June

Just as we have talked about musicians and singers who have left to the Puerto Rican culture in the highest in the rest of the world, it is also time to highlight the role of other figures who have contributed immensely to the way in which the Island of Enchantment is perceived by others: the cradle of several of the best artistic exponents from Latin America. One of them is Ralph Rivera.

From the Spaha Salsa Harlem Museum, we have always sought to promote Latin culture by giving space to figures who do their part in making sure we are respected on an artistic level. Such is the case of writer, producer and financial executive Rafael J. Rivera-Viruet, better known as Ralph Rivera, to whom we will dedicate the next lines of this article.   

Who is Ralph Rivera?   

Ralph Rivera was born in a coffee farm in the municipality of Utuado, the third largest municipality in Puerto Rico, which is located behind Ponce and Arecibo and is part of the mountainous region known as La Cordillera Central.   

Like many other Puerto Ricans of the time, his parents were seeking a better future for themselves and their child, so they made the decision to move to New York City, United States, thus becoming part of ”The Great Migration” in the 1940s, which consisted of a massive exodus of Puerto Ricans to Uncle Sam’s country as a result of its growing dominance over the island and the devastation caused by ”The Great Depression”, with which Puerto Rico was greatly affected.   

Once in the United States, the family settled in the South Bronx, where little Ralph spent his childhood and youth being part of New York’s public school system. It was full of children who wanted to get out of poverty through education and hard work. Ralph was certainly no exception, as he wanted the same thing and would do what he could to make it happen.   

Over the years, the young man acquired all the knowledge he could in the area he was most passionate about: business. Of course it was not an easy road, but Ralph managed to reach important positions in this field. When he worked for the auditing firm Price Waterhouse, he was hired by the talent agency Ashley Famous to handle the company’s financial affairs.  

When he gained enough experience, he went for bigger challenges in his career. That was when he met his greatest mentor, fellow executive Marvin Josephson, with whom he created mergers and acquisitions in order to found International Creative Management (ICM) the Behemoth Talent Agency. 

Moving to Los Angeles 

At this point, Ralph had already fulfilled many of the dreams he had set out to achieve professionally, but he still has plenty to prove in the field. It turns out that, in the 1980s, he was given the opportunity to move to Los Angeles to work closely with Martin Starger, former president of ABC television, and Sir Lew Grade, who at the time was the head of Marble Arch Productions, a famous entertainment company in England. 

‘‘Sophie’s choice” and ”On Golden Pond” are among the projects the entrepreneur took on with the company, but his aspirations just kept growing and led him to work with Marvel Comics and Stan Lee himself on the television animation production side. Some of the Marvel titles Ralph worked on include ”Iron Man”, ”Spider Man”, ”The Fantastic Four” and many others.   

In the mid-1990s, he returned to his native island of Puerto Rico and settled in its capital, San Juan, to focus on producing documentaries about Hispanic American culture, including politics, cinema and, of course, music.   

Ralph as a writer   

The multifaceted executive is not limited to the aforementioned facets, but is also a writer and author of the acclaimed book ”HOLLYWOOD: Se Habla Español”, which has won multiple awards since its release. 

In the text, Ralph describes some of the most important achievements of Hispanics in Hollywood films over the last century, stories that should make all of us Latinos who read them proud. They are proof that all the effort we have put into being recognized worldwide has finally paid off despite the obstacles.

 

 

Read also: Pedro »Pacholo» Segundo apoya al Spaha Harlem Salsa Museum 

This time, we are very pleased to have been able to talk with a talented Venezuelan who has left the name of his country well off thanks to his talent and professionalism. We are talking about bandleader and singer Eduardo Herrera, who was kind enough to speak exclusively to us and give us details on his personal and professional life so that we can get to know a little more about him.    

How did Eduardo Herrera become interested in music?   

Eduardo comments that his parents always spent their time singing in a very cheerful way since he was a child, so his best childhood memories are with music. 

He grew up in Caracas, so he always had close contact with all kinds of music and listened to a great variety of artists starting with Celia Cruz, La Sonora Matancera, La Billo Caracas Boys, Los Melódicos, Benny Moré, Oscar D’ León, Daniel Santos, Los Adolescentes La Dimensión Latina, La Fania, among others. These artists strongly encouraged him to lean towards salsa in the 1970s.   

In his hometown, he began playing with the Teresa Carreño Chamber Choir, which was his first professional contact with music and, in his own words, was a great school for him during his time there. 

In 1987, being already in the state of California, United States, there was an orchestra called Radiante that played Puerto Rican salsa. Eduardo worked with them for a year until he joined Orquesta Sensual, whose strength was romantic salsa that was fashionable at the time.   

After that, he also worked with Orquesta Charanzón, which at that time was led by Anthony Blea, a famous violinist from the Bay Area. It was with this band that he began to fully discover Cuban music and develop a great passion for it, which would lead him to continue along this path in the following years.    

In those years, he played with an unlimited number of orchestras with which he gained a lot of experience and learned to perform properly on stage. However, his big break came with the Orquesta La Moderna Tradición in 2021, when he was offered to participate with the group in some projects.   

Even so, the latter did not prevent him from working with other groups of this style throughout the San Francisco Bay Area, as he has no problem with playing with anyone who wants to invite him.   

Reasons to leave Venezuela and go to the United States   

Like any other immigrant, Eduardo’s primary reason for leaving his country was the search for new opportunities. Eduardo goes on to explain that he was awarded a scholarship by the famous Gran Mariscal de Ayacucho fellowship programme and managed to obtain his degree in biology in the United States, but unfortunately with the change of government, the things that were promised to him and other fellows such as jobs and revalidations were not kept. As a result, the young man was left in a limbo that made it nearly impossible for him to practice biology.    

With his options reduced to almost zero in Venezuela, Eduardo had no choice but to return to the United States, where he started working as a high school teacher until 2023, when he finally retired from his basic profession. In total, he taught for more than 40 years at the secondary level. During most of this time, he combined his school activities with his second profession, which was music.   

Other areas of music explored by Eduardo 

The singer explained to us that his voice has always been his most important instrument when he gets on stage, but he also confesses to having experimented with hand percussion instruments such as the maracas and the güiro. He pointed out that both are very easy to learn at first glance, but they have their level of complexity once you try them. 

At present, he only uses his voice in the orchestras in which he currently plays.  

Orquesta La Moderna Tradición   

”La Moderna Tradición reached out to me at the beginning to record one of their CDs and I started singing backup and the harmonies, which is how you should always get you started in any group. When you master those areas and have the talent, you may think about being a soloist and that’s exactly what happened with me” Eduardo started saying about the issue. 

La Moderna Tradición’s music was mostly instrumental at that time and they wanted Eduardo for their second album, which would include choirs for the first time, but the group had no singer at that time. In view of the good results offered by the vocalist, he found himself in frequent demand to give voice to other old numbers, but now with a singer.   

Years later, he finally received the proposal to be part of the orchestra as such, together with Ramón ”Monchi” Estévez on vocal. Already for the third album, all the songs had a singer, who was Eduardo most of the time. 

From then on, the artist has continued to be part of La Moderna Tradición with some interruptions because he moved from the Bay Area to the Central Valley in Manteca, which made it more complex for him to play with the orchestra on weekday evenings. 

At the same time, he worked with the group Vissión Latina, Carlos Caro’s orchestra or any other that invited him to play on weekends, which were on his days off. 

What Eduardo has learned from La Moderna Tradición and other artists he has played with 

The most important things Eduardo says he has learned from the great artists he has played with are the study, humility, knowing your limits and the development of the love of music. He says the latter is fundamental, because if you do not love music, you will not do the job right.   

”With music, you sacrifice your time and the pay you receive in return does not always go according to what you do, but it is something you’re supposed to do for the love you have for the craft. If you do not love what you do, you will hardly do it well and use your skills in it” said Eduardo. He added that ”you are an eternal student and you never know everything about everything. There is always something to learn from other singers and seeing any of them on stage is an opportunity to emulate what they do as long as it is useful for your career. 

He also said that ”the ego of many artists is a really depressing thing because it prevents them from moving forward and takes their focus away from what is really important, which is the love of the genre and the opportunity to learn as much as you can”.  

Complex moments for Eduardo personally and professionally  

Eduardo mentioned to us that one of the hardest moments for him personally and professionally was his move outside of the Bay Area, which we had already talked about. Being so far away from the area where he did most of his performances was a blow to him, as he had to be near his wife and children.   

Eduardo was very late from work and his wife had a job which made her to leave home for several days, so it was up to him to stay with the children during all that time. For the artist, his family comes first every time and no job or hobby goes above that. 

His responsibilities with his children let him to distance himself from music little by little, since not being always available to play, orchestras would look for other singers to replace him. This made his opportunities to sing to be reduced, but Eduardo assures that the sacrifice has been worth it, as quality time with his children is the most main thing for him. 

Eduardo’s plans to create his own orchestra  

Eduardo was able to conduct an orchestra for a few months, which allowed him to see what the work of a director would be like and the truth is that he did not like it. ”During the time that I was conducting an orchestra, I could see I don’t have the right personality for it. I’m not good for working with adults who are irresponsible and many musicians tend to be late for the engagements and not to take this profession very seriously. I’m a very perfectionist person who has very high standards and I don’t expect anyone to work less than me, so I know it would be torturous for me to have a responsibility of that magnitude,” Eduardo said. 

He says that being a bandleader is far beyond what he wants to do with music and that he wanted to keep developing as a singer. In addition to this, going back to the family issue, such a position would have forced him to be away from his family again and that was something he was not willing to do. 

He also took into account the little stability offered by music as a profession. His work as a biology teacher was much more stable and allowed him to have secure income without having to worry about the bad times of orchestras. He loves music to a fault, but does not like uncertainty and insecurity.  

Other groups  

In addition to playing with La Moderna Tradición, he also works with a Cuban group called Pellejo Seco, with which he recorded an album that is currently being remastered in Cuba. The material was recorded just before September in California, but will soon be released to the public. 

Eduardo works directly with Ivan Camblor, director of the orchestra and professional tres player. In this part of the conversation, the artist was very complimentary about Camblor and highlighted his great potential as a bandleader and musician. 

Something he likes about Pellejo Seco is that his main genre is Cuban son and it focuses a lot on very rural and traditional Cuban rhythms, so he can explore other elements different from what he does with La Moderna Tradición. They are very different groups with different genres and different characteristics. 

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