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‘‘El Griego Rumbero’’ visited the Salsa Museum and donated some objects

The artist we will talk about today is a very particular case, since he comes from a country which is not usually related to salsa or Latin music in general. However, the passion for these rhythms has captivated people from all over the world, so it is not surprising that our guest has experienced the same thing.

We’re talking about the Greek-born trombonist and composer Demetrios Kastaris, whom El Rubio Boris and I were fortunate to welcome at the Salsa Museum. Here’s a little of his fascinating story.

Demetrios’ early years

Demetrios was born in Thessaloniki, Greece, but moved with his family to the United States when he was just two years old. After living in Ohio for a few years, the family moved again, but this time to St. Louis, Missouri, a place that would be critical to the training of the Young man in the times to come.

The first contact of the boy with music was in elementary school during a live performance by a classical music quintet, but what really captivated him was a demonstration of a slide trombone by a member of the St. Louis Symphony Orchestra. It was at that instant the aforementioned instrument inspired Demetrios to take trombone lessons and join the school concert band.

More importantly, as Demetrios grew older, he spent countless hours practicing the trombone, especially in summer when he was free from school work. Finally, On reaching the age of 17, his perseverance began to bear fruit, and he got the opportunity to rehearse with the Stan Keaton Jazz Orchestra, which was the first great experience for the teenager. Just one year later, he sang as a soloist at the Classical Rimsky-Korsakov Concerto.

Other than that, Demetrios received the John Philip Sousa Band Award just before graduating from high school. He then studied music education at the University of Missouri-St. Louis, when he played in the jazz band and won several awards with the group.

Cover of the album ''El Griego Rumbero'' — Cover of the album ”El Griego Rumbero” by demetrios Kastaris

Moving to New York

Two years after having studied in Missouri, Demetrios moved to New York, where he received a scholarship that allowed him to attend New York University and take more steps in his musical career. While completing his studies, he met a bandleader on the subway and was invited to a rehearsal where he was given the opportunity to arrange Afro-Cuban jazz pieces for the first time in his life.

Latin music and its rhythmic features made such an impression on Demetrios that he began attending concerts by many of its great exponents, such as Willie Colón, Eddie Palmieri, Ray Barretto, Tito Puente, Mongo Santamaría, and many others. This led him to transcribe and conscientiously analyze these artists’ songs to satisfy his curiosity and learn more about these rhythms.

After graduating with honors, he earned a masters degree in jazz from the Manhattan School of Music. Soon after, he was already teaching in public schools while performing with one of the bands of the Concord Resort Hotel.

Other important details of his career

For over 50 years of artistic career, Demetrios has had the opportunity to perform with big Latin stars such as Tito Puente, Luisito Quintero, Alfredo De La Fé, Ray Barretto, Charlie Palmieri, Herencia Latina, Oscar Hernández from The Spanish Harlem Orchestra, and many others.

Already in the decade of 1980, the artist founded the Latin-Jazz Coalition and recorded several of his original compositions in genres such as Brazilian and Afro-Cuban jazz. In certain Circles, his work has earned him the nickname of “El Griego Rumbero”, a moniker by which he is still known today.

Johnny Cruz, Demetrios Kastaris and El Rubio Boris

Much more recently, Demetrios was invited to play with Los Leales de Cuba at the Buena Vista Curry Club and also to rehearse with Los Muñequitos de Matanza, which was a very learning afternoon and a memorable experience for him. Thereafter, he traveled to Cuba on several occasions to learn much more about this music.

Visit to the Salsa Museum

Just two years ago, Demetrios visited the Spanish Harlem Salsa Museum directed by yours truly and spent an enjoyable time with our entire team but he did not come alone. He brought us his photograph and a poster of the Latin Jazz Coalition, which were mounted on a wall alongside many other photographs of stars such as The Fania All Stars, Hector Lavoe, Tito Puente, Celia Cruz, El Gran Combo de Puerto Rico, Larry Harlow, and many others.

His childhood trombone was also added to our extensive display of objects donated by artists and their families. This took place on March 20, 2024, and the instrument remains at our institution to this day as a reminder of a Greek man’s love for our music and a thank you to his dedication over the years.

Timbalero Manolito Rodríguez Debuts a Fresh Sound as Musical Director of La Zónica

On Friday, March 27, 2026, Manolito Rodríguez and La Zónica performed at La Respuesta, a unique venue a hall where diverse musical genres blend, creating an atmosphere where a dance concert serves as the artists’ formal introduction to the public. The ensemble has been working together since August 2025, when the new orchestra was formed under the leadership of the virtuoso timbalero.

Timbalero Manolito Rodríguez arrives with a renewed energy as musical director of La Zónica

When Manolito began assembling the group, he sought out songs that resonated with him, such as “Gente Luminosa” and “A Mi Medida.” He has also been working with unreleased compositions by Anthony García and Leni Prieto. La Zónica marks a new chapter for the timbalero as the director of his own orchestra. Nevertheless, they continue to perform hits from Manolito’s previous era, now brought to life by the vocal front: Ángel Pomales, Joelis Crespo, and Gabriel Cotto. Manolito has promised to step back from singing to focus entirely on his instrument and musical direction.

The director of La Zónica hopes the dance concert at La Respuesta on March 27 marked a turning point for the band. “It’s an event we’ve been working on with great intensity,” Manolito says with enthusiasm. With energy and conviction, the timbalero adds: “I want to leave a legacy like El Gran Combo de Puerto Rico, like Sonora Ponceña, like Roberto Roena’s Apollo Sound, or Willie Rosario’s band. I want people to say in 25 years, ‘Look, that’s Manolito’s La Zónica.’ It’s a long road, but it’s possible.”

As if that weren’t enough, a new line of Meinl Percussion instruments, inspired by the young Puerto Rican timbalero, is now available.

The new line of instruments - from Meinl Percussion - inspired by Manolito — The new line of instruments – from Meinl Percussion – inspired by Manolito

A Prodigy’s Journey

The career of this salsa virtuoso began early. Manolito Rodríguez is a percussionist, musical director, singer, and dancer. While he was still in middle school, piano genius Papo Lucca invited him to record on the 45th-anniversary album, Homenaje a Tres Grandes del Teclado. “At that time, I was just entering the Escuela Libre de Música; I was in ninth grade,” the timbalero recalls. Four years later, upon graduating from the Ernesto Ramos Antonini ELM in San Juan, Manolito earned the timbalero chair with Sonora Ponceña on Papo Lucca’s recommendation. “Don Quique” accepted him, and the young musician remained with the group for four years.

Puerto Rico’s salsa stages watched Manolito Rodríguez grow up, flanked by musical institutions such as Sonora Ponceña, his now-colleague Willie Rosario, and Roberto Roena’s Apollo Sound.

His skill as a percussionist grew by leaps and bounds, and his versatility was tested on multiple fronts. In fact, his vocals were featured with the orchestra Del Sur al Norte, led by the renowned director, arranger, and producer, trumpet master Julito Alvarado. “Julito was the first one who gave me the opportunity to record as a singer,” Manolito acknowledged in an interview.

Manolito Rodríguez and La Zónica performed at La Respuesta, a different venue.

Thanks to his interactions with salsa veterans since childhood, Manolito served as musical director for various youth projects along the way. This included Revolución Juvenil in high school and Manolito y su Trabuco, an orchestra that performed every Wednesday at El Doble Seis in Caguas.

Legacy and Discipline

According to Manolito himself now a music professor—he owes much of his career to the support of his mother and grandmother, who nurtured his musical interests and encouraged him to pursue formal training. Today, the instrumentalist considers himself a “music worker” who approaches his craft with respect and maturity.

His new orchestra, La Zónica, finds him with a different mindset: he wants to concentrate on the timbales and direction. He considers Master Willie Rosario—who treats him as a protégé one of his greatest influences as a timbalero-bandleader. Rodríguez shares that when he read the authorized biography of “Mr. Afinque” (Willie Rosario, El Rey del Ritmo by researcher Robert Téllez) and saw himself mentioned, he was overcome with emotion. “My eyes welled up. I didn’t expect it,” he says. “Since I started taking things seriously, Willie has always mentored me.”

Despite his vast experience, the young musician felt deeply blessed to be chosen to fill in for the leader of “the band that delights” (la banda que deleita) on several occasions, and to perform at the Willie Rosario Centenary concert at the Coliseo de Puerto Rico. “I feel very fortunate because Willie is a very serious person, someone highly respected in the world of salsa with an impeccable career. He is a true role model.”

Following the passing of Roberto Roena, Rodríguez was also entrusted with the legacy of the Apollo Sound—a testament to the confidence and solidity he projects despite his youth. “Wow, yes. It was an honor,” he recalls nostalgically. “Roberto was the first person to give me a big break in Puerto Rico,” referring to his participation in the 1998 Día Nacional de la Zalsa at the Juan Ramón Loubriel Stadium in Bayamón.

On Sunday, March 22, 2026, Manolito Rodríguez returned to the Día Nacional de la Zalsa as the timbalero and director of La Zónica, a project that debuted last November during Sonora Ponceña’s 70th-anniversary concert. The current lineup includes: Airemyelisse Díaz (bass), Reinaldo Burgos (piano), Savier Díaz (congas), Manolito Rodríguez (timbales/director), Carlos Arroyo (bongo), Víctor “Yuca” Maldonado (baritone sax), Efraín Martínez (tenor sax), Rubén Díaz (trumpet), and Jan Santana (flugelhorn).

Manolito is well aware that “people pay to be entertained,” as he mentioned in a Zoom interview, and he views himself as a craftsman of music. He feels fortunate to be a full-time musician. “That’s what keeps me grounded. I get paid to make music. I am a music worker with great aspirations who trusts his talent and knows he must stay focused.”

Also Read: Sessions from La Loma brings together salsa fans from all over the world in Puerto Rico

Dominican bandleader and musical director Orlando Santana talks about La Makina and his career in general

Orlando Santana, the bandleader and musical director of La Makina, has made room in his busy schedule filled with studio recordings to talk about the most interesting topics of his career and, of course, the group that has given him more fame.

The Dominican artist has built an interesting career that led to his aforementioned group, which was founded in Borinquén (the name given to Puerto Rico before the arrival of the Spanish). Naturally, the genre by which La Makina is best known is merengue, implying that the Dominican Republic is still present in mind and heart.

Orlando with his saxophone — Orlando Santana with his saxophone

Orlando’s Beginnings in Music

Orlando started his story by saying that music had a significant presence in his life because his father, Santiago Santana, was a music teacher who taught in their own home. He taught all types of instruments such as the saxophone, trumpet, flute, piano, bandoneon, clarinet, guitar, and many more. Additionally, he also knew about harmony, solfège (sung), and solfège (spoken).

This led to his son learning to play instruments at a very young age and being interested in this way of life.

Orlando’s Music Education

When Orlando moved to Miami, he took private piano lessons for a while, just as his father did with his students, but it was from Richie Ray and Bobby Cruz whom he really learned. He attended their church and took advantage of his visits to receive some piano lessons from Richie, while his brother David Santana, who was already a veteran musician, bought him his first saxophone and taught him many other tricks of the trade.

Early experiences as a paid professional

As for the beginning of his professional practice, Orlando, as a 15-year-old boy, started with the orchestra Dioni Fernández y El Equipo, from which the great Sergio Vargas emerged. In fact, they entered together a television channel (Color Visión, Channel 9) on the same day in Santo Domingo. This group is still active today, and Sergio Vargas’s own brother, Caqui Vargas, is currently part of it.

Bobby and Orlando — Bobby Valentín and Orlando Santana

Some time later, he had the opportunity to perform along with Wilfrido Vargas, which he describes as an incredible experience, since Vargas’s orchestra had a very challenging repertoire and he had to prepare himself very well in order to play along with the merengue exponents and his musicians. Orlando came on as a substitute replacing his brother on some tours, where he showed he had the capacity to keep up with their pace and improvise just like Wilfrido did so with ease on stage.

Among the most important things this time taught him, the artist mentioned discipline, the importance of always practicing his instruments, and a permanent focus on what he wanted to achieve. Another thing he mentioned was the significant improvement in his ability to improvise and release new material constantly.

He also learned a lot from Toño Rosario, Peter Cruz, Cuco Valoy, Ramón Orlando, and Elías Santana (Orlando’s first cousin and trumpeter for Conjunto Quisqueya). With all of them, he also came to play both merengue and other genres.

How La Makina Band was founded

Orlando met Fernando Colón in Toño Rosario’s orchestra, while he was a saxophonist, and Fernando entered as a bassist. At the same time, Orlando was writing some arrangements for Los Sabrosos del Merengue, and as it so happens that Fernando was also working with them, so they were always in constant contact.

When Orlando decided to found an orchestra, it was he who called him and accepted his proposal. That was when both artists founded La Makina in 1996, though the process started a year earlier when they set up a company for that purpose.

Orlando and Rafael — Orlano Santana and Rafael Ithier from El Gran Combo de Puerto Rico

His Role as producer and director

Regarding his role as producer and director of La Makina, he points out the importance of preparing and studying to exercise these areas of music. In his case, he had already spent many years working on important record productions, including those he did together with his cousin Cesar Cuesta, with whom he formed a small orchestra that covered songs by very famous bands. He created his own musical arrangements for these new versions to differentiate them from the original songs and wrote scores for other musicians.

In addition, he served as music producer for Grupomanía and wrote songs for artists such as Toño Rosario, Elvis Crespo, Oscarito, Manny Manuel, and many others.

Current Members of La Makina

Of the original members of La Makina, the only one left is Orlando himself, but he has been joined by other equally-talented musicians, including Carlitos Rivera and his own son, Anderson Santana.

Orlando and Johnny — Orlando Santana and Johnny Ventura in San Juan, Puerto Rico

Current projects

This conversation had been delayed a few times due to how busy Orlando was in the studio working on new music, so obviously we had to ask what it was all about.

He told us that he and the rest of the group were working on a remastering of La Makina’s greatest hits, but with other arrangements and a fresh color. They also plan to include songs recorded by other artists but written by Orlando for them. He did not want to say what these would be so they would be a surprise for the audience.

Caoba Y Bambú, Tito Rivera’s first discographic production

This month’s material is dedicated to the great arranger and trumpeter Ernesto “Tito” Rivera, who year after year has established himself as one of the most respected artists in the Puerto Rican music scene, especially in salsa. Below, we will mention some of the most important facts of his career to date and what he is doing presently.

Important facts of Tito Rivera’s career

One of the greatest contributions the virtuoso Tito has made to music in general has been his pen and the help he has provided to famous orchestras of all time, especially in the 1980s and 1990s. One of these is Roberto Roena y Su Apollo Sound, that to a large extent, is what fans remember today thanks to the Puerto Rican musician’s talented songwriting.

Tito Rivera playing the trumpet — Arranger and trumpeter Ernesto ”Tito” Rivera playing the trumpet

Another orchestra that was strongly influenced by Rivera was La Impacto Crea, which many remember as the group born of Hogares Crea and recorded for Vaya Records under the production of Bobby Valentín. Other groups we can mention on this long list include El Conjunto Borincuba de Justo Betancourt and Tony Yanz Y Su Orquesta Nacimiento.

Similarly, all this talent also gave him the opportunity to collaborate with many big stars, such as Marvin Santiago, who did not doubt to trust the trumpeter who lent his invaluable vision to a number of productions during those years.

And not only that because Tito also left his mark on several songs by Kim De Los Santos Y Su Orquesta, which achieved impressive success in countries such as Colombia and Venezuela.

Caoba y Bambú

Caoba Y Bambú is Tito’s first album as a leader, which represents a major challenge for the sonero’s career. Once again, he demonstrates all the experience he has acquired over decades through the work of other greats who trusted his judgment at the time. Now it is his turn to work on something of his own to which he could apply everything he has learned over the years.

Something very interesting to note about the album is that it brings to life great pieces such as “Musa Y Letra,” which was originally recorded by La Impacto Crea in 1981 for Vaya Records. What changes this time is that the song will be performed by Puerto Rican Jesús “Gumbi” Navedo and Venezuelan Marcial Isturiz. The soneros will also be accompanied by Danny Guzmán’s piano solo.

The fact that “Musa Y Letra” was chosen as the first preview of the album was not a random decision, since it shows that Tito seeks to build an immediate connection with the most classic salsa fans, which only a song as representative as this one can do.

Although this has been a much talked about piece, it is definitely not the only one worthy of mention. We should also talk about “Plaza Vacante,” which is one of El Gran Combo de Puerto Rico’s best-known songs. However, this time, it will be performed by José Luis “Papa Chu” de Jesús, who will, without a doubt, do a magnificent job like the rest of the vocalists.

Another important addition to the album is “Vete Pa’alla,” which was previously recorded by Bobby Valentín for his album “Rompecabezas,” but on this occasion, it will be performed by the talented Davian Raúl.

Oscar D’ León confessions of Oswaldo Ponte by William Briceño

Latinoamerica / Venezuela / Caracas

Part 1

This book narrates the story of the famous singer Oscar D’ León from his birth and his life’s progress to who he is today; it also mentions how the era evolved, not only at a musical level but also regarding the situation of the country, both in Venezuela and other nations.

Before beginning to comment on the biography written by his manager, Oswaldo Ponte: biographies do not only try to remember great men who extend beyond their era. In this way, through this biography, the goal is to spread an idea about the work of the well-known artist “Oscar D’ León,” who has brought greatness to the country, crossing the line of his horizon and extending it toward other latitudes. One could say it is like a novel that not only speaks of successes or already known events, but also tells us about the reality of his life and not just what acquaintances or representatives of the artist think.

Photo1: Oscar D' León — Photo1: Oscar D’ León

The biography begins with the birth of Oscar Emilio León Simosa on July 11, 1943, in Caracas, Venezuela; where not only his family but other friends were present, one of whom ironically mentioned that in the future “he would be a great singer” since his crying was like a symphony. According to his mother, “Carmen Dionisia,” the midwife told her that he was born “enmantillado” (born with a caul), which meant the baby could have a multitude of gifts that he could take advantage of in the future.

It is worth mentioning that at an early age, he had more passion for music than for his studies, and he came to the conclusion that studies were not the best thing for his future; therefore, he dedicated himself to helping at his parents’ business to contribute to the household.

Since he was very young, he enjoyed listening to “Sonora Matancera” in a corner at night, which was the musical group of the era, and he would follow the percussion with his throat. He also listened to jazz orchestras, which led him to the conclusion that music would be his vocation; he was fascinated by listening to his mother hum the hits of 1953 by the Orquesta Aragón and Dámaso Pérez Prado.

Oscar D' León - Photo 1 — Oscar D’ León – Photo 1

Fortunately for the future singer, his family was passionate about music and had close relationships with musicians, singers, and players of all types of instruments even if they were not professionals. This warm, joyful, and above all, musical atmosphere embraced Oscar from the moment he was born. It was even shown that at an early age he had a certain interest in any object that emitted a musical sound, and he longed to learn how to use musical instruments. Despite having a humble family, Oscar himself managed to use various objects to create something that generated a musical sound and to discover his own rhythm, which he enjoyed at that time.

Oscar D' León - Photo 2 — Oscar D’ León – Photo 2

Simosa, which was on July 11, 1943, in Caracas, Venezuela; where not only his family but other friends were present, and ironically one of them mentioned that in the future “he would be a great singer” because his crying was like a symphony. According to his mother, “Carmen Dionisia,” the midwife told her that at birth he was “born with a veil” (enmantillado), which meant the baby could have a multitude of gifts that he could take advantage of in the future.

During his adolescence in Venezuela, many significant political changes were occurring for the population; however, they did not stop celebrating festive seasons with his family even in difficult times. Many “parrandas” (parties) were held, something that Oscar enjoyed very much.

In 1958, he mentions that a phenomenon was occurring with the musical style of “Dámaso Pérez Prado’s Mambo”; also, at the Club Las Fuentes, the Sonora Matancera resonated with “Celia Cruz” alternating with the “Caracas Swing Boys”. A movement of orchestras influenced by foreign rhythms that thrilled Venezuelans began to be observed on a national level, such as Billo’s, which won the precious title of the most popular orchestra in Venezuela. Oscar was not interested in societal events, except for events in Cuba, since Cuban music was what fascinated him.

Photo: Oscar D' León confessions of Oswaldo Ponte by William Briceño — Photo: Oscar D’ León confessions of Oswaldo Ponte by William Briceño

Starting in 1962, he became a father, and marveled by his new life and his firstborn, he dedicated himself to his role as a father, keeping his family supported by working; this caused him to step away from music, and his maturity can be witnessed despite his age.

By the age of 23, he already knew how to sing and play the bass; over time, he met friends who would influence great changes in his future life. In 1966, he met Kiko Pacheco, who invited him to the group “Los Junior,” where he would begin his professional career. During that same year, salsa was taking off in Venezuela, as it was heard on all the country’s radio stations.

During that era, life was expensive, so he worked hard both in clubs and discotheques or as a taxi driver. On one occasion, Kiko Pacheco asked Oscar to sing in the “Quinteto Los Junior” because their vocalist had to leave; this allowed Oscar to demonstrate his talent, and from that moment on, everyone was enchanted upon hearing him, and his musical profession began. Later, “La Dimensión Latina” was created, which at that time was known as “Dimensión Seis,” founded by Oscar D’ León and Cesar Monge.

The members who formed “La Dimensión Latina” were Oscar de León, Cesar Monge “Albóndiga,” and José Rojas “Rojita” on trombones; José Rodríguez “Joseíto” and Elio Pacheco on percussion; and Enrique “Culebra” Iriarte on piano. A significant event for Oscar was that, during their first rehearsals, he had a premonition of his success when they found the rhythm he wanted to hear and share with the rest of the musical world. This was proven during their first performance, which was a total success, leaving everyone who heard them stunned.

Oscar D' León singing — Oscar D’ León singing

From that moment on, with the debut of La Dimensión Latina, a new concept emerged that would change the landscape of popular Venezuelan music and make history both nationally and internationally with the rise of the legend Oscar D’ León. They began playing for five months at “La Distinción” from Friday to Saturday. On Sundays, after finishing there, they would go to El Junquito to continue the party, gaining so much popularity that some felt they should launch an international career. During that time, singer-songwriter Mireya Delgado hired them after being impressed by seeing them perform on stage.

They played on a cruise ship during a one-week tour through different Caribbean islands and achieved great success despite the inconveniences they faced. They paid these no mind, as they dedicated themselves wholeheartedly to playing for their audience. This caused venues to become packed, captivating their fans who idolized them. From that point forward, many people began wanting to hire them for various events.

Here is the translation of the text into American English:

In that same year, 1972, a dizzying and unstoppable recording career began. This was based on the fact that executive representatives from the TH label heard two tracks: one was “Oye mi canto,” which was a hit for Gran Combo de Puerto Rico, and the other was “Te voy a cortar las patas” by Oscar D’ León. Because this made a great impact and created absolute conviction among the executives that they were witnessing a success, the promoter Mesone, upon hearing them, agreed to carry out a recording. This recording was shared with the Víctor Mendoza Orchestra, one of the TH producers in Venezuela: El Clan de Víctor.

The album featured three tracks by Oscar; he recorded two of them with Dimensión Latina and the other with El Clan de Víctor. However, he does not appear as the author in the credits. The same thing happened with an album in 1991 when recording the album Auténtico. Among the 80 tracks that Oscar wrote, two of them are his immortal classics and of his authorship: “Llorarás” and “Detalles”.

For the first time in Venezuela, Salsa festivals were held that moved everyone. From that moment on, a true proliferation of salsa was witnessed in the country, all thanks to “Pensando en ti,” which had a major impact on the history of Venezuelan popular music.

After the success of his new discography—which contains “La comprita,” “Barranquilla,” and “Barranquilla y Quiéreme,” among others—three important international contracts were signed. Oscar and Dimensión Latina would go to Curaçao, Aruba, and Bonaire; that same year, they would also go to Colombia and Santo Domingo. However, it is worth noting that the period from “Pensando en ti” to “Que bailen to’s” covered the stage that catapulted him internationally.

Here is the translation of the text into American English:

The production of Dimensión Latina’s 1975 discography was the one that left an eternal mark, whose immortality was glimpsed from the very moment of its appearance. Its tracks focused on themes of romantic heartbreak. However, the rhythmic conception of “Llorarás” was the most important conception and structure of Oscar D’ León and Dimensión Latina; in fact, the song “Llorarás” marked the rupture of the old dance empire represented by Billo’s, and Dimensión came to be considered the “Billo’s of Salsa”.

An important subject in the world of music tells us in this book that: “salsa singers used phrases worn out by the use of previous generations who popularized them; in contrast, Oscar projected original modifications created by him”.

Oscar D' León in concert — Oscar D’ León in concert

When they traveled to New York, Oscar was very excited by the different stories he had experienced in the music world, and they were even happier to perform for the first time in the impressive metropolis. It was there where that musical genre that transformed them into idols, “Salsa,” was projected.

As time passes, Oscar manages to establish his own style and never changed it while climbing the steps of popularity and fame; the same happened with Dimensión Latina, though without achieving the countless triumphs Oscar D’ León obtained until his departure.

If you wish to know more about the history of Oscar D’ León, we recommend reading “Oscar D’ León: Confessions of Oswaldo Ponte by William Briceño, Editorial Fundación Simón Bolívar” to learn about the continuation, as it is a very broad topic to describe in this first part; likewise, in our next edition, we will conclude our final thoughts on this interesting and extensive biography.