Interviews

Spanish Harlem Orchestra and its beginnings

Spanish Harlem Orchestra is for many one of the best Latin jazz and salsa bands in the world due to its long career, impressive relevance and numerous awards throughout its 19 years of existence. This Latin music orchestra based in the United States was created by producer Aaron Levinson and producer, composer and arranger Oscar Hernandez, who gave birth to a legendary group, which was Grammy winning twice and whose style has differentiated it from many others of its kind. 

It all started with a call from Levinson to Hernandez to offer him the opportunity to join an ambitious project he had in mind, which consisted of the creation of a Latin jazz orchestra with a very peculiar sound and style. The producer could not resist such a proposal, so he agreed to lend his talent to the nascent initiative. This is how they debuted their first album Un Gran Día en el Barrio in 2002, thanks to which they received their first Grammy nomination for Best Salsa Album. After their first singles, the new group began to garner major success and to offer great performances all over the world. 

One of the main objectives of the members of the band is to set for themselves is to keep salsa dura alive in order to be lasting and to reach as many lovers of good music as possible. This is how the Spanish Harlem Orchestra, or SHO as its fans affectionately call it, has managed to preserve the best of traditional salsa, but from a fresh and innovative perspective.   

Its centerpiece Oscar Hernandez 

Its most famous member Oscar Hernandez got his taste for music in the vicinity of Harlem’s Latin Quarter, where he spent his early childhood that would mark his professional future. As a young boy of 12, he became a trumpet player, but it would not be long before he decided to switch to the piano. He spent much of his adolescence playing with many Latin Jazz artists of the time. One of those great stars with whom Hernández had the opportunity to explore his talents was Rubén Blades, for whom he worked as a producer, arranger and pianist. 

In the 90’s, the musician produced the album Dance City, for which he received good reviews in the New York Times and was called by singer and composer Paul Simon for his Broadway show. 

Today, we are fortunate to have the pleasant presence of Oscar Hernádez to tell us about his beginnings and the path he had to take to join the project for which he is best known today by many of his fans, Spanish Harlem Orchestra   

Mr. Hernandez, reading your story, we noticed that Spanish Harlem started with a call from Aaron Levinson in 2000, could you tell us a little about that? 

Aaron Levinson is the producer. I did not know him. I have to make it clear that he is not a musician, but a DJ with a lot of connections and was called to make a record with the Warner Bross label with a specific concept. They thought he was the right person for that. He called me to help him with the musical part. Everything related Spanish Harlem Orchestra I owe to him because that is how I joined the project. That was what had to happen in terms of my fate. That is how God told me to wake up and understand that this was what I had to do. Until such time, I had only been a producer, arranger and pianist, so Levinson came to me and I accepted. We talked about the tracks and he picked some that I did not want to do. To make a long story short, we recorded the album, but Warnes Bross said they did not want to release it, so they gave it back to Aaron. A year and a half later, he sold it to a small company whose owners were friends of his and it was nominated for a Grammy. Since then, I started with the orchestra in 2002. The orchestra is almost 20 years and has been a great blessing for me. It was intended that he called me to put my personal stamp on that record with my brain and my heart, so I could create all the music that I have made these 20 years. Aside from that, we have gotten incredible reviews all over the world and won three Grammys. People know how good the orchestra is and how good the concepts we have recorded are because it is all documented. Listen to any of the albums and you will immediately note our quality, integrity, professionalism and musical concept. Obviously, I have very good musicians helping me, but final decisions start and end with me.  

After you decided to carry out the project, how did you combine what you already had with Spanish Harlem Orchestra? 

It was a moment in time that things were changing. I did not have anything stable at that time, as I had just finished working with Paul Simon in a stage play which was quite a large process. I was freelancing, so I was working for whoever called me. The perfect time came when I had the chance to create the orchestra and it was not easy because I had no ambitions for a career as a bandleader. It was not something I wanted to do, but I had to learn a lot of things after I became one like dealing with people, with musicians and with situations that were not easy. During that process, I had to get rid of a lot of people because I realized that I had good intentions, but that is not enough. You have to have willpower and be clear about the concept musically and in terms of business. I always try to deal with musicians in the best way because I was one before anything else. I try to be transparent and understand all situations, but there are also selfish people who want to enjoy all the advantages for themselves and I am not in that plan. My plan is to look for what is in the best interest of all of us as a group. At my age, I do not have time for anything but high quality and professionalism. I lasted seven years with Ray Barreto and recorded six albums. I lasted 12 years with Rubén Blades and we also recorded six or seven albums. What do I say? I have already worked with many people like Juan Luis Guerra, Paul Simon and many others who have left an important mark on me as a musician and as a director.

What do you consider to be the most valuable thing you have learned from the artists you have worked with? 

I think all these people have love for music, which is the most important thing. I remember my times with Barreto, who listened to all the mixes we made and drove musicians crazy in search of perfection. Like Rubén Blades, who was a transparent person and always wanted to do his best as a musician. It is not just one thing I have learned, but several because they are all important. I believe that love, professionalism and willingness to work with musicians. I remember that Rubén was the bandleader, but he always considered our views as musicians. I was even the arranger and my musical value was respected from the beginning. I respect my musicians very much and I give them all the value they deserve. 

You told me earlier that you were on tour in New York. Could you tell us how it went? How did the audience respond? How did it feel to be back on stage after such a long time? 

It was incredible. Our first concert with the orchestra was in the very heart of of New York City on 42nd Street in Manhattan. There is a place called Brian Park and there were about 10,000 people there, as the event was free to the public. It filmed live and virtually streamed. I mentioned to the audience that this was the first time we played live and that we had only one rehearsal the day before. It was an amazing experience because I felt that musicians were in the best position to make a first-rate performance and they did. The audience warmly and gratefully applauded. When you do something all your life and suddenly it stops for a year and a half, you realize many things.   

What other events are you going to do? Are you planning on touring outside the United States? 

We are scheduled to have a tour in June in Europe, but it remains to be seen what will because COVID is still present and countries are evaluating how things are going to go in the next few months to specify dates and cities. In December, we will have four shows, two in Santa Fe, one in Albuquerque (California) and one in Costa Mesa (California). We are no longer touring as such, we are doing dates. It had been years since we have toured like we used to. The new album is done and sounds amazing. Last week, we were in New York finishing the vocals with the three singers, who are some of the best and it was a pleasure for me to share with them. They are clear that they have to do their part in what is going to be another great record.  

Questions from a lifelong admirer of Oscar Hernandez   

Augusto Felibertt, international director at International Salsa Magazine, professional DJ and collector, asked Oscar Hernandez some very interesting questions to learn more about his past as a musician.  

I want to know your feeling about your time with Grupo Libre de Manny Oquendo and Grupo Folklorico y Experimental Nuevayorquino. 

Associating with Andy and Jerry Gonzalez was an incredible experience for me as a young musician in New York. They were an important part of my development. They were a little older than me, but I remember Andy came up tome and presented himself when I was playing with Ismael Miranda in a club. He told me it was nice to meet me and that we sounded great. Since then, we became friends and he invited me to his house. When I arrived, it turned out he lived with Jerry in an apartment below his father’s and had an incredible record collection. We would spend many hours listening to music I had never heard and arguing about musicians. We would debate about who was the most important, who else we liked. It was a very nice time from which Conjunto Libre de Manny Oquendo emerged. I was the founding pianist of the group that recorded the first three albums. The image of Grupo Folklorico y Experimental Nuevayorquino also emerged. That group composed of of Andy, Jerry and René López became larger with other musicians who joined later such as Alfredo Chocolate Armenteros, Virgilio Martí, Heny Álvarez, Willie García, Milton Cardona, among others. There were so many musicians that the image of what a jam was (a spontaneous concert in which an artist or group performs before a small group of spectators) was expanded.  

Ray Barreto’s album Reconstrucción, a musical jewel for the salseros of the world. I want to know about your experience on that recording. 

Reconstrucción was one of the most important recordings of that time because the elements that Rey used to design the concept resulted in something incredible. I am very proud of that record with more than 40 years old. I was 25 years old when we made it and it went down in history. I am very grateful to Ray Barreto because he gave me the opportunity to work as a pianist and arranger on that recording. Even today, many musicians tell me that they listened to that album every day and were inspired by it.  

I would like to know about your time with Carabalí. 

Carabalí was the group of Raúl Primo Alomar, who was a conguero, and percussionist Rey Colón, who was a bongo player. They wanted to make a septet and called me to join as a producer. He was the producer of the two albums. I am very proud of that experience because I can be anywhere in the world and people still call me Carabalí wherever I go. Aris Martinez, the singer of the group, was about 20 years old at the time and I kept correcting him in the studio all the time. Nowadays I listen to him and he sings very well. However, it got to the point where we had a disagreement, so I left the group and wished them luck.   

You recorded an album entitled Como Nunca with Orlando Watussi, could you tell me a little about it? 

I do not remember much about the details, but Watussi has always been in the music business and has been considered one of the best singers. We don’t talk much, but he is a great person and a lifelong friend. That was a great opportunity for us and another example of how I have done my bit in the music scene with what I feel in my heart. 

Link to Spanish Harlem Orchestra’s official website: https://www.spanishharlemorchestra.com/

Some initial ideas about the frequency of 432 Hertz

The stress of daily life is extremely harmful to the health of any human being who gets it, so that is an issue that should be dealt with the seriousness it deserves. Fortunately, there is plenty we can do to combat this problem such as meditation, yoga or music. Concerning this last point, we can mention the frequency 432 Hertz, which has already been shown to have certain effects on sleep quality. There is still a lot of misinformation spread and incorrect data in respect of it, but here we will try to shed some light on this interesting topic. 

After a lot of research in this regard, it is already known that music can decrease the activity of the sympathetic nervous system, which, in turn, results in a significant reduction in anxiety, blood pressure, heart rate and breathing. In addition, muscles relax considerably and the mind is distracted from the frantic thoughts that does not let it rest. It is thought that this set of tones has sleep-inducing properties, but there is still a lot to discover about this. Some musicians only refer to this frequency as a  calm, soft tone. 

What is the tuning of 432 Hertz? 

The tuning of 432 Hertz is name after the 432 oscillations it produces per second. The sounds that comprise the frequency tend to be a little deep and the link of the harmonics is carried out to perfection.   

It can also be defined as a clean frequency that has been widely used to break down mental barriers and promote a much deeper and more restful rest. Its greatest proponents claim that this combination of sounds has the ability to synchronize with the Universe’s energies, leading to a much healthier life for those who listen it. 

Studies done on the frequency 432 Hertz 

The miraculous frequency or frequency of happiness as some call it, has been extensively studied by the Department Physiology at the All India Institute of Medical Sciences, which was based on the hypothesis that the 432 Hertz frequency induces sleep and decreases REM (Rapid Eye Movement) phase.   

According to the conclusions presented by the experts responsible for carrying out the experimentation necessary for the study, the tone showed promising effects on the electroencephalographic activity of the brain during a daytime nap period. The decrease in REM sleep latency suggests that the already mentioned musical frequency has a rather significant relaxation effect on a sleeping brain.  

What the experts say 

To bring a clearer notion and a broader perspective on this topic, we have contacted M.D. Argelia Melet who is going to offer us her views on this frequency and the effects that it can have on those who ever listen to it. 

This is our conversation with her regarding this issue:  

What is the frequency 432 Hz? 

I would like to fisrt remember what a Hertz is, since the frequency 432 Hertz is expressed in that unitof measurement: A hertz is the frequency measurement unit of the electromagnetic field, including, of course, the acoustic one. These are waves that are propagated in space, carrying energy, but not matter. A Hertz measures how many times these waves repeat themselves in one second. So, then, the frequency 432 Hertz is nothing more than a 432-wave frequency in one second. In recent years, one issue that emerged among scholars of musicology, musicians, and academics who proposes 432 hertz as a frequency that is more “attuned ” to our physiological structure. Many people are in favour of this and also many others deny that there could be a difference. 

Having said this, the music industry uses the standard note A as tuning in the frequency of 440 hertz, but this was not always the case. Because it was in 1953 when the International Organization for Standardisation (known as ISO), imposed it as a pattern to tune and build most of the musical instruments. 

As for the frequency 432 Hertz, “it has been gaining popularity among the performers, because as it is played, it emits twelve harmonics, which involve the 12 notes of the chromatic scale. In the case of the frequency of 440 Hertz, it is although brighter, but involves only 8. Many early music interpreters, I among them, use the frequency 432 hertz. And the difference can be noticed” (personal communication). (*) 

What effects could you see? 

I am not an expert in music therapy, which has become a specialty discipline that includes many fields linked to the health profession and obviously much more to psychology and psychiatry.  But I have used certain Barroque pieces, particularly (Mozart, Pachelbel, Vivaldi) in some therapies known as “desensitization in fantasy”, which uses the patient’s imagination in a relaxed state to deal with situations that leads to anxiety with very good results. It has been successfully used in carcer patients or people with severe sickness to deal with these coplicated cases that create suffering.It is also used in pediatric dentistry and geriatrics. 

Differences between the Frequency 432 Hertz and others

I do not think I am capable of answering a question concerning a very specialized subject as is music …. Those who are in favour of the frequency 432 Hertz criticize the standard and explain that it increases tensions and fatigue in the listener. Instead, the frequency 432 Hertz can help to balance the mind causing further relaxation by listening to it and thus help to prevent future diseases. But controlled studies would be necessary to prove this statement. 

What kind of therapies with this frequency are used in people? 

Although I am not clear about this question, I assume that you are talking about which patients would benefit from these music therapies. At present, there is widespread use of music therapy (and I am talking about this and not about a particular frequency): its value in anxiety disorders, phobias, and dysfunctions such as attention deficit disorders is well known, and it is even starts being used in people with Alzheimer’s. Today, it is an important tool and it is believed that it will be useful in the future. There are even studies that link it to brain neuroplasticity. And here I would like to anwer tthe following question: yes, there are positive results in many areas of emotional, work, and social life. 

Would you recommend this therapy in insomnia and other sleep disorders? 

The question is whether I recommend it as a unique therapy or as a complementary therapy. In medicine you cannot act in a “religious” way and in this regard I mean discard any belief other than your own. Music therapy promotes relaxation, serenity, inner peace and, in that sense, it helps to reduce insomnia, nightmares or night terrors. But a lot of times, it will be necessary to combine it with other treatments. This always depends on the seriousness of the problem. 

As a doctor, would you consider that this frequency raises consciousness or achieves effects at levels higher than simply sleep improving? 

As to whether the frequency 432 Hertz raises consciousness, as the question puts it, I am not in a position to affirm or deny it. It may be necessary to specify that in our brain there are many types of waves of different frequencies.  

As to whether the frequency 432 Hertz raises consciousness, as the question puts it, I am not in a position to affirm or deny it. It may be necessary to specify that in our brain there are many types of waves of different frequencies. Brain waves regulate our thoughts, emotions and behaviors. They are measured in hertz or cycles per second and these electrical patterns are divided into five in human beings: gamma, beta, alpha, theta and delta.  For purposes of this presentation, I will just talk about alpha waves. The so-called Alpha waves predominate when the Central Nervous System is at rest, relaxed but awake and alert. If there is an alpha deficit, the individual has trouble relaxing. We would say that the brain is idling, relaxed and at rest, but ready for action if necessary at the same time. This frequency helps mental coordination, mind/body integration, calmness and alertness. Music therapy has been linked to the stimulation of alpha brain waves. 

However, we got a long way to go. The brain, the grand master of our lives, seems opposed to being discovered in all its magnificence. It is our “Moon’s far side”.  

(*) Professor Oscar Battaglini Suniaga. Msc in Musicology 

What are the brain waves? 

As Dr. Melet has told us, brain waves play a fundamental role in the behavior of our brain and the way it works. Then we will classify brain waves according to their different types: 

• Gamma: of all the types of brain waves, gamma brain waves are those that appear more frequently, but with a much smaller amplitude. Their most common presentation is 40 Hertz and it is believed that they are the waves that most relate to the process of conscious perception, although there is not yet wide agreement betwween scholars on the subject. 
• Beta: these electromagnetic oscillations are those that are activated when the brain is in a certain kind of awareness in which a certain degree of attention is required, such as a speech delivered before an audience or a hard test. During this stage, waves have an greater frequency than the rest of its types. 
• Alpha: these waves are usually more frequent than theta waves, but are related to a state of relaxation where the body has its eyes closed, but not asleep. They slow down when sleeping, but are altered when opening the eyes or thinking about doing it. 
• Theta: Theta waves are generally associated with the early stages of sleep. Contrary to the case of beta waves, they make the body relax either when awake or when sleeping. 
• Delta: these waves have an extremely low frequency, which means the brain is asleep and may even dream off in some cases.  there is potential for them appearing while in a coma or severe brain damage.

Neurolinguistic programming and its use as a tool for mass manipulation 

It is the interchange of thoughts and habits through a set of techniques that involve perception and communication. It is also known as a branch of neuroscience that studies the connections between behavior, thought and language. There were many political personalities who saw huge potential in this tool and one of them was Josehp Goebbels, who soon found out that culture and language were two fundamental aspects in the achievement of his political objectives. 

It was this infamous character who gave rise to the study of what is now known as neuromarketing, in which seemingly insignificant details such as voice, tone, gestures, body language and even sounds are absolutely controlled. It is no coincidence that Goebbels took over German radio as a whole in order to monitor the programmes at will. Soon it becomes clear that the aim of this measure was not just to inform, but also to manipulate people’s thoughts and, as a reult, their way they talked and behaved in everyday life. 

One of the best examples was the installation of loudspeakers in various crowded public spaces such as squares or markets. As a result, those who were not attracted by the official programming ended up listening to it against their will. To that is added a loud siren that sounded each time there was an important announce to make, so everyone had to get closer to loudspeakers to hear what was being said. Anyone failling to do this was heavily criticized. 

The programming included Hitler’s speeches alternated with an set of cultural and cultural programs. There were not few state officials who insisted on the multiple mood benefits of listening to them, when the reality was that they sought to modify and manipulate people’s psyches by alternating musical pieces and sounds pleasant to the ear with the political statements they wanted to etch on the minds of citizens. Had the Nazi regime been pioneer in the use of certain sonic frequencies to generate reactions in brain waves? Had we ever been the victims of this type of manipulation without even noticing it? Only time and science will tell. 

 

Conversation with Jesús “Chuy Martínez

I had recently spoken with broadcaster and event promoter Jesús “Chuy” Martínez about his beginnings, career, experiences, unpublished facts and other details concerning his brilliant career in the entertainment world. Without further delay, we will carefully read his words and enjoy the stories he has to offer. 

Good morning, this is Karina Garcia, North America director for International Salsa Magazine. I am very happy today to have a very special guest, who is none other than broadcaster, promoter and organizer of events born in the Dominican Republic, specifically in the city of Pacheco, Jesus ¨Chuy¨ Martinez, with whom we will have the pleasure of talking. How are you today, Mr. Martinez?  

Very well. I am here ready for your interview. 

Okay, Mr. Martinez. You have a long and successful career in the world of the arts. Could you start telling us how it all started and what made you turn to the entertainment world? 

It all started in New York City in 1970 when I began to do activities in lakes. In New Jersey, there were many lakes and we started doing dances with Pete ¨el Conde¨ Rodriguez and many other orchestras. After doing a few activities in New York, I moved to the city of Los Angeles, where I worked for a radio station called 107.1 FM KMAX starting with two hours of tropical music and we lasted about three years. We started with two hours and then we had five hours per day. We were supported by some record labels that gave us all the music, especially Fania Records and TH Company. We brought all the music to Los Angeles, which was practically in its infancy. There was no tropical music. There were only three stations that were only dedicated to playing norteño music, so we were an option for the California audience. We had salsa, Merengue, Colombian, Venezuelan, New Yorker, and Puerto Rican music. We started the program with two hours a day, came to have five hours a day and it was a success for the public, but at that time, FM radio stations were only present in the houses. At that point, FM did not yet exist, which started appearing in cars and cassettes in 1979 or 1980. Prior to that, a thing called cartridge was used, but with the coming of FM stations in cars with cassettes, this frequency began to become stronger because people could still listen to the radio in their vehicles and homes. That was a process that in which made the radio strong and able to work with FM. I worked at KMX radio for about three years and then I went to other places like Radio Cali KLOVE as an account executive before I started a new program at KFOX 93.5 FM in 1982. At that time, we did activities in nightclubs like Virginia, Los Globos, Sombrero, among others, and we used the different orchestras of the time like the Siba orchestra and Azuquita Y Su Melao. All that was a process in the 70s. Then, we started in the 80’s to do FM radio with all the guarantee of the radio in the cars, which was when we began to work in discos like Candileja, La Bamba, and Escondite. Something important was the experience gained and, in view of my studies as a sound engineer, I learned a lot about equalization and all that stuff. I went to Cali, Colombia a few times and then to Venezuela, where I learned equalization and the system for discotheques. We had not only the 80’s, but many South Americans in Los Angeles like Venezuelans, Colombians, Ecuadorians, Peruvians, and Central Americans. Something that helped to internationalize the rhythm in Los Angeles was to take Saturdays and most Sundays to make projections at KFOX 93.5 FM. In the case of Saturdays, we had four hours of Central American music, we had a large audience of Salvadorans, Guatemalans, who listened to our program.   

All right. Taking into account the emergence of the FM frequency in cars, playback devices, the internet, and digital media, could you say that people like you have had to modernize and reinvent themselves to stay relevant in the market? 

That’s right. At the time of the existence of record companies like Fania, Sony, RMM, MP, everything was easy and everybody could project their music in the 80s and 90s. First, people used LPs and cassettes, but the first CDs began to appear in 1986, so no one wanted the old LPs and cassettes anymore. Music was played on the radio where I did my show and at KLOVE, where salsa artists like Grupo Niche with their song Cali Pachanguero were played. Then Marc Anthony and many other artists appeared, so record companies promoted you and you had the ease of projecting a singer, but by the year of 1996, people no longer wanted CDs because modern technology came in and everyone started downloading music with the new internet system. All of this has contributed to a total change and it is the same thing that exists now, which makes it difficult to project an orchestra or a soloist. There is no longer the question of radio promotion and now everything is digital, so we have had to adapt to the new technical internet system with all its means of communication. 

Would you consider that this new system has been beneficial to fans and detrimental to artists at the same time? 

That is right. They do not have the opportunities they had before. In the late 80’s and early 90’s, there were many record companies with which everyone could be promoted, facilitating the projection of an artist in the market quickly. Now it is different and a determining factor was the death of most of the good artists from Fania and other companies like Pacheco and Larry Harlow, so young people who want to project themselves do not have the record label and the CD. They have to use other methods such as the internet, the downloading songs, and the sale of songs. There are some DJs who are experts at downloading music and there are many channels focused on providing DJs with both video and audio. 

There are many web portals dedicated to offering music through which people can get songs without even spending a cent, so the artist makes nothing to offer his art. 

That is true, but there are companies dedicated to selling songs on an individual basis. They can charge up to 99 cents per song and different things that have been invented. There are artists who gain some profit from selling their songs, but it is not what it used to be. In times gone by, people used to buy CDs, but now there are some DJs who are specialists in downloading music and connected to sites which offer the possibility to download videos and songs in exchange for a monthly allowance. I know about five DJs who have the ability to download songs, but it is not the same as before. We are in the year 2021 and things are not easy for new artists who are making themselves known because they no longer have so many benefits.  

Modern salsa and memorable experiences

What do you think of current salsa?  

There are quite a few orchestras here in Los Angeles, which perform at the Mayan, the Granada and Steve’s Steak House. There are many orchestras that project themselves through their performances, but with COVID-19, everything has gone way down in terms of concerts. We are doing concerts, but in a very limited way because the community had great fear of going to the venues, especially now that there is talk of the Delta variant. People are really scared and it is unbelievable what is going on in the California artistic scene, the world with the COVID problem and people’s fear of getting infected. That is why a large part of the population does not go to concerts, except for the youth that defies the moment and is not afraid. 

Could you tell me which venues are open for dancing salsa in Los Angeles? 

Granada, Steve’s Steak House and the Mayan are the most active for tropical music. The Mayan is hosting the largest number of concerts. Toño Rosario’s was a success and Jerry Rivera will come soon, so let’s see what happens. Other promoters are going to bring La Sonora Ponceña and different singers, but there is no certain that people will come for all that has happened. 

Could you tell me which is the most memorable experience you have had in your career? 

The most memorable experience was when Frankie Ruiz had a concert at the Bonaventure Hotel and the man went to jail the same day (laugh). That was the greatest trouble because there were so many people interested in seeing him and he never came. That was a really bad experience in life. I did a lot of dances with Oscar D’ León, Eddie Santiago, La Orquesta Inmensidad. The first time Grupo Niche came here in 1986, with whom we did dances with Oscar D’ León and La Misma Gente at the Hollywood Palladium. We also worked with Ray Barreto, Pastor López, Santiago Cerón, La Orquesta Inmensidad, Andy Montañéz, Lalo Rodríguez and many other artists. Before there were many orchestras in a single event, but now people get used to one orchestra and several DJs.  

A final message to those who go into the arts 

Tenacity and perseverance at work, Hard work, hard work, hard work. You should study the field when you want to do something, be sure that your idea is good and avoid failing.

Website: Chuyradio.com