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Mark Weinstein Flutist, composer and arranger

North America / United States / New York

With his heart in jazz, Weinstein contributed greatly to the development of the salsa trombone by playing and arranging

Flutist, composer and arranger, Mark Weinstein began his study of music at age six with piano lessons from the neighborhood teacher in Fort Green Projects in Brooklyn where he was raised.

Between then and age 14 when he started to play trombone in Erasmus Hall High School, he tried clarinet and drums. Playing his first professional gig on trombone at 15, he added string bass, a common double in NYC at that time.

Mark learned to play Latin bass from Salsa bandleader Larry Harlow. He experimented playing trombone with Harlow’s band and three years later, along with Barry Rogers, formed Eddie Palmieri’s first trombone section, changing the sound of salsa forever.

With his heart in jazz, Weinstein was a major contributor to the development of the salsa trombone playing and arranging. He extended jazz attitudes and techniques in his playing with salsa bands.

His arrangements broadened the harmonic base of salsa while introducing folkloric elements for authenticity and depth.

Flutist, composer and arranger, Mark Weinstein began his study of music at age six with piano lessons from the neighborhood teacher in Fort Green Projects in Brooklyn — Mark Weinstein Flutist, composer and arranger

The only horn in a Latin jazz quintet led by Larry Harlow in the jam session band at the Schenks Paramount Hotel in the Catskills

The only horn in a Latin jazz quintet led by Larry Harlow at the jam session band at Schenks Paramount Hotel in the Catskills, soloist and arranger with Charlie Palmieri in the first trumpet and trombone salsa band in NYC, arranger and featured soloist along with the great Cuban trumpet player Alfredo Chocolate Armenteros in Orchestra Harlow, and with the Panamanian giant Victer Paz in the La Playa Sextet, and with the Alegre All Stars, Mark’s playing and arranging was a major influence on Salsa trombone and brass writing in the 60s and 70s.

Mark Weinstein continued to record with Eddie Palmieri, with Cal Tjader and with Tito Puente. He toured with Herbie Mann for years, played with Maynard Ferguson, and the big bands of Joe Henderson, Clark Terry, Jones and Lewis, Lionel Hampton, Duke Pearson and Kenny Dorham. In 1967 he wrote and recorded the Afro-Cuban jazz album, Cuban Roots for the legendary salsa producer Al Santiago.

It revolutionized Latin jazz; combining authentic folkloric drum ensembles with harmonically complex extended jazz solos and arrangements. Chick Corea was on piano and the rhythm section included the finest and most knowledgeable Latin drummers: Julito Collazo, Tommy Lopez Sr. and Papaito (timbalero with La Sonora Matancera).

El único cuerno en un quinteto de jazz latino liderado por Larry Harlow en la banda de jam session del Hotel Schenks Paramount en los Catskills, solista y arreglista con Charlie Palmieri en la primera banda de salsa de trompeta y trombón en NYC, arreglista y solista junto con el gran trompetista cubano Alfredo Chocolate Armenteros en Orchestra Harlow, y con el gigante panameño Victer Paz en el Sexteto de la Playa, y con los Alegre All Stars, el hecho de que Mark tocara y arreglara fue una gran influencia en la escritura del trombón de salsa y los metales en los años 60 y 70.

Mark Weinstein continuó grabando con Eddie Palmieri, con Cal Tjader y con Tito Puente. Hizo giras con Herbie Mann durante años, tocó con Maynard Ferguson y con las grandes bandas de Joe Henderson, Clark Terry, Jones y Lewis, Lionel Hampton, Duke Pearson y Kenny Dorham. En 1967 escribió y grabó el álbum de jazz afrocubano Cuban Roots para el legendario productor de salsa Al Santiago.

Revolucionó el jazz latino, combinando auténticos conjuntos de tambores folclóricos con solos y arreglos de jazz extendido armónicamente complejos.

Chick Corea tocaba el piano y la sección rítmica incluía a los mejores y más conocedores bateristas latinos: Julito Collazo, Tommy López Sr. y Papaito (timbalero de la Sonora Matancera).

A principios de los 70 Mark se tomó un tiempo libre de la música para obtener un doctorado en filosofía con una especialización en lógica matemática.

Se convirtió en un profesor universitario y sigue siéndolo hasta el día de hoy. Cuando regresó a la escena musical en 1978 tocando la flauta, escribió produjo y grabó las Suites de los Orishas con la cantante Olympia Alfara, el gran pianista de jazz colombiano Eddy Martínez y los percusionistas Steve Berrios, Julito Collazo, Papaito y Papiro junto con un coro afrocubano. Inédito hasta hace poco, la música de las Suites de los Orishas se convirtió en el tema del Sunday Salsa Show de Roger Dawson en WRVR.

Mark Weinstein volvió al jazz con una venganza, trabajando en conciertos y grabando más de una docena de CDs desde 1997.

Seasoning, su primer CD de flauta experimentó con diferentes escenarios para la flauta, incluyendo un cuarteto con el vibrafonista Bryan Carrott y Cecil Brooks III en la batería y un trío de flauta y dos guitarras con Vic Juris y Rob Reich.

En 1998, Mark grabó Jazz World Trios con el maestro guitarrista brasileño Romero Lubambo y el premiado percusionista Cyro Baptista.

Su exploración de temas brasileños con guitarra clásica y percusión contrastaba con un trío de freebop con Santi Debriano en el bajo y Cindy Blackman en la batería.

Jean Paul Bourelly y Milton Cardone completaron el conjunto con música basada en temas de santería.

El lanzamiento de Three Deuces en 2000, emparejó a Mark con los guitarristas Vic Juris, Ed Cherry y Paul Meyers.

Mark continued to record with Eddie Palmieri, Cal Tjader and Tito Puente — With his heart in jazz, Weinstein contributed greatly to the development of the salsa trombone by playing and arranging – Mark Weinstein

Because of limited distribution and more demand that albums available, Mark rerecorded the material from the original Cuban Roots with new arrangements and the help of such giants of Cuban music as pianist Omar Sosa, percussionists Francisco Aquabella, Lazaro Galarraga, John Santos, Jose De Leon, and Nengue Hernandez. It was co-produced with his nephew, trombonist, violinist and arranger Dan Weinstein for Michael McFadin and CuBop Records.

In 2002 Mark had the incredible opportunity to go to Kiev, Ukraine, where his father was born, to record the music of the Ukrainian composer Alexey Kharchenko. Milling Time, the record that they made, stretched his playing in a number of directions, from modern classical music to smooth jazz to Ukrainian folk music.

He continued his exploration of his roots with a jazz album of Jewish music with Mike Richmond on bass, Brad Shepik on guitar and Jamey Haddad on drums and percussion.

He then turned to Brazil and the music of Hermeto Pascoal’s Calendario do Som, entitled Tudo de Bom with guitarist and vocalist Richard Boukas, Nilson Matta on bass, Paulo Braga on drums and Vanderlei Pereira on percussion.

In 2005 he began his ongoing association with Jazzheads record recording another version of Cuban Roots called Algo Más, with Jean Paul Bourelly playing electric guitar, Santi Debriano on bass, Thelonious Monk award winning percussionist and vocalist Pedrito Martinez, as well as Nani Santiago, Gene Golden and Skip Burney on congas and batá drums.

His next release on Jazzheads was O Nosso Amor with Brazilian jazz masters Romero Lubambo, Nilson Matta and Paulo Braga along with percussionists Guilherme Franco and Jorge Silva.

In the early 1970s Mark took time off from music to pursue a doctorate in philosophy with a specialization in mathematical logic. — Mark Weinstein He became a university professor and continues to be one to this day

This was followed by Con Alma, a Latin Jazz album featuring Mark Levine on piano, Santi Debriano on bass, Pedrito Martinez playing conga and drummer Mauricio Hererra.

Next a straight-ahead album, Straight No Chaser, with guitarist Dave Stryker, bassist Ron Howard and Victor Lewis on drums. A return to Brazilian music, Lua e Sol, saw Romero Lubambo and Nilson Mata joined by award winning percussionist Cyro Baptista

Mark Weinstein took time out from Jazzheads to record an album for Otá records in Berlin with Grammy nominated pianist Omar Sosa playing vibes, marimbas and piano along with Ali Keita on balafon, Mathais Ogbukoa and Aho Luc Nicaise on African percussion, bassist Stanislou Michalou and Marque Gilmore on drums. Back to Jazzheads, Mark recorded Timbasa with the percussion team of Pedrito Martinez and Mauricio Hererra, joined by Roman Diaz with the young giants Axel Laugart on piano and bassist Panagiotis Andreou. This was followed by Jazz Brasil with NEH Jazzmaster Kenny Barron on piano along with Nilson Matta and drummer Marcello Pellitteri.

His most recent album, El Cumbanchero was recorded with a string ensemble and arranged by Cuban piano virtuoso Aruán Ortiz, along with Yunior Terry on bass and percussionists Mauricio Herrera and Yusnier Bustamante.

Next up is an album of tangos with GRAMMY and Latin GRAMMY nominee, bassist Pablo Aslan, and featuring Latin GRAMMY winner Raul Jaurena playing the bandoneon, pianist Abel Rongatoni and guitarist Francisco Navarro. And many more surprises to come.

Mark took time from Jazzheads to record an album for Otá records in Berlin with Grammy-nominated pianist Omar Sosa — Back at Jazzheads, Mark recorded Timbasa with the percussion team of Pedrito Martinez and Mauricio Hererra, along with Roman Diaz with young giants Axel Laugart on piano and bassist Panagiotis Andreou

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Jimmie Morales a conguero for the history of Afro-Caribbean music

Jimmie Morales was born in Bridgeport, Connecticut to Puerto Rican parents

Jimmie Morales was born in Bridgeport, Connecticut to Puerto Rican parents.

He spent his early childhood listening to American popular music on the radio, and it wasn’t until 1967, when his family moved to Puerto Rico, that he became fascinated with Caribbean music, especially the salsa genre.

Jimmie’s first foray into music was with the guitar, but his father gave him a bell and, later, a conga drum that would become his main artistic fascination.

He learned of his interest by listening to Cuban, Puerto Rican and New York salsa records; also to congueros such as Milton Cardona, Eddie Montalvo, Patato Valdés, Cándido Camero, Mongo Santamaría, Johnny Rodríguez and his favorite: the late Ray Barretto.

In a very short time, he found himself making inroads with local bands, and sharing his talent with the renowned singer Tito Allen.

Jimmie Morales' memoirs Mr. Slap — Jimmie Morales Mr. Slap

Jimmie Morales and his experience with Willie Rosario

In 1978, Jimmie joined the popular rhythmic band of maestro Willie Rosario, and for eight years obtained what he considers his best formal training in the music industry.

Concurrently, he began an impressive career as a top-level studio musician, achieving outstanding participation in performances by the most important artists of the salsa genre, including Marc Anthony, Gilberto Santa Rosa, Roberto Roena, Oscar D’León, Lalo Rodríguez, Eddie Santiago and Frankie Ruiz, with whom he collaborated on each and every one of his solo recordings.

The sound of this great percussionist, his impeccable rhythm and his solid accompaniment defined him and have placed him convincingly as one of the most influential congueros of the last 30 years.

As if that were not enough, this talented conguero enjoys the genuine respect and appreciation of the Puerto Rican people and salsa connoisseurs worldwide — Jimmie has also accompanied great artists such as Willie Colón, Ismael Miranda, Tito Nieves, Juan Luis Guerra, Grupo Niche and Jerry Rivera

Trajectory with Gilberto Santa Rosa

In 1986, he joined a young Gilberto Santa Rosa, who had left Mr. Willie Rosario’s band to become the most prolific salsa singer in the last 25 years.

Since then he has traveled throughout the Americas, Europe, Japan, Taiwan and South America offering percussion workshops and accompanying different artists in a consistent and successful career as a percussionist. Jimmie Morales has also accompanied great artists such as Willie Colón, Ismael Miranda, Tito Nieves, Juan Luis Guerra, Grupo Niche and Jerry Rivera, among others.

He is currently promoting his line of congas sponsored by the Remo Company. As if that were not enough, this talented conguero enjoys the genuine respect and appreciation of the Puerto Rican and Latin American people. His humility, his affable treatment and his charisma, together with his musical virtuosity, make him worthy of an indisputable place in the history of salsa.

In 1986, he joined a young Gilberto Santa Rosa, who had left Mr. Willie Rosario's band to become the most prolific salsa singer in the last 25 years. — Jimmie Morales is currently promoting his conga line sponsored by the Remo Company

Since then, he has traveled throughout the American continent, Europe, Japan, Taiwan and South America offering percussion workshops and accompanying different artists in a consistent and successful career as a percussionist.

Jimmie has also accompanied great artists such as Willie Colón, Ismael Miranda, Tito Nieves, Juan Luis Guerra, Grupo Niche and Jerry Rivera, among others. He is currently promoting his line of congas sponsored by the Remo Company.

As if that were not enough, this talented conguero enjoys the genuine respect and appreciation of the Puerto Rican people and of salsa connoisseurs worldwide. His humility, his affable treatment and his charisma, together with his musical virtuosity, make him worthy of an indisputable place in the history of salsa.

A conguero for history Jimmie Morales’ memoirs

“Mr. Slap”

Bella Martínez (Author)

That originality of Willie Rosario must have influenced Jimmie's impeccable style. — Jimmie paid for the luck that accompanied him at that crucial moment with an immense dose of vocation.

When all the congueros were imitating the king of the hard hands, Ray Barreto, Jimmie manages without intending to be the one chosen by the master Willie Rosario to accompany with the conga the tuning that Rosario had already established.

That Willie Rosario originality must have influenced Jimmie’s impeccable style.

Let’s not forget that when all timbaleros were imitating maestro Tito Puente, that irreverent coameño – maestro of maestros Willie Rosario knew how to be original.

Jimmie repaid the fate that accompanied him at that crucial moment with an immense dose of vocation.

And that stroke of luck in the leather didn’t manage to erase the humility of his being.

I invite you to read what I have managed to compile about Jimmie Morales, whom, with your authorization, I show in this work that pretends to be a summary of the life and work of this incredible musician.

Here you will also see that in spite of his perennial shy smile, his hands of stone do not give a break nor allow tropical music to ignore his monumental influence.

Jimmie, the human being who communicates through the leather of his conga, presents us with the musical strength he continues to share with the world. I am deeply grateful for the introspection and candor of his testimony.

I recognize that I am fortunate that Jimmie has agreed to give me part of his voice and to perpetuate this story. I insist that it was a sin not to share this legacy before, but now it was Mister Slap who beat the drum.

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Salsa as a reflect of social inequality

Salsa is more than a musical genre

Salsa is only viewed as a musical genre of Latin American origin that relates to Spain in the wrong way for many people, but it is much more than this. In the same way, we can talk about salsa as a set of Caribbean rhythms and styles amongst which we can find mambo, rumba, guaracha, among others. Nowadays, both definitions are now known to encompass everything salsa means in terms of culture in the Latin world.

Well, turns out salsa went far beyond serving as a type of music to become a cultural and even political phenomenon that played a very important role at momentous points in public life in many Latin countries.

How salsa social movement began

Salsa as a social movement ans its artists — Willie Colon playing the trumpet

As soon as the Cuban Revolution was concrete, the island was gradually isolating itself from the rest of the world in many of the areas of life, especially the artsy one. This resulted in that many local artists were forced to leave their country and relocate to New York, United States. It was there that all these exponents of the aforementioned genre began to work in innovative ways and give new life to this music, thus leading to a number of changes that would transform salsa forever.

One of the most important changes was the fact that music was no longer confined to smart ball-rooms. Now it does too in the corners where you can see the misery in which a significant percentage of the population lives. At these times, the aim was not only to achieve the greatest number of attendees possible, but to achieve those who needed to feel connected to these rhythms.

That audience was composed of Latino neighborhood residents, who were desperate to find any artistic expression capable of reflecting their everyday problems. In this sense, salsa has become a powerful tool of protest against the very poor economic, political and social situation for which Latinos were going through. One of its greatest exponents has been Ruben Blades with songs such as Prohibido Olvidar, Pueblo Latino, and Tiburon. These musical themes are an open critic to governments of all ideological tendencies reneged on promises to the people.

Salsa culture and salsa as part of Latin American identity

Salsa and social inequality — A couple dancing salsa

When we analyze thoroughly the origins of salsa and the most famous artists of this genre, it is not difficult to understand why it has been so successful in the greater share of Latin America. These artistic expressions of this type are the ones that can put into words the feelings experienced by those who wish to create an identity and bring about solid political thoughts. We mention the word identity because it refers to the way we perceive ourselves and we see our traditions and the story behind us.

A large part of the story is related by salsa, which has become a popular life expression as an unambigous reflection of the typical traditions and customs of the Caribbean countries. In the same way, this genre lets us view the experiences, happiness and sadness of those who identify with its lyrics.

Salsa is a clear demonstration that arts are not always disconnected from the feelings of the majority but, on the contrary, it can be a true reflection of what people dream, think and feel from each chapter of history.

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Latin rhytms preferred by Europeans to learn to dance

A brief introduction about Latin music

In the last several years, Latin music has become a real phenomenon throughout much of the world, especially in Europe. Currently, Latin rhythms are heard in almost every corner of the Old Continent, which has been really beneficial for the great men of these musical styles, who have started their artistic careers in major cities of Europe.

After becoming an overwhelming success for this music in Latin America and the US, it gradually expanded throughout many European countries, in which Spanish and family languages have a strong presence. In these countries, the Latino community has been growing steadily, which has made locals take an interest in its culture and traditions, including music. There are many Europeans who want to learn how to dance many Latin rhythms, but there are some that distinguish themselves from others.

Salsa

Europeans love Latin music — A drum for Latin music

Among the many Latin rhythms that many Europeans wanted to learn how to dance, salsa can never be lacking. This is because this world-renowned musical genre is very sociable and entertaining, which few Europeans were accustomed to see in ages past. Salsa is commonly danced in Los Angeles and very present at all kinds of parties and amateur competitions, especially in Continental Europe. In that part of the continent, it is quite common to find dance academies that teach this specific style.

There are many European nations that organize dance championships in which salsa occupies a very special place.

Bachata

Another genre preferred by Europeans in order to learn how to dance is bachata, which is from the Dominican Republic and characterized by very slow and sensual movements on the part of the members of the couple. After all the success achieved by bachata artists, this genre has become one of the rhythms with the largest presence in European music festivals.

There is no denying that a set of soloists and groups have offered an unimaginable contribution to the expansion of bachata throughout the world, such as Juan Luis Guerra, Romeo Santos, Prince Royce, among others.

Tango

Europeans dancing Latin music — A young couple dancing Latin music

If there is a genre that cannot be out of any list of options to learn how to dance, it is Argentine tango. One of the reasons why this elegant and distinguished dance has had this incredible success in Europe and elsewhere in the world has been the huge presence it has had in numerous Hollywood films and the great interest which ballroom dances have awakened in countries like England.

It is anticipated that its popularity will increase and have as much presence as salsa and bachata in dance events throughout the Old Continent. It is not long before it does.

Rumba

One of the most interesting details of a genre like rumba is that it has undergone a great number of changes in the mists of time. This is due to its Cuban origin and its many fusions with certain Spanish and African rhythms, so no wonder the sympathy that many Europeans have for this colorful musical genre.

The ones greatly responsible for the expansion of rumba in Europe have been the dance masters who have devoted much of their work to the promotion of this and other rhythms from Latin America.

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The Five Most Influential Latin Artists of 2020

These are the top latin names of this year

The times are changing, influencers and new talents are gaining ground within the industry. Meet some of the most influential latin artists of 2020!

Latin America has been the birthplace of singers, songwriters, producers, and artists that have taken their talent to the USA and the rest of the world. With their flags held high and their nationalism deep rooted, they have been the ones that impulse their culture in North America and Canada, that way they have opened many opportunities to the next generations.

2020 was a year of challenges and so many changes, however some personalities from the media industry didn’t give up. Many of them took advantage to work on projects that they had in mind, and surprised their fans. While others were dedicated to remember their biggest hits, and used digital platforms to perform remote concerts. For this reason, we want to mention and give recognition to five latin artists that keep afloat during this year; they were revelations, and got a larger scope that anyone could have imagined.

Five Most Influential Latin Artists of 2020

Manny Cruz

The Dominican with Cuban origins has been one of the exposures of his genre, that has known how to take advantage of his fame to position himself within the media. He was the Dominican artist with more nominations on the Latin Grammy.

“The Lord loves so much and I feel so grateful with these two nominations. And very happy of how the people had embraced my music, and to be able to contribute a little to our merengue history”, expressed the artist.

Manny Cruz one of the most influential Latin Artists of 2020 — Manny Cruz

Cruz ‘s career has been on the rise, because it doesn’t leave space to anybody. During this year he had made collabs with Ilegales, Miriam Cruz, and a tribute to Juan Luis Guerra. He also has shared projects with the merenguero Eddy Herrera.

After being part of several groups, he decided to try a solo career without knowing what his destiny, and talent had prepared for him: he obtained the award for Solo Singer of The Year in the “Premios Soberanos”. In 2017 he was the winner of a Latin Grammy, thanks to writing together with his brother Daniel Santacruz, the single “Deja Vu” for Prince Royce and Shakira. In 2018 he got three awards at “Premios Soberanos”.

Manny has specialized in merengue and pop-ballad, he is a singer and songwriter. “Santo Domingo” is his latest music video, which has gained more than 2 million of views on YouTube. More and more are the singers that want to share their works with him, and of course have the opportunity to count on him as a songwriter. He is one the young musicians that are here to stay, and he is now well placed among the american audience, and spanish speakers.

Nathy Peluso

Another singer that has broken barriers, and has gained a position within the industry is Nathalia Dora, better known as Nathy Peluso. Even when she is only 25 years old, she is already a trendsetter in different musical genres. She is acclaimed for her fusions with rap, hip-hop, jazz, and salsa, a combination that is only possible for a woman like her. She was born in Argentina, and she was one of the honor guests invited to this year Latin Grammy.

She is a singer, songwriter, and started her career from very young. She studied theater with teachers from Dominican Republic, Cuba and Colombia. That way she took their accents, and it can be noted on the majority of her singles. She is inclined for blues and jazz styles.

Even when she is living in Spain, it has surprised the acceptance of her music in Latin America and the USA. 2020 has been her year, she released her first single of her next album: Business Woman, with which she wants to continue showing her strong side, and consolidate her place within the industry. Plus, she got her very first nomination to the Gardel Awards, and two nominations to the Latin Grammy in Best New Artist and Best Alternative Song categories.

Peluso has become one of the most important latin artists of the musical scene. She sings about feminism, sex, and even politics.

“Women let me know that I am an inspiration to them”, expressed the artist.

Prince Royce

Prince has been another musician that hasn’t stopped this year. He has topped the first places on Billboard, and was nominated to the Latin Grammy 2020 as Best Contemporary Album / Tropical Fusion. Alter Ego is the double album that makes him stay on everybody’s minds. Many important talents participated in this album, around 60 songwriters, 21 musicians, 23 songs, 18 musical producers, and it has obtained different golden and platinum records around the world. Beside that, it was the only album to debut on the number one of the latin Billboard list of 2020.

The Latin Music Academy considered him as one of the most consistent artists that has been kept loyal to his fans and his origins. The bachata singer has evolved over his career, and he keeps showing his versatility on the market. Geoffrey Royce Rojas de León is an American singer, songwriter, and music producer with Dominican origins.

Tonny Succar

Antonio Guillermo Succar better known as Tonny Succar is a Peruvian-American songwriter, arranger, percussionist, band leader, and producer. In 2019, he received the Latin Grammy for Best Salsa Album, and a second award as the Producer of the Year. As a young boy, he auditioned for a latin jazz ensemble in his school, and of course he got his desired position. Then, he went on to assume the family band’s Musical Director position, which was named Mixtura. After graduation he continued as an artist, and teaching other music students.

His talent went beyond borders, and had the opportunity to work with renowned artists such as: La India, Tito Nieves, Michael Stuart, Jon Secada, Obie Bermúdez, and Kevin Ceballo. He was also the crucial piece in a tribute to Michael Jackson, this project was a great chance for him to be close to artists that he admired. Succar is still forming, and is planning to be part of a musical legacy that goes beyond borders.

“If you don’t take the opportunity when it has to be, the train will leave” he commented after getting the Latin Grammy.

Tito Puente Jr.

He always knew that his career would be compared to his father’s, and he was very clear that it won’t be easy to reach that level. For that reason he decided to make his own name with his own identity. From very young he participated in different bands including a rock one. That way Tito Jr. formed his own trajectory and now is well known within the industry.

However he is continuing his father’s legacy at performing several of his most famous songs. He also has never doubted making tributes to his father, with different events for youngs and children where they learn to play different instruments. Tito was born in New York on June 2nd,1971, he is 49 years old, and has several albums of his own. He is very proud of his origins, but at the same time he has created his own name.

“I have my father ‘s spirit”, he said proudly.

This new generation is promising to hold their countries’ names high with passion, enthusiasm, and so much commitment.

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