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“La Muerte de un Burocrata” At the Palace Theatre in Downtown L.A.

North America / USA / Los Angeles

Latin American Cinemateca of Los Angeles (lacla) in collaboration with the Los Angeles Conservancy’s Last Remaining Seats film series, proudly present the Cuban film La muerte de un Burocrata (1966, Tomas Gutierrez Alea).

On June 14th at the Palace Theatre in Downtown Los Angeles’ historic theatre district at 8:00 PM. Satire of the Cuban bureaucracy of the post-revolution era which shows how convoluted it can be to get things seemingly simple.

La muerte de un burocrata is centered on the predicament of a hapless nephew (Salvador Wood) to retrieve the ID of his recently deceased uncle, a model worker and inventor. His widow (Silvia Planas) placed it in the coffin, but now need it, admonished by a bureaucrat that she will not get a pension without this piece of identification. But the bureaucrat in the cemetery tells him no exhumation is possible without a court order.

La Muerte de un Burocrata - Flyer — La Muerte de un Burocrata – Flyer

A clandestine operation yields the coffin but the nephew has to wheel it back to their home when the police unexpectedly show up. (Imagine the depredations of the Caribbean heat on an unrefrigerated cadaver). The farce escalates, the lampooning of recognizable government employees gets more ridiculous, and some sacred cows are turned upside down – like socialist realistart, and the fact that everybody is equal but some are more equal than others.

Director and Screenplay: Tomas Gutierrez alea.
Stars: Salvador Wood, Silvia Planas, Manuel Estanillo.
Music: Leo Brouwer
Cinematography: Ramon F. Suarez
Edited: Mario Gonzalez
Production Co: Instituto Cubano del Arte e Industrias Cinematograficos
Release Date: July 24, 1966 I Runtime: 85 minutes
Country: Cuba I Language: Spanish.

Tickets can be purchased through the L.A. Conservancy at the following link

http://www.laconservancy.org/event/la-muerte-de-un-burocrata-palace-theatre

For more information, please contact: Mariluz Gonzales, 818-667-6403, [email protected]

About Tomas Gutierrez Alea

Tomas Gutierrez Alea was a fervent supporter of the Cuban revolution, but good director that he was, his pictures never toe an overt propaganda line. They are aligned with the tenets of the regime but at the level of form, they are an artist’s creative take on the medium. “La muerte de un Burocrata” is a case in point, both in content and style. Fifty years after it was made, “La muerte” is still a refreshing, almost post-modern, satire on the plague of bureaucrazy… under any type of government and organization.

Gutierrez Alea uses the conventions of satire to blast the bureaucratic mindset that reduces life to a succession of absurdities, with witty homages to films and directors, in the guise of scenes filmed a variety of comedic styles: the assembly line of Chaplin’s Modern Times, the clock from which Harold Lloyd hangs in Safety Last, Dracula’s fangs, the pie fights of Laurel and Hardy, a scattered and curvaceous Cuban Marilyn Monroe, and surrealist dreams like those of Buñuel.

The potpourri works very well, and gets hearty laughs from the audience. By Maria Elena de las Carreras, Ph.D. Noteworthy to mention, the film features music by the legendary composer, Leo Brouwer, who currently resides in Cuba.

About LACLA

Latin American Cinemateca of Los Angeles (LACLA) is a California non-profit organization dedicated to promoting cultural exchange through film by screening classic and contemporary films from Latin America and by USA Latinas and Latinos.

LACLA also supports the film and media efforts of Los Angeles inner-city middle and high school students with its annual student film festival.

About Last Remaining Seats

Last Remaining Seats is the Los Angeles Conservancy’s annual series of classic films in historic theatres. The series began in 1987 as a way to draw attention to the spectacular yet overlooked and underused historic theatre of Los Angeles. The film series has since become a summer tradition, drawing thousands of people from the region, the nation, and outside the U.S.

About the Los Angeles Conservancy

The Los Angeles Conservancy is a nonprofit membership organization that works through education and advocacy to recognize, preserve, and revitalize the historic architectural and cultural resources of Los Angeles County. What began as a volunteer group in 1978 now has more than 6,000 member households, making the Conservancy the largest local organization of its kind in the U.S.

Ottawa Salsa Convention Join Ottawa’s 2nd Annual Salsa Convention 2017

North America /  Canada / Ottawa

What does a 3-day Salsa Convention entail? It means bringing together 50 of the most nationally & internationally renowned Latin dance stars from all of over Canada, USA & Mexico to perform right here in the Nation’s Capital. With over 30 Latin dance workshops taught by award-winning performers, there will be something for all levels of dancers.

Each day of the convention is then followed by social dancing to the sounds of some of the world’s best Salsa DJs across Canada and the United States. This 3-day convention is like no other, showcasing the best of Latin dance, right in the heart of the Nation’s Capital at Aberdeen Pavilion in Lansdowne Park. Let’s celebrate Canada’s 150th together through the best of Latin dance.

Ottawa Salsa Convention - Schedule part 1 — Ottawa Salsa Convention – Schedule part 1

Ottawa Salsa Convention - Schedule part 2 — Ottawa Salsa Convention – Schedule part 2

Ottawa Salsa Convention - Schedule part 3 — Ottawa Salsa Convention – Schedule part 3

Some of the performers are…

Mario Acosta Cevallos (Edmonton):

Mario Acosta - Ottawa Salsa Convention — Mario Acosta – Ottawa Salsa Convention

Mario Acosta-Cevallos is a four time World Salsa Champion, a Canadian LatinAmerican Ballroom Finalist, and Director of the Edmonton area based SalsaVitus Dance Company. He is known for his hypnotic performances marked by high levels of grace, speed, and technical difficulty. Mario’s current projects include travelling to teach and perform, developing his dance teams and pro-ams, and creating new and exciting routines for the upcoming next year.

Ana López (Winnipeg):

For many years, Ana Karen has excelled in dance in Manitoba, nationally and internationally. She is a three-time Manitoba Dance Festival Ballet scholarship recipient, and was the featured ballet soloist at a M.D.F.

Gala showcase. She most recently placed in the “top twelve” out of 145 dancers at the international ballet competition, the Youth American Grand Prix (Y.A.G.P.), at the semi- finals in Chicago, U.S.A. for both her Contemporary solo and her Pointe solo.

Ana also won the highest overall score for all senior solos at the Canadian National Dance Championships (C.N.D.C.), for another Pointe solo, which was to be the first time the highest overall score was awarded to a ballet number in Winnipeg. Most of Ana Karen’s dance training has been done at Marquis Dance Academy after having trained for two years in the R.W.B.’s professional division.

Ana Lopez - Ottawa Salsa Convention — Ana Lopez – Ottawa Salsa Convention

During her training at Marquis, Ana Karen has won multiple Elite Gold and Gold with Honours awards for her solos, trios and group numbers for Ballet, Pointe, Modern Ballet, Contemporary, Jazz and Lyrical.

She has also captured both gold and silver medals at several Dance World Cups in Montreal, Vancouver and Niagara Falls. She has continued her professional development as a teacher of ballet by studying at the worldfamous American Ballet Theatre (A.B.T.) in New York, N.Y., Ana Karen most recently won the Pro-Am World Salsa Championships in Miami, Florida and placed 2nd for Bachata Cabaret at the World Latin Dance Cup in Miami, Florida.

Harold Rancano and Regan Hirose (Winnipeg):

Harold Rancano and Regan Hirose, are a Latin dance couple best known for their energetic, and acrobatic flair on stage. Based out of Winnipeg, Manitoba, the flavorful couple has achieved plenty of success on a national and international level. Most notably they are the current World Champions for Bachata Cabaret having won gold at the World Latin Dance Cup in Miami, Florida; and are also the current Canadian Bachata Champions having won gold at the Canada Salsa Congress in Toronto, Ontario.

Harol y Regan - Ottawa Salsa Convention — Harol y Regan – Ottawa Salsa Convention

The couple has also competed and won various competitions in Salsa and Bachata in San Francisco, Los Angeles, Calgary, and Saskatoon. Aside from competition, the duo also directs Cubanisimo Dance Company in their hometown, where they train and coach their teams and students, 3 of which won gold at the 2015 World Latin Dance cup. They also coach and mentor various teams outside of the city by both teaching and creating choreography.

Also known for their connection and unique choreography, the couple has travelled to several festivals and congresses to share their vast knowledge of styles and various latin rhythms such as; Salsa on 1, Salsa on 2, Bachata, Pachanga, Cuban Salsa, Cha cha cha and Lifts & Tricks. Whether it’s privates, group classes or to coach teams, the couple has the experience to adapt to any teaching environment.

Lenin A Guerrero Maldonado & Roselyne Gonzalez (Cleveland , Ohio):

Lenin is proficient in rhythms such as: Salsa, Cuban Rumba, Pachanga, Bachata, Chacha, Boogaloo and Mambo. He is the director of Salcity of Angels Dance Company, one of the best and strongest dance companies in Mexico. His unique style is loved and enjoyed by audiences everywhere. It is full of energy flavor and charisma. It is not only elegant and technical but also dynamic and passionate. Lenin has been trained by several instructors including: Abel Peña (L.A.), Machito Ruiz (L.A.), Jose Aguilar (N.Y.), Jorge Martinez (Oaxaca, Mexico), Jose Chavarria (L.A.), Ernesto and Maritza (Chiapas, Mexico).

Awards:

Second place in the Euroson Latino Competition 2010 Professional Couples Category. (Mexico),
National Champion 2010 – National Competition Salsa Con Clave Professional Couples Category. (Mexico)
Second Place 2010 National Competition Salsa Con Clave Groups Category. (Mexico)
International Champion 2011 in Costa Rica Salsa Fest Professional Couples Category. (Costa Rica)
Third place in the National SalsaBachata Competition 2011(Mexico)

Lenin y Roselyne - Ottawa Salsa Convention — Lenin y Roselyne – Ottawa Salsa Convention

Experiences: Lenin has had many opportunities to travel to different countries through dancing. He is recognized internationally. He has performed at the most recognized congresses in all of Mexico and the USA. In March and April of 2014, he went on a dancing tour of 27 cities in France and 5 cities in Germany.

Most recently he traveled to Panama in 2014 and the United States in 2013 and 2014 in various cities. He now resides in the United States (Cleveland, Ohio) and travels to the principal salsa congresses in the country as well as those in Mexico. Current Projects: Team and individual training, Traveling to the major congresses in the U.S., Canada and Mexico, Continue traveling all over the world through dancing.

Roberto Quaresma & Daria Novoselova (Toronto):

Dedicated and passionate duo from Toronto, Canada, Daria Novoselova and Roberto Quaresma, started dancing together about 3 years ago.

Only 3 months into their partnership, they entered their first competition at the World Latin Dance Cup in Miami in December/14 and became amateur Salsa On1 world champions. Shortly after, Daria suffered a devastating neck injury during a dance practice and had to undergo surgery not knowing if she would ever be able to dance again.

After months of recovery and wearing a neck brace, she gradually returned to the dancefloor just in time to go back to Miami to defend the couple’s championship title. Despite a very challenging year for both dancers, in December/15 Roberto and Daria became 2x amateur world salsa champions.

The comeback story inspired many and was covered by numerous newspapers, such as the Toronto Star, as well as the CBC News. Since then the couple have traveled and performed in many congresses around the world such as Los Angeles Salsa Fest, Dubai Latin Festival and Japan Salsa Congress.

They have recently returned from the World Salsa Summit competition held in Miami in January/17 with 1st, 2nd and 3rd place medals in various salsa and bachata divisions. Known for their flare, playfulness and charisma on stage, Roberto and Daria are part of the Latin Energy Dance Company led by Vanesa Stay.

Angelo De Torres & Kathy Dondish (Toronto):

Angelo and Kathy began dancing together since 2009. Their passion for Latin dancing has led them to start competing and performing together. They are the 2011 Chim Pum Callao Congress and the Canada Salsa Congress Bachata Champions and were finalist at the Toronto Bachata Festival.

They enjoy travelling and sharing their passion for dance and have performed at international events such as the All Star Salsa European Cruise and the Israel Salsa Congress. Together they have developed a unique style of bachata, have taught hundreds of classes and workshops, and have choreographed numerous routines for both professionals and amateurs alike. Angelo De Torres is a professional dancer and choreographer and has had a love and appreciation for music since a very young age.

The diverse forms of expression inherent in Salsa, Bachata, Pachanga and Latin Hustle are what captivated him to learn and share his passion.

Angelo y Kathy - Ottawa Salsa Convention — Angelo y Kathy – Ottawa Salsa Convention

He has extensive training with respected international instructors such as Billy Fajardo, Katie Marlow, Nelson Flores, Tito Ortoz, Tamara Livolsi, Francesco Scalvenzi and Milko Succi.

Angelo has been teaching and dancing since 2008 for Steps dance studio under the direction of Jennifer Aucoin and is now a co-owner/director of Steps Dance Studio Inc.

Kathy Dondish has had the passion for dance at an early age, when she took her first ballet class at the age of 6 and trained in gymnastics at age 11. Her love for Latin dancing only grew stronger as of 2007 and hasn’t stopped since. Today, she is a performer, teacher and competitor. Having trained with top Toronto dancers as well as internationally has increased her drive to share her love on stage and in the studio.

Hiram and Briia (Toronto):

Hiram and Briia have been dancing together for about a year in a half! In 2012 they joined Cadence Dance Academy and they been traveling and performing with them all across North America ever since. They have been traveling together in North America for showcases and teaching workshops.

Briia comilang started dancing at the age of 4 since then she had traveled for showcases around the world. Train in ballroom, ballet, hip hop, contemporary! She strives to become an all-around dancer.

Hiram y Briia - Ottawa Salsa Convention — Hiram y Briia – Ottawa Salsa Convention

Now Briia is a professional salsa dancer and a Canadian representative amateur ballroom dancer who’s traveled to China, Spain, and Italy for many competitions! Now she continues to strive to the top by teaching, choreographing and sharing her passion with others! Hiram’s love of dance has been evident in Mexico since he was a young child.

He began training Modern Jazz and Contemporary before he decided to migrate to Canada where he trained in Jazz, Ballet, Acrobatics and Hip Hop. He later partnered and competed with, 4x Salsa World Champion, Paulina Posadas. The dynamic duo went on to win 1st Place in different national competitions

Adriano Ieropoli and Samantha Scali (Montreal):

Adriano Ieropoli and Samantha Scali are professional dancers based out of Montreal, Canada.

In 2009, at age fourteen they began their partnership by teaching locally and performing for various stage productions, concerts, festivals and salsa congresses. In 2015, they started competing internationally and founded Novaera Productions their very own dance studio in Montreal. That year, Adriano won his first world title in the same gender division and he is now the current world champion in the men solo division.

Adriano y Samantha - Ottawa Salsa Convention — Adriano y Samantha – Ottawa Salsa Convention

Adriano and Samantha are the first Canadian couple to have won a world title in the Professional Salsa On2 division, having placed first at the 2017 World Salsa Summit.

Team Same Gender México

You can see know all of the performers in their official website http://www.ottawasalsaconvention.ca and all the information you need to know.

“An Argentinian with a taste of Cuba,” Rogelio Martínez told Carlos Argentino, the King of La Pachanga

On June 23, 1929, in Buenos Aires, Argentina, Israel Vitenszteim Vurm, better known in the music world as “Carlos Argentino,” was born. He was an excellent Argentinian tropical music singer who was part of the Cuban band Sonora Matancera. He was also known in musical slang as “The King of Pachanga.”

Born in the La Paternal neighborhood of Buenos Aires, his parents were in the textile manufacturing business, and from an early age, he showed an entrepreneurial spirit. Despite belonging to a socially and economically well-off family, he worked as a street vendor, selling newspapers, magazines, and even coffee on trams and at racetracks.

Un argentino con sabor a Cuba, dijo Rogelio Martínez a Carlos Argentino, el Rey de La Pachanga Imagen Discogs — An Argentinian with a Cuban flavor, said Rogelio Martínez to Carlos Argentino, the King of La Pachanga Discogs Image

Ignoring his parents’ wishes for his professional future, he ventured into singing under the pseudonym Carlos Torres. In 1946, at just seventeen years old, he traveled to Brazil with an unknown orchestra. Problems quickly arose, as he had to ask for the intervention of the Argentinian ambassador to return to Buenos Aires, with the intention of studying medicine at Otto Krausse University, as his parents wished.

While there, he completed his mandatory military service, and upon finishing it, he returned to the music scene, definitively abandoning his professional career. He joined the orchestras of Luis Rolero and Raúl Marengo, performing in Peru and Chile. He then traveled to Colombia with Efraín Orozco’s orchestra. Something very curious happened on that trip: there was a Colombian singer named Carlos Torres, and to differentiate himself, he added his patronymic, becoming Carlos Torres Argentino, before artistically consecrating himself as Carlos Argentino.

Carloa Argentino También fue conocido en el argot musical como «El Rey de la Pachanga».

In 1952, he also traveled to Havana, where he worked with the orchestras of Felo Bergaza, Arnoldo Nalli, and Julio Cuevas. He studied singing with the Italian professor Eduardo Bonessi.

In June 1954, he visited Bogotá, and in December, he traveled to Medellín. In February 1955, Sonora Matancera (from Cuba) went on tour in Colombia. They met at the Teatro Colombia in Bogotá. According to Carlos himself, Rogelio Martínez, director of Sonora, asked him if he was from Cuba, and Carlos replied, “I am Argentinian!” Martínez retorted, “Well, you’re an Argentinian with a taste of Cuba; you have to get on the vehicle!” “What vehicle?” Carlos asked. “Ours!” Don Rogelio replied and proposed that he travel to Havana, to which he agreed.

After several months of rehearsal, on August 17, 1955, they recorded their first 78 RPM record. His first single was the bolero-tango “Una canción” (by Aníbal Troilo), and on the other side, the guaracha “Las muchachas caraqueñas” (by Billo Frómeta). Later, he would record other songs such as: “Ave María Lola,” “El solterito,” “Cuartito 22,” “¡Ay, cosita linda!”, “Un poquito de cariño,” “Tu rica boca,” “En el mar,” “Boquita golosa,” “El novio celoso,” “Apambichao,” “Lamento náufrago,” and “La mamá y la hija,” among others; in addition to the boleros: “Alma Vendida,” “No pidas más perdón,” “El amor no existe,” “Cruel indiferencia,” and “Cuando tú seas mía.”

With Sonora Matancera, he traveled throughout Latin America and remained with the group until November 1959. In 1960, he left Cuba and traveled to Mexico. After this, in 1961, he returned to Argentina, where he was received with joy. He settled back in his native neighborhood of La Paternal, in Buenos Aires.

As a distinguished horseman, he became the owner of several thoroughbred horses, which he named after his songs: “Pachangueando,” “La Espumita,” and “El Manotón.” Apart from horse racing, Carlos was a football fan and supported his neighborhood club: Argentinos Juniors (the club where Diego Armando Maradona was born), and Boca Juniors, to whom he dedicated “Pachanga de Boca,” celebrating the title the “Xeneize” team won in 1962, and the album Somos la mitad más uno, celebrating Boca’s Metropolitano championship with Maradona in 1981. He also dedicated songs to other teams, for example, “Equipo de José” (the Racing champions of 1966-67); the one he recorded when Estudiantes de la Plata became world champions in 1968, under the technical direction of Osvaldo Zubeldía; or Chacarita Juniors (Metropolitano champions of 1969), among others.

Throughout his life, he resided – in addition to Cuba – in Colombia, Mexico, and Venezuela, where in 1978 he performed as a singer with the orchestra Los Solistas de Renato Capriles, and participated in their first two LPs, but he always returned to his Argentina.

On a memorable afternoon, July 1, 1989, he reunited with Sonora Matancera in Central Park, New York, to celebrate the group’s 65th anniversary with his old recording companions. On that occasion, he shared the stage with Celia Cruz, Daniel Santos, Vicentico Valdés, Welfo Gutiérrez, Leo Marini, and Nelson Pinedo, among other figures.

Argentino El Rey de la Pachanga con La Sonora Matancera

It was the last time he would be seen in performances, as on June 20, 1991, he died of a myocardial infarction while watching a horse race in Buenos Aires. May he rest in peace and eternal glory!

Also Read: Argentina y sus géneros musicales de origen y los tropicales

By:

Dj. Augusto Felibertt

Los Mejores Salseros del Mundo

Some things to never say on the dance floor

North America / USA /  New York

Most of us don’t do much talking while we dance, we only enjoy it! But, social dancing does require at least some verbal communication. Below, I give you some things that you never must say and avoid to do to your dance partners.

“This is how you do…”

Except for very limited circumstances (at least that your partner want it), stopping a dance to explain a concept to your partner is inappropriate. Even if you are a teacher who knows what you’re saying is true, it’s still almost always inappropriate. Avoid floor teaching wherever possible, please.

“Oh baby… you’re so sexy in my arms”

Between close friends you can do it as a joke only. Even then, it’s borderline and usually earns him a glare. There may be an exception to the creepiness if it’s someone you are intimate with. But, even then, the middle of a dance is generally not the time or place for verbal sexual overtures. If your partner isn’t feeling the love, it’s a sure way to create the most awkward dance experience ever.

“It’s OK. I got you.”

This one specifically applies to when someone is trying to make their partner do something they’re uncomfortable with. For example, head movements, dips, drops, or lifts. If you have to say “It’s OK. I got you,” it means either your partner doesn’t feel like you’ve got them, or that they don’t want to do the thing. So, don’t do that thing.

“Come on, get closer.”

If a partner doesn’t want to get close, you don’t make them get close. That´s all! If you really can’t stand dancing a bit further apart, the solution is simple: don’t dance with them again. But, your happy place should not be at the expense of your partner’s comfort.

“Why won’t you dance with me?”

If someone rejects you for a dance, please don’t ask why. Potential partners are allowed to reject a dance, and it makes things more awkward if they’re forced to give a reason. Or, it may result in them giving you a ‘pity dance’ because they feel guilty. Sometimes people legitimately don’t really have a reason other than “I’m tired,” “I’m not feeling the song,” etc. So, trying to mine for ‘extra data’ on why they’re not dancing with you is futile.

“Sorry for the bad dance.”

This one is usually born out of insecurity. If you’ve actually hurt someone or made a big mistake, apologize and move on. For example, crashing into another couple, twisting, grabbing, or other in-dance mistakes can reasonably be accompanied by a “sorry”. But, ending the dance with “sorry” undermines the experience you’ve had with the other person. Compliments are generally nicer to receive than apologies.

“You’re so much better than me.”

This is similar to the “I’m sorry” at an end of the dance. Definitively, you must avoid say that, please. If you’re dancing with someone, it really doesn’t matter who the stronger dancer is. It’s a shared experience for both of you. But, if you compare yourself to your partner, it can create a sense of awkwardness. Instead, try a full compliment. Maybe say “I’ve been looking forward to dancing with you” or “I really admire your dancing”.

If you’re worried about your own dancing, you can also say things like “I’m a beginner,” “I’m injured,” or “I’m really rusty” to take the pressure off without putting your partner in an awkward position. These are few things you must have in consideration to get a good connection with your partner on the dance floor and sure you will look as a perfect social dancer!

Lawyer in the USA talk about Visas and entering the country

Interview: Bill Martinez and Eduardo Guilarte

The term “vet” was originally used in horse-racing, referring to the requirement that a horse be checked for health and soundness by a veterinarian before being allowed to race. Thus, it has taken the general meaning “to check”. It is a figurative contraction of “veterinarian,” which originated in the mid-17th century.

The colloquial abbreviation dates to the 1860s; the verb form of the word, meaning “to treat an animal,” came a few decades later—according to the Oxford English Dictionary, the earliest known usage is 1891—and was applied primarily in a horse-racing context (“He vetted the stallion before the race,” “You should vet that horse before he races,” etc.). By the early 1900s, “vet” had begun to be used as a synonym for “evaluate,” especially when searching for flaws.

“Vetting” in reference to immigration in the United States of America involves investigations by the State Department’s security units, which include various branches of security. This process is used to assess individuals applying for visas or those who already have visas or residency status. The purpose of vetting is to ensure that individuals entering or remaining in the country are not a security risk and that they maintain their lawful status.

Eduardo Guilarte

Okay, so I’m talking with immigration attorney Bill Martinez about the current immigration situation here in the United States and the impact that the executive order is having. Bill, tell us what’s going on?

Bill Martinez

Well, since the elections, there’s been a chilling effect on the artists, presenters, promoters, everyone involved in bringing international artists over to the United States, particularly from certain country-designated countries. The executive order that Trump announced divided countries into different categories: red, yellow, and green. If you’re coming from a “red” country like Cuba or Venezuela, the vetting process is tougher.

The vetting process, which involves investigations by the State Department’s security units (which are multi, the various “ramas,” various branches of security), can delay the processing of visas for a long, long time, in some cases years. I had somebody vetted for a couple of years; he was always supposed to be here for two months. This was just last year. A famous Cuban artist was going to be honored as the best of his instrument, just to get an award.

Eduardo Guilarte

Who was that?

Bill Martinez

I can’t tell you. I don’t want to…I feel like I can’t give you that information. But it was someone very well known. Okay, and he ended up missing that opportunity. We’re going to try to bring him in again, but for right now, it’s very unsure and uncertain whether an artist will get a Visa or not.

It’s not just Cubans, but it’s across the board. The process under the executive order continues throughout, even if you have residency, even if you seem to have a Visa and you’re okay. At any point, if there’s some red flag of uncertainty, you are subject to having a Visa revoked and being returned to your home country, or in the majority of the cases for Cubans, you suffer really long delays for administrative processing, which means security clearances.

We just lost out on getting 15 young artists from the jazz school “Diana,” who were going to be in Berkeley on April 10th (or I think it was October). They were invited to go to Berkeley for about 10 days, and their visas were denied under the executive order because they come from a country whose ideology is contrary to the United States.

These are kids, and they’ve been practicing since July to come and do this wonderful exchange with their colleagues at Berkeley High School. The Berkeley High School people, the kids and supporters, were really excited for this to happen, and there was sadness for them after they got interviewed in December. They were told, “Why are you getting the administration involved? We need to vet, we need to investigate more and more.”

Finally, about three weeks ago, we found out, “Well, we made a decision because they come from a country whose etiology is going for the United States.” These are young kids, and their hearts were broken equally.

The Berkeley students wanted to reciprocate; Berkeley students to go to Cuba every year for the past eight years. They wanted to reciprocate, but they couldn’t. Similarly, a project we had with a famous Broadway producer…

Our licensed activity was essentially to send (this happened) the day after we got the denials of these kids, three days (or two days) later, I could not get visas for two of the three original members of the Buena Vista Social Club and Ibrahim Ferrer Jr., the son of Ibrahim Ferrer from the original Buena Vista Social Club. I could not get their visas to attend.

Did one of these Social Club members play on Broadway? We were only asking for one day, so the 30 kids from “Diana,” that’s nice, and the Broadway play…

Eduardo Guilarte

So, let me ask you about artists like Isaac Delgado. What’s his status right now?

Bill Martinez

I’m not sure because I know he does a yearly tour over here, I believe, and I could be wrong, but he now has dual citizenship. I’m not talking about citizenship and people who have become residents or permanent residents with permanent residence. The vetting process isn’t just to get the visa originally; it continues throughout. I mean, it is subject to review at all times. It’s an exhaustive review of the entire vetting process, and that continues even if you have residency. So, they will continue to investigate to assure that you maintain your lawful status, even when you think everything is okay.

Eduardo Guilarte

So, let me ask you this question: Let’s say that I am a permanent resident, and have been here for 20 years. Are you saying that if I am against Trump, they could potentially cancel my residency?

Bill Martinez

You can see what happened to the medical doctor, at Rutgers University. She’s a Lebanese doctor who went home to visit her family for a couple of weeks, and they wouldn’t let her back in. She had an H-1B visa. (referring to MD Rasha Alawieh, which while some initial reports mentioned Rutgers, also affiliated with Brown Medicine and had a clinical appointment at Brown University).

There was a…I forget which country this gentleman was from; I think he was a journalist, and he tweeted something against Donald Trump, and he had residency and was not allowed back yet. So, it’s a risky proposition to leave the country, even if it’s lawful and everything’s cool. You think it’s not a time to be taking risks.

Eduardo Guilarte

Thank you, Bill.

Bill Martinez

It’s a dark place right now.