

Frankie Dante, always characterized for being an authentic sonero, who interpreted the stories of the Latin barrio.

In 1968 under the label Cotique he appears in the album “Los Coquetones”, where Ismael Quintana also participated, the great influence in his development as a vocalist, this album is produced by Mr. George Goldner.

Cerda records a second production with La Orquesta Flamboyán, entitled: “Different Directions”, following the line implemented by maestro Eddie Palmieri with La Perfecta, where he continues the emphasis on social issues, raised in his first musical work, this time with the production of Ralph Lew.

Orquesta Flamboyan Con Frank Dante Different Directions1970
Orquesta Flamboyan Con Frank Dante Different Directions
1970

Launches the album: “Se Viste de Gala”. Resuming his social commitment, he includes the piece “Venceremos”, accompanied by the electric guitar played by Harry Vigianno, who also plays the tres in this production.

In 1972, Frankie Dante is invited by Larry Harlow to produce a new album entitled: “Orquesta Flamboyán Con Larry Harlow”.

Here Frankie achieved hits such as: “La Cuna del Son”, “Yo Te Seguiré”, “Vive La Vida Hoy” and “Presidente Dante”.

The album featured the participation of Larry Harlow on piano and musical production, Ray Romero and Jerry Gonzalez on Congas, Ismael “Pat” Quintana and Milton Cardona on backing vocals.

This album is considered as a recognition of Frankie Dante’s talent when he was asked by the “Wonderful Jew”, Larry Harlow to record together.

Frankie shows all his irreverence by substituting the montuno for a political speech in the manner of a candidate.

As a representative of the Underground current, Dante prefers to perform in a bohemian way in Clubs such as: El Caborrojeño and the Cheetah.

While in these clubs he meets pianist Marcolino Demond and they release the historic album: Beethoven’s V.

One of his best productions was with the extraordinary musician and pianist Markolino Dimond, who had played with Willie Colón, the album was titled: Markolino Dimond Con Frankie Dante Beethoven’s where in addition to his extravagances he imposed a different way of playing.

The album included five compositions by Marcolino Dimond: “Sabrosón”, “Camarones”, “El Quinto De Beethoven”, “Maraquero” and “Ahora Sí”, two songs with reserved author’s rights: “Los Rumberos” and “Yo No Tengo Amigo” and the hit “Porque Adore” by maestro Tite Curet Alonso.

Markolino Dimond Con Frankie Dante Guest Star Chivirico* Beethoven's V
Markolino Dimond Con Frankie Dante Guest Star Chivirico* Beethoven’s V

Dante and Marcolino were a duo without precedents, taking into account that both had the stigma of rebelliousness.

The album features Frankie Dante and Chivirico Davila on vocals and Yayo “El Indio”, Pete “El Conde” Rodriguez and Ismael “Pat” Quintana on backing vocals.

Other great musicians that participated in the band are Nicky Marrero – Timbales, Bongos; Pablito Rosario – Bongos; Barry Rogers – Trombone; Mike Collazo – Timbales, Eddie “Guagua” Rivera – Bass; Lewis Kahn – Trombone; Reinaldo Jorge – Trombone and Frank Malabé – Congas.

 In 1976, again with Marcolino, he released: “Los Salseros de Acero”, in an attempt to reunite the original line-up of Los Flamboyán with Joe “Chickie” Fuentes on trumpet, Ángelo Rodríguez on trombone and Alex Ojeda on timbales, plus the participation of stars of the moment such as: Charlie Palmieri, Tito Puente and Ricardo Marrero, in what was called: Flamboyán All Star Band.

Frankie Dante & His Orchestra Flamboyan Los Salseros De Acero
Frankie Dante & His Orchestra Flamboyan Los Salseros De Acero

Among the songs on the album were “Ciencia Política” by Frankie Dante and “Chupa El Pirulí” composed by the wonderful Ciego Arsenio Rodríguez.

That year he published his seventh album “The Flamboyán All Star Band Frankie “Be Bop” Dante”, also recorded for Cotique Records, which included songs such as: “El Pipón”, “Son Retozón” and “Mumbo Jumbo”, compositions by Frankie Dante himself and a version of the song “María Cervantes” by the Puerto Rican Noro Morales.

Sonny Bravo, Norberto Cruz and Marty Sheller participated in the arrangements; Charlie Palmieri – Arrangements and Director and Mr. Ralph Lew as Producer.

The album also counted with the participation of other great musicians of the salsa movement such as: Leopoldo Pineda – Trombone, Ray Maldonado – Trumpet, Frankie Malabé – Congas, Orestes Vilató – Timbales, Ronnie Cuber – Sax and Flute, Willie Colón – Chorus and Tito Allen – Chorus.

One of Cotique’s recordings was entitled “Frankie Dante and his Orquesta Flamboyán Best Foot Forward”, a compilation album with Frankie’s hits such as: “Paz”, “Los Rumberos”, “Presidente Dante”, “Venceremos” and the well known song “Yo Te Seguiré” written by the great Catalino Tite Curet Alonso.

The Legendary Frankie Dante And His Orchestra Flamboyan Best Foot Forward
The Legendary Frankie Dante And His Orchestra Flamboyan Best Foot Forward

His last recording appearance would happen in 1979 with the release of “Los Rebeldes”, where he decided to name his group: Frankie Dante Y Los Rebeldes.

This album has songs such as: “Los Congresistas” by Frankie Dante, a version of the song “Semilla De Caña Brava” by Cuban Luis Martinez Griñan “Lily” and “Vuelve El Rumbero” by Puerto Rican Johnny Ortiz.

Also participating in the recording were: Sal Cuevas – Bass, Louie Cruz, Marty Sheller, and Louie Ramirez in the Arrangements, Alberta Dering – Artistic Director, Ralph Lew as Producer and Milton Cardona as Musical Director.

Dominican Frankie Dante developed his musical career in New York City, where he died of cancer on March 1, 1993.

Dante, emulating his compatriot Johnny Pacheco, settles in the city of skyscrapers and takes with his “precursor” lyrical talent in terms of social conscience in salsa. With good artistic sense he perceives that the sound of the neighborhood and its hurtful musical style will be the main axis of the new concept that is born in the land of Uncle Sam.

“He recognizes in the almost adolescent Willie Colón a style to follow, he is enormously attracted to that “sour” way of arranging the songs, the maestro Eddie Palmieri and his Orquesta La Perfecta (already in full swing) also influence the young Dante as well as Ismael “Pat” Quintana’s way of interpreting, a style that Frankie incorporates immediately in his first production in 1968 under the Cotique label (Ref. CS-1043) titled Los Coquetones”.

Sources and Bibliography:

  • http://www.megaupload.com/pt/?d=FR6AAPU0
    • http://ww.malianteo.com
    • http://www.salsajazz.com/i
    • http://apostolsalsero.soy.es/frankie-dante-la-orquesta-flamboyan/
    • Latinastereo 100.9 FM nuestra música

Also Read: Nicky Marrero is an innovator, timbalero and bongo player, living legend of our Afro-Latin and Caribbean music.

Wilmer Lozano from a very young age his mother saw in him the desire to be a musician

Wilmer Lozano is a Venezuelan singer and composer. He was born in Caracas, Venezuela, on October 7.

Wilmer Lozano Yenyere
Wilmer Lozano Yenyere

When talking about successful Latin singers and good salsa, one has to talk about Wilmer Lozano, one of the greatest exponents of Latin music in the world, who has made millions of people around the world dance.

Among his musical hits are: “Me marcharé”, “Aún estoy de pie”, “Si acaba bien”, “Descarga pa ti”, “Se me pasó la mano” and “Igual que yo”.

Childhood, Youth and Family Life.

Wilmar Lozano’s mother saw in him the desire to be a musician since he was a child.

Every night before going to sleep and saying his prayers, he would dedicate himself with his grandfather Lino Lozano to practicing décimas, which would be very useful in his career as a sonero.

Wilmer Lozano’s Beginnings in Music.

Wilmer Lozano’s career began when he was in school, participating in all the events that took place there.

He got his first singing lessons at the Casa de la Cultura Germán Lira and that’s how he arrived at a very popular radio program for the time, rumbos, coplas y canciones directed by the great Venezuelan Simón Díaz.

Jose Hidalgo y Wilmer Lozano
Jose Hidalgo y Wilmer Lozano

Wilmer Lozano and his union with different groups.

Soon after, he belonged to an orchestra in the block where he lived and shared his studies with music. Little by little he belonged to orchestras based in Caracas, such as: Grupo Autana, Grupo Rayta, La Quinta Galaxia, Quinteto Visa, Conjunto Sensación, Sonora Habanera, Hildemaro y su Orquesta, Orquesta Selecto, Marianela y su Orquesta, Orquesta Vía de Escape and Orquesta La Júnior.

He later joined the ranks of the Dimensión Latina Orchestra. With this orchestra he has the privilege of sharing with the excellent bolerista Wladimir Lozano and the sonero Rodrigo Mendoza, both recognized nationally and internationally, with whom he further nurtured his knowledge as an interpreter and sonero.

He also formed part of the youth orchestra called Los Adolescentes, where he is a key piece of it, standing out as a leading artist.

With this project he recorded two productions where he performed several hits, with which he became known worldwide.

Musical genre.

Wilmer Lozano is a performer who is considered one of the best salsa singers due to his graceful voice register.

Career and Legacy

Wilmer Lozano has managed to place eleven songs in the first place of the Hit Parade. According to information provided by the company Record Report, besides being the only Venezuelan singer, who in two opportunities being in the first place, is incorporated again to the same place of honor with the same interpretations.

Wilmer Lozano, Tuky Torres, Dj. Augusto Felibertt y Rey Torcatt
Wilmer Lozano, Tuky Torres, Dj. Augusto Felibertt y Rey Torcatt

Then his artistic life assumes another challenge, which he achieves with great professionalism, since his talent exceeds many expectations. Proof of this was his record production “Wilmer Lozano Original”, where he took the opportunity to launch himself as a soloist.

In this work he shows all the experience he has acquired during his artistic career, with the help of producer Thomas Bernal.

He achieves an excellent production, with very varied Latin rhythms and social themes. This album has the participation of the composers: Thomas Bernal, Ruby Pérez, José Luis Perales, Amaury Gutiérrez, Ángel Flores and Pedro Vargas, among others.

Among the hits of his debut are: “Me han contando que existe un paraíso”, “Me marcharé”, “Se me pasó la mano”, “Completamente” and “Sueño guaireño”, this last one was dedicated to the people who had something to do with the tragedy of La Guaira, Vargas, Venezuela.

In many of his songs he also talks about the social content, as well as the concern of many people to move forward beyond their borders.

He has also collaborated with renowned interpreters of the salsa genre, such as: Tito Puente, Tito Rojas, Rey Ruiz, Victor Manuel, Cheo Feliciano, Gilberto Santa Rosa, Tony Vega, Celia Cruz and Oscar D’León.

Wilmer Lozano is a salsa performer who has achieved musical success. His career has excelled nationally and internationally, with his arduous talent that has characterized him.

His tours have taken him to Latin America, the United States, Asia and Europe.

Theme: Se me paso la mano

Album: Wilmer Lozano “Original”.

Composition and Arrangement: Tomas “Monchy” Bernal (RIP)

Year: 2001

Label: Plátano Record

“I don’t know what I’m going to do with me, today I’m destroying myself little by little, I was wrong I lost my way because of her my destiny is transformed, because I don’t know what to do with this love that makes me run amok, she makes me see everything differently”.

Sources: Buena Música

Also Read: If you want to listen to Tasty Salsa tune in to Ritmo Sabor y Salsa with Nesmary J. Gómez

Yilian Cañizares, an excellent Cuban musician, studied in her hometown in the strictest tradition of the Russian school of violin

Yilian Cañizares is a Cuban and Swiss musician. She has lived in Switzerland since 2000.

Born in Havana, Yilian Cañizares began studying violin in her hometown, in the strictest tradition of the Russian violin school.

At the age of 14 she obtained a scholarship in Caracas and in 2000 she moved to Switzerland to complete her studies at the Freiburg Conservatory.

Soon after, the main orchestras in the area began to contact her and once settled in Lausanne, she collaborated for six years with different ensembles.

Yilian Cañizares excellent Cuban musician
Yilian Cañizares excellent Cuban musician

In Switzerland, she opened up to jazz and decided to embark on a new musical path, including singing in her career as a professional artist.

It was during this period that the artist decided to form a quartet with musicians from Germany, Venezuela and Switzerland (and later Cuba), and the group “Ochumare” was born, with which, just six months after its creation, in 2008, she won the prize of the Montreux Jazz Festival Competition.

From that moment on, his career has been growing steadily. In recent years, she has shared the stage with Ibrahim Maalouf, Omar Sosa, Youn Sun Nah, Richard Bona, Chucho Valdés, Roberto Fonseca, Dhafer Youssef, the Lausanne Chamber Orchestra and El Comité.

She also teaches violin at the Ecole de jazz et de musique actuelle de Lausanne (EJMA).

The success of her albums “Ochumare”, an independent production released in 2013, followed by “Invocación”, under the direction of Alê Siqueira (who has collaborated with Roberto Fonseca, Omara Portuondo), has consolidated her notoriety as an innovative artist, capable of venturing and transcending musical boundaries.

Yilian Cañizares, an excellent Cuban musician, studied in her hometown in the strictest tradition of the Russian school of violin.
Yilian Cañizares, an excellent Cuban musician, studied in her hometown in the strictest tradition of the Russian school of violin.

She was listed by the French weekly Le Nouvel Observateur as “revelation artist of the year” for her great virtuosity and charisma with which she is able to sing and play the violin.

“My sound reflects the richness and mix of cultures that I carry with me to this day and represents who I am: woman, Cuban, musician and citizen of the world”, said the artist.

Her second album “Invocación” reached the top of the Qobuz – World Music chart and was re-released in a Deluxe edition.

“Aguas”, the album produced in collaboration with Omar Sosa, saw the light of day in October 2018.

Accompanied by another compatriot, Inor Sotolongo on percussion, the duo created an intimate and personal album that reflects the views of two generations of Cuban artists living far from their homeland.

This album is a mix of energetic rhythms and emotional ballads that clearly reflect the unparalleled musical chemistry that exists between the two artists.

It constitutes a powerful and unique fusion of Afro-Cuban roots, classical music and jazz.

On November 15, 2019 was released the new album “Erzulie”, with its new formation Yilian Cañizares & The Maroons and dedicated to the Haitian deity of love and freedom.

This album was recorded in New Orleans and features the participation of numerous guests such as Christian Scott (trumpet), Michael League (double bass), Bill Laurance (piano), Bobby Sparks (organ) and Justin Stanton (keyboards).

Yilian Cañizares es una música cubana y suiza. Vive en Suiza desde 2000.
Yilian Cañizares es una música cubana y suiza. Vive en Suiza desde 2000.

His style reflects the variety of his influences, with touches of jazz, classical music, Cuban music, with a large space left to improvisation.

The French magazine Les Inrockuptibles speaks of a jazz orchestration mixed with Yoruba ritual percussions.

She sings in Spanish, Yoruba and French and one of her distinctive features is that she sings and plays the violin at the same time.

There are so many influences on this album; Cuban, jazz, Venezuelan, Swiss, that it is difficult to pinpoint in each song which track falls into which category. In fact, they don’t.

Today it is too easy to want to pigeonhole music into one category: this is jazz; this is soul; this is funk. Yilian Canizares, in this wonderful album, breaks the stereotypes and that is why it is a pleasure to listen to it.

Sweet musical outbursts, explosions of improvisation that jump all over the place. He even finds a place to rap on “Iya Mi” and, obviously, it’s brilliant!

If we had to put a label on it, which I’m not thrilled about, I’d say this is a warm jazz album with Latin infused touches and tricks.

The meandering melody of “Beroni Abebe Osun”, the first track on the album, is a good indicator of this.

The throbbing bass, the heartbeat of the track, with its plucked violin, the blood pumping through his veins.

Cañizares is also a linguist, in case that wasn’t enough for us all to admire her.

The way he transitions from Spanish to perfect syllable-perfect French in his version of Edith Piaf’s “Je Ne Regrette Rien” (a beautiful version, by the way) is seamless and you could be forgiven for thinking it’s his first language.

It’s not easy to cover songs as big as Piaf’s classic, but Cañizares does it with style, class and, most importantly, grace.

Anything less than grace in a song like this makes it a bad version. It could be its own track, the strings perfectly light to complement the calmness of the voice and the ease with which Piaf’s lyrics take the weight of the world off our shoulders. I don’t regret a thing.” So simple. Yilian Canizares, we salute you.

And we’ll be on the lookout for the next album. 

(kreolmagazine)

Yilian Cañizares – Invocación (2015).

Musicians:

Yilian Cañizares (Violin and vocals).

Daniel Stawinski (Piano)

David Brito (Double bass and electric bass)

Cyril Regamey (Drums and percussion).

Guests:

Akua Naru on Iya Mi

Gabi Guedes Gã & atabaques Rum, Pi, lé

Blaise Lambelet English horn on Laïla

Caxeiras do Divino da Família Menezes, Graça Re Reis & Bartira Menezes Caxeiras & Bartira Menezes &

Brazilian choir in Beroni

Julia Stuller, Gàbor Barta, Ivan Zerpa strings in Non je ne regrette rien

Luis Carbonell Voice in Canciòn de cuna para dormir a un negrito (Lullaby to put a little black boy to sleep)

Juan Carlos Toca Voice in Mapucha

All the songs by Yilian Cañizares except Beroni Abebe Osun (traditional/ Y. Cañizares) and

Non je ne regrette rien (Vaucaire/Dumont)

String arrangement (Non je ne regrette rien ) by André Mehmari

Cyril Regamey uses exclusively Istambul cymbals, Vater drumsticks and Aquarian drumheads.

Information provided (December 30, 2023)

New CD AfroCuban & World Music HABANA BAHIA YILIAN CAÑIZARES 2023 2024
New CD AfroCuban & World Music HABANA BAHIA YILIAN CAÑIZARES 2023 2024

Yilian Cañizares

Also Read: José Alberto “El Canario” and his orchestra enjoy a great international reputation in the Latin music scene.

¡Attack Sergio! Unbreakable: A fun read because of the contradictory content

I placed the order online on October 25, 2023. By return email, I received confirmation of payment and a promise to receive my copy the following week.

However, after several days I received a delay notification from the supplier. It was understandable that an artist of Sergio George’s stature would trigger interest in acquiring the work that promised to tell his story, perspective and opinion on the music industry. Exactly on November 25, 2023, the order arrived.

¡Attack Sergio! Unbreakable: A fun read because of the contradictory content
¡Attack Sergio! Unbreakable: A fun read because of the contradictory content

As a reader, I was deeply disappointed with the content of the “book”. Attack Sergio! Unbreakable falls short of being an autobiography. I would classify it as a self-help book with little depth, no substance.

Writing a book requires literary knowledge, basing the content on rigorous research and stating the data with mathematical precision.

The cover of the text is appropriate for the trajectory of the artist who is the subject of the text. However, the data on the cover that assures that he is the winner of 19 Grammy awards contradicts the text.  Specifically, on the third page of the introduction it says that he is the winner of 18 or 19. Evidently, the recently launched book should not be taken as a reference for a subject of such seriousness.

From the legal page it is clear that Sergio George is the author and that Janice Rodriguez was in charge of editing. Sadly, the work lacked editorial care, which detracts from the literary value of what is presented. There are many expressions that seem to be literal translations from English and that do not necessarily maintain the idiomatic integrity of what the author wants to express.  Now, if that were the case, you should stop counting the missing and extra accents.

Having said that, I am going to manage my criticism, since space is limited and the idea is not to write another book about the “book”.  Certainly, in the world of the versed salsero, of which I am one, the most awarded producer in Latin music has a great story to tell. But his literary delivery fell short. I understand the intention to approach his complaint as a self-help book. But that grand intention also failed.

I read in each of the 128 pages discontent, loathing, complaint, frustration, resentment and wounded self-esteem. Objectively, you have to read carefully to see that what he claims to do is the opposite of what has brought him so much controversy.

In his usual combative style Sergio George launches harsh criticisms of salsa artists. Resentment has won out over objectivity. Each blow takes away the value of his exposition, until it becomes the outlet that we all need to have at given moments.

Sergio George
Sergio George

Of course, emotional maturity is what prevents one from publishing matters that should remain in the privacy of conversations between the affected parties.

With a high sense of arrogance, characteristic of narcissistic personalities, the author accuses the “great salseros” of having murdered salsa because of their ego, pointing them out as the culprits of the death of the “musical genre”.

This becomes another of the great contradictions of the text. At times he claims that salsa is not a genre, but on multiple occasions he refers to salsa as a musical genre. On the other hand, he says that salsa is in danger of extinction shortly before assuring that it is dead.  His point of view in that sense is not clear either, although he does state near the end that there is a legacy that does not die.

This is the contradictory nature of the reading, whose common thread is the attack. That may be the origin of the idea of the title, although at first glance one might think that “Attack Sergio!” is the repetition of the battle cry that invites him to attack the piano, while he prolifically produces music.

Marc Anthony y Sergio George
Marc Anthony y Sergio George

I believe in the evolution of the species and I see that the adaptations through which salsa has gone through are similar to the genetic modifications necessary so that, within each species, the fittest survive.

The text has several anecdotes. However, due to the lack of details, these do not add value to the construction of the history of salsa. In some of them, the names of certain characters are not mentioned. I guess the author did not want to enter into a request for relays or preferred not to risk dealing with legal controversies.

With so much that Sergio George has contributed to the history of Latin music, it is a mistake that the book has not been given more structure and objectivity.

Sergio George has been a cornerstone in the history of Afro-Latin rhythms and is the owner of a brilliant musical career that has made many shine. But to that exposure, the text does not do justice either.

Bella Martinez Puerto Rico

 

 

 

Also Read: Metamorphosis: from music to photojournalism, a reinvention without limits

Eddie Palmieri brought salsa for the first time and live from Sing Sing Penitentiary in New York

In the early 1970s, the American social landscape was dominated by the Vietnam War and the birth of several protest movements advocating for equality, justice and the defense of human and civil rights, and from sing sing a historic concert.

In the midst of all that collective turbulence, Eddie Palmieri and his orchestra were giving free rein to their social rebellion with a sweeping musical proposal.

But Palmieri’s rebelliousness was not only reflected in his music, but also in his decision to take his group’s sound to atypical and controversial scenarios that would attract the attention of the authorities.

By the beginning of 1972, Eddie Palmieri had already performed in some correctional institutions, including the Louisville Correctional Facility and the Attica and Rikers Island prisons in New York, but the pianist wanted something more.

Eddie Palmieri brought salsa for the first time and live from Sing Sing Penitentiary in New York
Eddie Palmieri brought salsa for the first time and live from Sing Sing Penitentiary in New York

In those days, a good friend of Eddie Palmieri was incarcerated in the sinister and historic Sing Sing Correctional Facility, also known as Sing Sing Prison, infamous for the reputation of its inmates and for its executions with electric chairs.

It was at that moment that the idea of an unprecedented performance at the facility was born.

Palmieri’s group was not only the orchestra of choice for Hispanics, it was also favored by the majority of African-Americans in the Latin dance world, and at that time the prison population at Sing Sing was composed mostly of Hispanics and African-Americans, so the stage was perfect.

However, it was not easy to perform a concert in a maximum security prison like the dreaded Sing Sing Prison.

However, at the request of Eddie Palmieri himself and with the coordination of Roulette Records and the prison administration, the performance took place on Wednesday, April 12, 1972.

By the beginning of 1972, Eddie Palmieri had already performed in some penitentiary institutions.
By the beginning of 1972, Eddie Palmieri had already performed in some penitentiary institutions.

Sing Sing Correctional Facility is a New York State Department of Correctional Services prison in Ossining, New York State, United States. The name comes from the original name of the town of Ossining.

It was the third prison in New York State, built in 1825. The state legislature allocated $20,100 to purchase the Silver Mine farm. The prison was to be self-supporting and not require a state budget.

Elan Lynds, a jailer at Auburn Prison (New York’s second prison), brought 100 convicts from Auburn to the new prison and employed them for its construction.

Harris A. Smiler was the first person executed by electrocution at Sing Sing on July 7, 1891. From 1914 until 1971, only the electric chair at Sing Sing was used for executions.

On January 8, 1983, more than 600 inmates in B Block started a riot, taking 17 officers hostage; it ended 53 hours later.

Sing Sing in popular culture

Near the end of Herman Melville’s short story Bartleby, the Scribe, it is mentioned that Monroe Edwards died of tuberculosis in Sing Sing Prison.

There is a song called La cárcel de Sing Sing, written by Bienvenido Brens, which tells the story of a prisoner in this jail who was sentenced to death for killing his wife and her lover. The song was made famous by José Feliciano. It is also performed by Colombian singer-songwriter Alci Acosta.

Sing Sing Penitentiary in New York City
Sing Sing Penitentiary in New York City

In addition, it was performed live by the band Corizonas (union of Arizona Baby and Los Coronas) in their live album “Dos bandas y un destino”.

There is a song by the salsa group Conjunto Clásico on the album El panadero released in 1986, called A los muchachos de Sing Sing, which has a message of encouragement to convicts.

There is a song by the French-Tunisian singer-songwriter (Michel) Laurent entitled Sing Sing Barbara, from 1971, which tells the story of an inmate who sends desperate messages of love to his wife from this prison.

There is a song by the Madrid group Los Nikis entitled Diez años en Sing Sing, which also gives title to the tribute album to that group.

There is a song by the Basque group Sorotan Bele titled Sing Singatiko Folk & Rolla.

In 1932 the film Twenty Thousand Years in Sing Sing was shot, directed by Michael Curtiz and starring Spencer Tracy and Bette Davis. The film is based on the book of the same name by Lewis E. Lawes.

In the film Constantine, and in the official Constantine comic book, John Constantine is seen to use the Sing Sing prison chair to connect to hell.

In the film Citizen Kane, protagonist Charles Kane threatens his political rival, Jim Gettys, to send him to Sing Sing, when Gettys informs Kane that he will publish his affair with Susan Alexander in the newspapers if he does not withdraw from the election.

In the film The Pilgrim, Charles Chaplin plays the role of a convict recently escaped from prison, who, when he is at the train station, moves his finger without looking over the board of destinations to choose one at random and falls on Sing Sing, so he repeats the process again when he realizes his unfortunate choice.

In the movie Breakfast at Tiffany’s, Holly Golightly periodically visits inmate Sally Tomato at this prison.

In the movie and musical The Producers, the main characters stop at the same prison and create a musical called Prisoners of Love.

In the video game Driver Parallel Lines, the protagonist spends 28 years in Sing Sing.

In the ABC television series Castle, Sing Sing is cited during an episode of the fourth, fifth and eighth seasons.

In the film noir movie Odds Against Tomorrow, Johnny, the character played by Harry Blafonte, says, “I know they changed his color when they rehabilitated him in Sing Sing.”

In the AMC television series Mad Men, Sing Sing is quoted during an episode of the third season.

In the series Breakout Kings, prisoners are transferred to Sing Sing for their help.

In the song Báilalo como tú quieras, by artist Tego Calderón, the phrase “If rapping was a crime, I’d be in Sing Sing!” appears.

In the horror movie saga Maniac Cop, cop Max Cortell is killed in Sing Sing prison by inmates and is resurrected in the form of a “maniac cop”.

In the Netflix series The Punisher, Arthur mentions to Billy Russo having been imprisoned 10 years in Sing Sing, in episode 4 of the second season.

In the novel “The Ppsychoanalyst” by John Katzenback published in 2002, the Sing Sing prison where a man served six months is named.

In Georges Simenon’s novel The Hound Dog starring Commissar Maigret, one of the characters spends several years in Sing Sing prison.

In the comics “Mortadelo y Filemón”, by cartoonist Francisco Ibáñez, when a character has done something barbaric, he is sentenced to Sing Sing prison and appears with the typical black and white striped prisoner’s suit, chopping stone with an iron ball chained to his leg.

In the series Law and Order the Sing Sing prison is constantly mentioned.

Also Read: Carlos “Nene” Quintero comes from a family of musical prodigies

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International Salsa Magazine (ISM) is a monthly publication about Salsa activities around the world, that has been publishing since 2007. It is a world network of volunteers coordinated by ISM Magazine. We are working to strengthen all the events by working together.