March

Continues in the spanish repertoire “The Colonel has no one to write to him” by Gabriel Garcia Marquez

North America / USA / New York

During this month of March, the super theatrical production “The Colonel has no one to write to him” by Gabriel Garcia Marquez, continues in the Spanish Repertoire, the only company to present plays entirely in Spanish since 1968, subtitled in English, in New York City.

“The Colonel has no one to write to him” is under the direction of Colombian director Jorge Alí Triana and has a leading cast of wonderful Latin American theater, film and television actors such as: the first Colombian actor, Germán Jaramillo incarnating the Colonel and the first Cuban actress on the New York scene, Zulema Clares, playing the Colonel’s selfless wife. This play is an adaptation by Jorge Alí Triana and his daughter Verónica Triana to the novel published in 1961 by the Nobel Prize for Literature (1982) and world-renowned Colombian writer, Gabriel García Márquez.

The story of this theatrical piece focuses on the life of a retired colonel, who fought in the Colombian Civil War and since then has longed for his retirement pension, delayed for 15 years due to the country’s bureaucracy.

The Colonel has no one to write to him - Gabriel Garcia Marquez — The Colonel has no one to write to him – Gabriel Garcia Marquez

The thoughtful colonel lives with his unconditional wife in a situation of poverty and they only have a fighting rooster, the product of the inheritance of their deceased son, Agustín. The bird becomes, then, a possible salvation from his misery, since he questions whether or not to sell it to be able to eat, while every Friday he waits for the postman, who yells at him: “Nothing for the colonel.” Nobody writes to the colonel.”

According to statements made by director Jorge Alí Triana for the news outlet Efe, the play “The Colonel has no one to write to him”: “It is a play about dignity, about hope. Every transcendental work of art has a great metaphor and here is that of our peoples who have waited their whole lives with great hope that their situation will change”.

While for the actor Germán Jaramillo, the personification of the colonel has been quite a challenge. “Entering a character like the colonel is like entering the universe of Shakespeare… It is a very beautiful fable but it is also the story of power, old age, decrepitude and political struggle. And this character (the Colonel) in García Márquez’s perspective, which is also universal, achieves that greatness”. (Statements to an international media).

The bird and The Colonel has no one to write to him - Gabriel Garcia Marquez — The bird and The Colonel has no one to write to him – Gabriel Garcia Marquez

The play concentrates the action in the dialogues, maintains the atmosphere of the time and has a dramatic language.

Gabriel Garcia Marquez (Writter):

Gabriel García Márquez was born in Aracataca (Colombia) on March 6, 1927. He studied law at the National University of Colombia, but abandoned it to devote himself to journalism and literature.

In 1955, he published “The Leaf Storm”, his first novel. In 1961, he settled in Mexico City. That same year he published “The colonel has no one to write to him” and the following year “Big Mama’s funerals”. In 1967, he had “One Hundred Years of Solitude” published in Buenos Aires, the work that consecrated him worldwide. In 1972, he won the Rómulo Gallegos Prize and in 1982, the Nobel Prize for Literature.

Other of his great works are: “The Autumn of the Patriarch” (1975), “Chronicle of a Death Foretold” (1981), “Love in the Time of Cholera” (1985) and “News of a Kidnapping” (1996) . His memoirs were published in 2002 under the title “Living to tell the story.” On Thursday, April 17, 2014, at the age of 87, he died in Mexico City, being one of the most recognized, admired and influential authors of Latin American literature and culture.

JORGE ALI TRIANA (DIRECTOR):

Jorge Alí Triana was born in Colombia and is considered one of the most distinguished film and theater directors in Latin America. He studied film and theater at the Higher Academy of Arts in Prague. He is the founder of the Popular Theater of Bogotá. His films have been presented at the most important film festivals in the world such as Cannes, Sundance, Berlin, London and Mar del Plata.

His theatrical credits include “Chronicle of a Death Foretold”, “The Goat Party”, “Don Quixote”, “Blind Date”, among many others, for Repertoire Español. Triana has collaborated with Gabriel García Márquez in several film and theater projects, among them: “Time to die” and “Oedipus Alcalde”, the latter selected to be presented at the Cannes Festival in 1996.

Some of the recognitions that he has in his have are: 3 ACE Awards for Best Director; a Tucán Award for best film for “Time to die”, the Ombú de Oro and Ombú de Plata awards at the Mar del Plata Festival, both for his film “Bolívar Soy Yo!”, among others. Triana directs in Repertorio since 1992 and currently presides over her own production company “Dramax”, where she makes the TV series “Comando Elite” for the RCN – Colombia network.

GERMAN JARAMILLO (ACTOR):

Germán Jaramillo was born in Manizales, Colombia. His performances as an actor earned him awards as the best actor of the year in Colombia on several occasions. He starred in the film “La virgen de los sicarios” (2000), with which he obtained international nominations and awards.

He is also known for his performances in “Paraíso Travel” (2008) and the famous series “Narcos” (2015). Jaramillo is co-founder of ID Studio Theater in New York, of which he is the Artistic Director. He is also co-founder of the Teatro Libre de Bogotá (1973) and its Actors Training School (1988), where he worked as a resident actor, producer and director for almost 30 years with more than 40 productions. His credits in Repertoire Español include: “Blind Date”, “Bad Grass Never Dies”, “Aunt Julia and the Writer” and “Burundanga”.

ZULEMA CLARES (ACTRESS):

Born in Cuba and graduated from the National School of Art in Havana in the careers of Choral Direction and Theater Direction. She has worked in theater, film and television as an actress, playwright and director. She was the founder of the Argos Teatro de Cuba group in 1996 and soon after became one of the most acclaimed actresses on the Cuban scene for her performances in classics by Strindberg, Brecht and Calderón de La Barca, among others. She worked as an acting and directing teacher at the National School of Theater in Cuba.

His film credits include the leading roles in “The Nights of Constantinople”, “Three Times Two” (Silver Zenith, debut film, Montreal 2004) and “Long Distance”. He currently resides in New York and is part of the Spanish Repertory company of actors. His credits with the company include “La fiesta del chivo”, “La casa de Bernarda Alba”, “En el nombre de Salomé”, among many others.

Functions:

▪ Friday, March 02: 8:00 pm

▪ Saturday, March 03: 8:00 pm

▪ Sunday, March 04: 3:00pm

▪ Thursday, March 08: 7:00 pm

▪ Saturday, March 10: 3:00pm

▪ Friday, March 16: 11:00am and 8:00pm

▪ Thursday, March 22: 7:00pm

General Admission

▪ $30.00

logo repertorio – Gabriel Garcia Marquez

Address: Spanish Repertoire. 138 East 27th Street, New York, NY 10016

“The colonel has no one to write to him.” An adaptation of the novel by Gabriel García Márquez as part of the 50th Anniversary of Spanish Repertory.

Do not miss it!!!

For more information visit: https://repertorio.nyc or follow them on Facebook: https://www.facebook.com/repertorionyc/

Don Perignon and La Puertorriqueña are prides of Puerto Rico

There are many legendary orchestras in Puerto Rico that may not be widely known to many, but La Puertorriqueña is one of those names that cannot be excluded from the musical history of Puerto Rico and Latin America in general. Today, we were fortunate to interview Don Perignon, leader of the group, so that he could tell us about himself and the orchestra he founded.

Pedro Luis Morales Cortijos, better known as Don Perignon, is a bandleader and timbalero with whom we had the pleasure to talk about his musical background and the Orquesta La Puertorriqueña, which has given him the recognition he has nowadays. Then, these are the most important topics covered in the pleasant conversation we had with the veteran musician.

Don Perignon from La Puertorriqueña — This is Don Perignon, bandleader of La Puertorriqueña

Why the nickname ”Don Perignon”?

When asked about why he is known as Don Perignon, he laughs and says that this is the most frequently asked question he has answered in the past three decades.

It all started because his familly called him ”Perin”. Then, one day, a musician from Andy Montañez orchestra in Miami asked him why he was called that, to which he replied that he has always been called ”Perin” in Puerto Rico. Later, the same gentleman arrived with a bottle of Dom Perignon (a well-known vintage champagne brand) and said that, for him, this young man was a grown man because of how he conducted himself, so from now on he was going to call him Don Perignon.

After that, Andy Montañez took it as a joke and began referring to the musician as Don Perignon, which other fellow musicians began to do, so it ended up being his official stage name.

How did Don Perignon fall in love with music?

Don Perignon told us that the first instruments he liked were the bongo and the conga, but that changed immediately as he knew the timbal, which he felt was more in line with the personality that he projected.

This curiosity for music led him and other teens his age to create an improvised group, while being at the school and studying at the Puerto Rico school of music. It was not a long time that he was in the institution, but it was enough to learn everything he would need in the future. In addition, the style he has nowadays when performing and leading an orchestra was acquired by watching Barry White, Ray Charles, Elvis Presley, among other celebrities of the day.

Don Perignon and Andy Montañez — Don Perignon next to Andy Montañez

La Puertorriqueña

Something that Don Perignon wanted to clarify with regards to La Puertorriqueña is that the project did not start in 1975 as we thought, but that the group started with other names until 1987, which is when the artist and his colleagues finally decided to name it that way.

In the early 1970s, both Don Perignon and the rest of his colleagues, in his own words, were ”kids playing at being musicians” who were only interested in playing. However, over time, they started taking things a lot more seriously and decided it was time to pass the baton to someone, so they all took a vote and chose the young man as their bandleader because he was the tallest, had more physical presence and more character.

That responsibility he was given was a training-school for Don Perignon and acquired most of the knowledge he has today about music. Although the group eventually broke up, the artist is proud that his former orchestra fellows have achieved success and obtain prestige in the projects they undertook, which shows that those seeds they sowed at the time have borne fruit. According to him, ”they all achieved their dream thanks to discipline”.

Over time, other musicians joined the orchestra and also did their bit to make La Puertorriqueña what it is today.

Demostrando a Tiempo

Don Peringnon has said that one of the most important features of La Puertorriqueña is to always pay homage to the dancers and of course their latest album ”Demostrando a Tiempo” could not be the exception. Orchestras and Latin artists in general can interpret music in their own way, but a common denominator between all of them is that they will always include the characteristic spice of the dance and that is what we aim for in each of our productions,” said the musician.

It is for this that the artist says that ”Demostrando a Tiempo” is not very different from the rest of the work made by the orchestra, since they have always paid homage to dancers and they will never deviate from that path. What has changed is that the group experienced with much more romantic lyrics than ever and included them in special rhythms for dancers. This makes the production have the perfect fusion of rhythms for those who dance or simply listen.

Another important detail is that ”Demostrando a Tiempo” can also be defined as a mix between tradition and modernity. In this regard, the bandleader points out that, in the early days of salsa, most musicians were self-taught, until conservatories and music schools welcomed salsa, so musicians were better academically trained and new ways of performing and doing things in general emerged. Therefore, Don Perignon and his musicians, who are from the old guard, have had to adapt to the new times, but without leaving aside the essence with which they started their project.

Some of its main songs are a new version of the classic ”Soy Tu Ley”, ”A Quien Iré”, ”Sácala A Bailar”, ”Sin Rumbo”, among many others that La Puertorriqueña fans will find in this album.

After a few weeks of its release, critical reception to the album was very positive and Don Perignon trusts that the impact will be greater as days go by.

Antonio Laya a traditional artist

Latinoamerica / Mexico / Cancun

Antonio Laya “He tells us a little about his new single Abre que voy”

Today we are pleased to learn a little about the life of Antonio Jose Laya Gonzalez (Antonio Laya), a Venezuelan who with his voice and his particular way of dancing has managed to climb and carve his way to success, this Taurean with a great career as a singer of good salsa and especially son, he presents us his new single, abre que voy, a success that has gradually positioned itself on the best musical platforms from his current hometown, the beautiful city of Mexico.

Good afternoon friend Antonio, thank you in advance for the time you give us to learn a little about your life and give our great readers a little about your son, but in letters, we know from your artistic review that you come from a cultural world. the dance? Why the singing?

I come from a family of musicians, teachers and athletes, in 1995/96 I started in the popular culture workshops of the “Fundación Bigott” (cultural house of great social impact in Venezuela) in the Afro-Venezuelan percussion workshops with Professor Jesús Raúl Paiva, where he gave me the opportunity to enter this world of culture…

Years later this would bear fruit, when I joined the Vasallos del Sol group, a representative entity of Venezuelan folklore, on one of their tours in Europe “Germany” to be exact, one of its dancers stayed, leaving an open vacancy, it was then that I received the invitation to audition, at a festival of San Juan of the foundation, where I was able to win a spot. From then on I became a vassal of the sun.

All this experience in the middle of the show made me lean towards dance, where I got to venture as direct from my own dance school destined to spread the Cuban casino. With Vasallos del Sol I had the opportunity to travel the world, Colombia, Cuba, Ecuador, Spain, Mexico, Korea, Japan, the United States,

How many years has it been since the idea of entering the cultural world of your country?

22 years since I formally started at the Bigott Foundation.

How did the idea of giving life to singing come about?

On the tour of the United States, I began to sing with the vassals accompanied by the guitar of Luis Gonzalez, assuring me later that it was there that he heard me and knew that I could sing, quickly and a few months later he called me and invited me to participate in a project that neither It didn’t even have a name, which would quickly begin to take shape and to date is known as the seventh bohemian.

I began to sing very badly, I lost my voice because I didn’t know how to use the phonator, I began to take classes with several teachers, the first of them Ronald Gonzalez, fundamental pillar to start singing, placing and improving my vocal technique, successively Fabby Olano, Gladys Salazar, Maigualida Ocaña, Dayan Montiel, Marcial, Gustavo Gerardo. We recorded 3 albums on national tours, the second of which is entitled “She takes me” a song that I believe made the Seventh Bohemia popular. Singing was not in the plans but it ended up being one of my great passions.

A song that marks you?

She sings: The earrings that the moon lacks, I have them saved to make you a necklace I found them this morning in the mist when I was walking next to the immense sea. Since I was a child I woke up very early listening to music by La Sonora Matancera, Felipe Pírela, Damiron and Danzón de Acerina, it fascinated me.

Let’s talk about the seventh bohemia. How do you join this septet?

I am a founder, just in the second rehearsal when only Luis Freites, Cesar “Chagu” Bolívar and Luis Gonzalez were there I was summoned along with Krlos Gonzalez to be part of the group, from then on I started singing “Bilongo” to be exact, hahaha I’m so in love with the black tomasa……….., El Jamaiquino, Me que, among others.

What is the greatest thing you have experienced so far with music? -You could perhaps refer to a concert or moment to share with an artist-

I think the greatest thing I have experienced in music is having shared the stage with great figures both Venezuelan and foreign, Francisco Pacheco, Canelita Medina, Trina Medina, among, Jose Alberto “el canario”, Cheo Feliciano, Alexander Abreu and his Habana de First, Manolito Simonet and his Trabuco, Tiburón Morales, El Septeto Santiaguero, among others. On the other hand, being at the 2014 and 2015 Pepsi Music Awards, the biggest thing, achieving 4 nominations for the 2015 Latin Grammys, a great privilege.

What has given you and what has taken away the artistic life you lead?

It has given me the satisfaction of feeling and receiving the applause of an audience, feeling the magic of a stage, dancing on the most important stages of Venezuela and the countries I visit, I don’t know if there is another artist who performed in the same weekend in two different facets and groups in the most important venue in Venezuela

The Teresa Carreño Theater where on Saturday I danced in my last Vasallos de Venezuela concert in the concert “Guiados por la Luz” occasion to baptize the latest production, with guests from the cultural movement and the next day singing with La Séptima Bohemia alternating with Francisco Pacheco, El Septeto Santiaguero, Jose Alberto “El Canario” Canelita Medina and El Tiburón Morales and as special guests all the best dance academies in Caracas.

Antonio let’s laugh a little. Tell us about the funniest thing that has happened to you at a concert and the most painful.

WUUAOOO, too many, Well, a concert with Los Vasallos where I went out to dance and my pants began to drop, at a concert at the Yerba Buena Garden Festival 2008 in San Francisco we got the foot burn of the century since the stage was al pure sun and linoleum floor and at the baptism of the album “She takes me” in the main hall of the Central University of Venezuela after the great presentation of the renowned Ramón Castro We went on stage and I couldn’t see anything through my glasses hahaha and I I put in the place of my partner Miguel Guanchez colliding spectacularly ahaha to start singing. What a laugh.

We know of the great success that you have had in Venezuela with the successes that you have sung and have marked the public, they have gone from a sound to a necessity for the dancer. What do you consider this great impact?

Definitely because I come from the world of dance, I’m a dancer and a dancer and I understood perfectly that I needed the same audience that the casineros came from, those of us who at some point went to the Goiticoa school or the Monagas house. By the way, as a curious fact, I was the one who organized one of the first casino parties in a place called Beisboland, a party where I dare say it was the second presentation of one of the most important dance groups in the Venezuelan casino Son Rumbero, where they danced “Cuentas Verdes y Amarillas de Adalberto Álvarez.

How has your foray into Latin music in Mexico been?

Since my arrival in Mexico I have participated in several musical projects, Los Panas.com, La Formula Perfecta, Swing Latino to mention a few, it has not been easy since musically Cancun has a particularity and that is that the music that is danced is still that of the 80s when they talk about salsa, of course with its exceptions, but it has cost me to adapt but in the end it is what is consumed here. Here the forte is the hotel industry, so the Latin genres that marked an era are what is worked on, that’s why as a salsero it has been difficult for me to adapt, although I have worked anyway.

The Salsa or the Son? Which one do you lean towards?

Definitely La Salsa, I grew up in the middle of the Salsa de La Sonora Ponceña, Willie Rosario and the great Ray Barretto to name a few. Son also became my passion but I have to be realistic! came into my life thanks to the Seventh.

Open, I’m coming. Tell us a little about this great topic?

When I got on the plane to leave my country, in addition to nostalgia, I only had one thought, to make my album as a soloist first, I knocked on many doors, I looked for a lot of help, until I finally reached what today is called “Abre que I’m going” in that search the day came when I remembered that I had a buddy who was Omo Aña (Drummer) Maurice Melo and that after conversations, long conversations we would take a first step, start aggravating a theme, my first promotional single.

What surprise do we have to see from Antonio Laya during this 2019?

With God’s favor, to continue recording my album, including my first music video, if money allows me, hahaha For this 2019 I’m going to release my second single, it’s called… (Thinks) Not yet, let’s leave it as a surprise , do a launch concert and seek my respective nomination for the 2019 Pepsi Music Awards and the 2019 Latin Grammys.

Where can our followers find you?

My social networks Facebook and Instagram through @ToñitoLaya, on twitter as @Negrolaya and through my YouTube channel, Toñito Laya

Benny Moré. The story of Cuba’s biggest crowd idol

Latin America / Cuba / La Habana

Who is Benny Moré? He is not just another musician, he is unanimously the most brilliant popular artist that has existed on the Afro-Cuban island. He is the symbol, the myth, the legend, it is undoubtedly the summary of the popular, rich and abundant music of Cuba.

Benny Moré symbolizes the peasant “Guateque”, the “Sarao”, the bohemian, the coffee, the bar, the theater, the party, carnivals, the show. “El Bárbaro del Ritmo” was the most popular in Afro-Cuban music.

He was born on August 24, 1919 at seven in the morning in the Pueblo Nuevo neighborhood of the town of Santa Isabel de las Lajas, belonging to the Cienfuegos province. His parents were Virginia Moré and Silvestre Gutiérrez, and Benny was the oldest of 18 siblings. His last name Moré came from Ta Ramón Gundo Moré (slave of the Count Moré), who, according to the tradition of the Congos, was his first king in Santa Isabel de las Lajas.

Benny was gifted with a fluent tenor voice that gave life with great expressiveness and this context was definitive for his future career in music. He learned to play the insundi, the yuka drums, the Makuta and Bembé, invocators of deities, with whom he not only sang and danced to perfection, but also played the son, the guaracha and the rumba.

Since he was a child he expressed his great vocation for music, he would spend all day humming a song or improvising and directing ensembles composed of machetes, bongos made with milk cans, guitars made with a board and nails with strings of string sew, two sticks as keys, and so on.

Moré was a teacher in all genres of Cuban music

The “Bárbaro del Ritmo” could always be found standing on a table singing and playing, surrounded by listeners. Bartolomé spent his childhood and adolescence, with no opportunity for study or permanent employment. Like his brother Teodoro, Bartolomé was enrolled in the School of Public Instruction “José de la Luz y Caballero”, where he always stood out for his conduct and application.

Why is the Bacardi symbol a bat?

Since he was a child, Moré had skills for singing and improvisation, which he demonstrated when he was barely seven years old, when he would run away for a few hours to entertain parties in the neighborhood and loved singing notes with his mother, to prevent her from sleeping while ironing late into the night.

His voice was particularly highlighted in the Son Montuno, the Mambo, and the Bolero

Benny went through a complicated life, but he was willing to do anything to achieve his dreams of triumph. With almost 20 years of age, in 1940 Bartolomé said goodbye to his mother at the Hotel Ritz in the Central Vertientes, where she worked, and traveled hidden, indistinctly, by train and truck to the City of Havana. He was definitely in the mission to try his luck in the bustling city!

Since then, he was seen by the famous neighborhood of Belen, with a guitar acquired in a pawnshop, wandering through cafes, bars, hotels, restaurants, and even brothels. That same year he told his cousin: “I stay in Havana, I rise up here or I sink”. From that moment began the saga of concerts at the bars of the port avenue … Once remembering those times, he confessed: “I threw myself into the street with a guitar on my shoulder to sing to tourists. I am not ashamed of it; Carlos Gardel also did it in Argentina and is the king of tango. ”

At that time, the CMQ station began broadcasting the Supreme Court of Art. Bartolomé Maximiliano Moré appeared in that program that Germán Pinelli and José Antonio Alonso encouraged. After presenting it and at the moment of beginning his presentation, they rang the bell.

Later Bartolomé returned to Monte and Prado to the Supreme Court and on this second occasion he won the first prize. Possessing a fresh voice, beautiful timbre, sensual and evocative. Bartolo sang with all the inner strength that claimed the Cuban rhythms.

In one of his raids, Siro Rodríguez, member of the famous Matamoros Trio, heard him sing in the bar of El Templete restaurant, on Avenida del Puerto, and was very impressed by the boy’s voice and tuning.

The entry of Bartolomé to the group of Miguel Matamoros was a fact and can be considered as his real debut as a professional singer, because with this group he had for the first time a steady job as a musician and made his first recordings on 78 revolutions per minute discs.

Benny knew he had a voice, the luck and a destiny. Perhaps he sensed it, intuited it, or simply trusted his triumph. When he started with Miguel Matamoros and his group, I already wanted to make changes in the picket line.

In Mexico, when Miguel became ill, he was able to direct the group, took control and enjoyed the “Cuates” in El Patio cabaret. When the contract ended, the Matamoros group returned to Havana, but without Bartolomé, who decided to try his luck by himself in Mexico.

When he communicated his decision to the famous author of El Son Siembra Su Maíz, Miguel Matamoros said: “It’s very good, but you have to change the name of Bartolo, which is very ugly. With that name you will not go anywhere”, You are right, Bartolo replied, from today I will call myself Benny, yes, Benny Moré. ”

The owner of the business was hypnotized by the very tasty atmosphere that Benny led as director. After singing with several push orchestras in Mexico, he planted himself beautifully with the most famous band of the 20th century: Pérez Prado and the Cuban mambo.

With this meeting two geniuses joined: Benny Moré had talent and natural intuition; in Pérez Prado, in addition to all that, the mastery of technique and an enormous facility to make music. With Perez Prado he conquered the noble Aztec people on tours of different states of that sister country.

Due to the success achieved by Benny, the town gave him the title of “Prince of Mambo” and Pérez Prado, “King of Mambo“. He sang like nobody else in the world and began his international promotion.

By that time, Benny’s voice was known in Panama, Colombia, Brazil, Puerto Rico, Haiti, Venezuela, and of course, in his native Cuba.

In the joyful world of nightlife in Mexico City, the Cuban singer performed in many theaters, including Margo, Blanquita, Folliers and Cabaret Waikiki, alternating with renowned artists such as the legendary star Yolanda Montes (Tongolele), the Mexican Toña la Negra, and the outstanding cuban pianist and composer, Juan Bruno Tarraza, of whom Benny sang the bolero “It’s already twelve o’clock”.

Benny participates in many films and upon his return to Cuba, he was already certain that he had to be counted on.

The nostalgia for his family, friends, for the Homeland, and the desire to obtain laurels on his Island, where he considered that he was not known enough, made him return to his beloved Lajas at the end of the year 50. The ‘sonero mayor’ was definitely in Cuba, where he had left behind comforts, material and spiritual satisfactions, friends and even the loves that the successful do not usually lack.

During the following two years he acted by contract for a program called “De fiesta con Bacardí”, which was aired by the Eastern radio station with the orchestra of Mariano Mercerón, and the singers Fernando Álvarez Pacho Alonso.

As Benny Moré was an exclusive artist of RCA Víctor, this firm claimed his presence in Havana to make different recordings. In order to fulfill this commitment he gave alternative trips to Havana and thus maintained his responsibility with the eastern radio station.

After the commitment at Casa Bacardí and maestro Mercerón, in 1952 Benny Moré returned to Havana.

Certainly, Benny concluded an era, closed a chapter of Cuban musical life, that stage of nightlife that was already declining.

Benny’s life was related to a world that has already disappeared. Then everything became myths and legends … Benny kept on singing, but now it would be on scratch discs, which were digitized.

The “oidores” (listeners) will be transported in time, imagine the bars of the Havana port full of curious tourists. From Chinese restaurants selling “complete” to poor people who passed their hats, after singing through the streets of Havana – Cuba.

Meet Pablo Emmanuel Lemos and his classes at the School of Caribbean Rhythms “PA’ que lo Gozes”

Latinoamerica / Argentina / Punta Alta

On this occasion we had the opportunity to meet the dancer and teacher of the School of Caribbean Rhythms “PA’ que lo Gozes” Pablo Emmanuel Lemos. He tells us about the course of his career, profession, tastes and goals.

Unlike many dancers who started when they were little, at the age of 23 he (Pablo Emmanuel Lemos) began to dance different Latin rhythms and with the support of his classmates and teachers, he decided to do a Caribbean Rhythms teacher training at SAOCO. Later he began to teach at the academy where he began his apprenticeship, without imagining what his job would be today.

He mentions that he is passionate about teaching, sharing and giving his Salsa and Bachata classes in his work space and that at the moment he does not have his own academy; however, he gives his classes in Punta Alta, Argentina:

Monday and Wednesday at 8:15 p.m. at Humberto 1159 (Guapas Factory Gym) in Bahía Blanca.
Tuesday and Thursday at 8:00 p.m. in Spain 843 (Dance Pulse).

In general, competitions and/or recreational activities are held for those who wish to share these dynamic and joyful rhythms.

In one of our questions, to know what is necessary to learn to dance like a professional, he answers us:

“Knowledge is not what makes the dancer, but the desire, motivation and decision to learn from their peers and/or partners”.

For new Latinos, he tells them to “dare to dance… whatever the impulse that leads you to want to do it, without brakes, fear, or doubts…. Dancing is a wonderful art that has made a resounding change in my life. That is why I invite you all to dance and try this healthy discipline”

If you want to know more about his classes:

Facebook: @PabloEmmanuelLemos o @AleA.Abello
Teléfono: +54 2932554866 / +54 2915265613