Musician, Instructor, And Pioneer Of Salsa Casino In Venezuela
“I always had the connection to music, and today, I still have two congas. Sometimes I play them during classes.” Pedro González
“If people dedicate themselves to this, it is because we are doing it well.” This nice phrase arose from the pleasant and attractive telephone conversation about the history of the pioneer of Salsa Casino in Venezuela, the charismatic Cuban-Venezuelan musician and instructor Pedro González.
This affable musician and Salsa Casino instructor told us that he carved out his career from a very young age. He was born in Havana (Cuba) in 1966 and began his musical studies at the National School of Arts in the Havana capital at the age of ten, graduating in the specialty of Guitar (Short Course of 8 years) in 1984.
He comes from a musical family, his grandmother was the soprano Rosa “La China” and his mother (teacher and school principal) Zoe Portuondo Suarez, a distant relative of the singer Omara Portuondo.
“…Since I was little I liked to dance, I would dance everywhere. I learned with my cousin… I went to places like Playa… Besides, my mother danced a lot and my grandmother was a singer and she was also linked to the world of art…” Pedro commented.
His first job was as a music teacher in the Pinar del Río city, three hours from Havana. A short time later, he joins the Caranday group, and they play Son Cubano every night at the luxurious Hotel Nacional De Cuba.
After 45 days from his first presentation with the group, they meet the Venezuelan businessman Martín Gutiérrez, who takes them to Venezuela in 1993 to perform at private parties in the Falcón state.
Due to the few opportunities he had in Cuba, he decided to stay in Venezuela and formed the Latino Son band, made up of four Cuban musicians, and in turn began to be members of the Tropicana-style Cuban Fiesta Magazine (Show with a range of musical genres, interaction with guest singers, and dancers) in nightclubs of the Capital.
In Moments of pause with the musical magazine (1997), he undertook a tour with the Latino Son group with whom he traveled for almost all of Venezuela and toured the main stages of large national festivals such as La Feria del Sol (Mérida), Feria de San Sebastián (San Cristóbal), and La Feria de la Chinita (Zulia) among many others.
“We played permanently at La Giralda… At La Giralda we organized a party playing the Cuban Timba, then, there they called us “The Cuban Orchestra” in 1996, 1997, and 1998…”
During the ’90s and already residing in Venezuela, Pedro became the first Salsa Casino instructor in Venezuela without planning it as a life plan, and in 2000 he founded his homonymous academy that has graduated thousands of fans of this style of salsa dance.
Dancing is one thing that keeps you active. That is good for the body. If you have a problem in two hours or an hour and a half dancing you forget it. For my part, I like to teach… And, I like people to have fun.” Pedro González
History And Evolution Of The Academy Dance
Pedro González is the President of the Salsa Casino Organization in Venezuela
One night at the end of the 90s, Pedro along with his friend Milan (Medical and Countryman) began to remember the Dance of the Casino in La Giralda (old venue to listen to live music and enjoy various drinks on the Boulevard de Sábana Grande – Caracas) after his customary presentation with the Latino Son group.
Both began to stand out on the dance floor with the genre of La Timba and for a way of dancing Salsa different from the one practiced in Venezuela. “We began to dance with two Venezuelan girls in the Rueda style (which was not a Rueda because there must be 3 couples)… I began to say Milan “Give me one”, “Plugin”, “The Hat”, and we began to dance the Casino Style”. Pedro “El Cubano” told us between laughs during the interview.
The two ladies were so impressed by that way of dancing that they did not hesitate for a moment to ask Pedro for dance lessons. After so much insistence, “El Cubano” agreed for the first time to give Salsa Casino classes in the capital of Venezuela in an improvised and reduced space with his first five couples. “I am from the Cerro municipality, which is the closest to Old Havana. I used to go to Playa (Municipality of Havana) a lot to dance and I learned many dances and turns…”
And so Salsa Casino began spontaneously in 1999. By the following year (2000), Pedro had 20 couples and a larger room to teach.
The evolution of him in his rise during this year was impressive. Due to the influx of students, he began to teach in the blue auditorium of the Faculty of Economic and Social Sciences (Faces) of the most prestigious University in the country, the Central University of Venezuela (UCV) through Reinaldo Mijares, Director, and choreographer of the contemporary dance “Mudanza” attached to this institution and where González assures that this movement grows.
From there, he gave way to the Casa Monagas club, a place located in the Las Acacias sector (west of Caracas) behind the UCV with the capacity to hold up to 1,000 people. Here, Pedro’s students had more space to rehearse, and Salsa Casino Parties began to be organized monthly.
Dance academies in Venezuela were teaching Puerto Rican Salsa Style in the year 2000
With this overwhelming success, the creation of the Academia Salsa Casino in Caracas was imminent. It had massive attendance, national impact with graduate students, and attendance at national and international festivals such as Curacao Salsa Tour, Festivals in Cuba, and an amazing show at the Amador Bendayán Theater.
With more than 20 years of teaching Salsa lessons, Pedro has graduated more than 2000 students and changed its name to Academia Pedro González. It currently has five locations: Sábana Grande (main location), Chacaíto, San Antonio de los Altos (Los Teques), Capitolio, and El Cafetal.
The classes are aimed at children and adults. The call is open, so you can sign up without a partner and don’t worry because the essence of the Rueda remains. The estimated graduation time is three years with four basic levels, four intermediate levels, six advanced levels, you will also receive a triple casino level, two dance technique levels, and to complete the process a final choreographic exam is done.
Every dance lesson is fun because of Pedro’s ability to teach. The names of each step such as “Pégale un Cacho” are adapted to the colloquial vocabulary of the Venezuelan so that it is easy and fast to learn.
Due to Covid-19, the Pedro González Academy makes the use of the mask and antibacterial gel an essential requirement for permanence within the institution, as well as reducing the maximum number of couples per level to only ten.
Vanessa Lovera (Left) accompanied by two Salsa Casino dancers at the Caracas Carnival party
At the main headquarters, there are four instructors. One of them is Vanessa Lovera, a graduate instructor from the academy. For Pedro, she has been unconditional support in difficult moments of the institution. Vanessa teaches Salsa Casino and Ballroom Dance. You can also find her at the El Cafetal headquarters, but if you prefer the main headquarters, the address is as follows: Sábana Grande Boulevard, Fénix building, 5th floor, next to the Gran Café.
For this 2022 and if there is a return to normality, the Cuban instructor and musician residing in Venezuela hopes to resume the lost spaces in Caracas such as discos, nightclubs, presentations in theaters, once again hold large Salsa Casino parties in large rooms, the return of national competitions, and the continuation of the training of instructors in person (it is only online currently).
Casino Dance Or Salsa Casino?
Club Casino Deportivo no longer exists. Nowadays only the sports fields were preserved of this infrastructure.
According to the friendly instructor Pedro González, the origin of Salsa Casino on the island of Cuba has a unique story that begins like this…
Since 1956 numerous Cuban orchestras have been registered that played very popular and contagious musical genres such as Cha Cha Cha, Guaracha, Mambo, and Son. Rhythms that invited the young inhabitants of Cuba of this time to just want to dance and have fun all night with these melodies, but they not only wanted to do it with their partners but also with those of their friends, acquaintances, and strangers. However, for this decade that was not allowed because the rules of the strict and conservative society dictated it.
In this way and with the pursuit of that goal, the gentlemen created this style of dance. A style that did not require constant practice and where partners could be exchanged using keywords such as “Plugin” to perform the movement and for the theory to be carried out perfectly without altering society. The place where this event was recorded was Casino Deportivo, a private summer vacation club located in the Miramar residential area in Havana.
“We (in Venezuela) call it Salsa Casino because it is the commercial name already used in the United States. In Europe they call it Salsa Cubana, but the original name is Baile Del Casino”. Pedro Gonzalez
That is why at the end of 1950 this style of dance began to be generated that people internationally associate with the style of gambling performed in a Casino because it is a dance in Rueda.
The popular expression of most people in Cuba every time they saw this peculiar way of dancing was to say “Ah! But you are dancing like the people of the Casino (Casino Deportivo Club)” that each day was shortening the expression until reaching the Baile Del Casino.
The peculiarity of this dance style is that it does not have a musical genre, that is, no melody that identifies it. For example, a Danzón is danced with the music of the Danzón, the same happens with the Cha Cha Cha, Mambo, Son, and Bolero. There is no rhythm called Casino, therefore this style acclaimed in the world and preferred by Cubans began with the music that existed in this glorious decade of the ’50s.
The Latest News From The Salsero Movement In Germany
We begin the section News “En Clave” that will be dedicated in this edition to Germany. Here, you will see the latest in the Salsa movement in this Western European country during March 2022. Are you ready? Let us begin…
Havanna is your Latin getaway in Berlin
We open with the Havanna club located at Hauptstr.30 10827 Berlin. Here you can enjoy Salsa, Merengue, Bachata, and other rhythms on four dance floors with resident DJs. You can also try the mojitos in one of its seven bars and before opening the venue you can participate in Salsa lessons with qualified instructors to advanced and amateur levels.
This club that opened its doors in 1997 and since then has been dedicated to Latin night entertainment in the German capital offers Salsa, Merengue, and Bachata classes (No registration or dance partners required) every Wednesday (7 PM – 8 PM ), Friday (Salsa / Merengue from 9 PM to 10 PM), and Saturday (9 PM to 10 PM) with a cost of € 6 that includes admission and the after-party.
At Havanna, you will find nice people and a great atmosphere on every dance floor. On the first floor (Lower Floor) you will have the purest Salsa every Saturday until dawn, while on the second floor (Upper Floor) on Saturdays there will be a mix between Bachata and urban rhythms. The third dance floor (Basement) is dedicated to the fusion of Anglo-Saxon rhythms, and the fourth dance floor (Big Room) will be available on Wednesday and Friday nights for those who love Salsa, Merengue, and Bachata. And as additional information, I recommend you arrive at 10 PM because at that time and until 11 PM the ladies have free admission.
We continue with the second recommendation that I bring you to enjoy Salsa orchestras live in Germany and this time I am talking about La Fiesta de la Salsa with the band Conexión feat. Mayelis, this Saturday, March 12th at 9 PM. This legendary band of six musicians from Cuba, Colombia, and Germany returns to Berlin nights playing live the hottest Salsa, Son Cubano, Cha cha chá, and the most popular singles such as “A Dios Le Pido” included in their most recent record production Felicidad released on February 25th on all digital platforms.
Likewise, La Fiesta de la Salsa will also feature Salsa and Timba sets along with dance classes starting at 8 PM with DJ FISMO brought directly from Cuba.
The event will take place at Casa Pfefferberg 13 at Calle Schoenhauser 176 and the cost of admission ranges from €14 – €18. The permanence in the place will remain under the 2G regulations, that is, you can dance without a mask and without keeping a distance, and consequently you can only attend if you are fully vaccinated or verifiably recovered.
The Euro Dance Festival will have more than 50 individual workshops and seminars daily
And finally, I recommend the largest festival in Europe, Euro Dance Festival to be held from Tuesday, March 1st to Sunday, March 6th at the Europa-Park facilities located at Straße 2 77977 Rust. During these six days, they will give more than 370 workshops in a wide variety of dance styles, from standard to Salsa, Argentine Tango, and many more. The program of the Euro Dance Festival culminates with four unforgettable evenings of world-class shows.
The ticket cost at the box office is worth €620 and anyone who has not reserved a seat at the table will be assigned a fixed seat (theater seat) on-site (no surcharge). During the show (approx. 60 minutes) an FFP2 mask must be worn in the seat, and no drinks or food can be brought. Masks are mandatory (FFP-2, no cloth or surgical masks) in all areas and at all times. The only exception will be during workshops and when practicing at night, only while actively dancing.
Cuba’s hit musical, Havana Nights, has been touring in Europe since March 2018
I end this edition by bringing you this Cuban Salsa bonus. The musical Havana Nights will be presented on Sunday, March 20th at 7:30 PM at Europaplatz 12, 26123 Oldenburg, and the cost of admission in category 1 is €72.49.
In this musical, you will listen to live Caribbean rhythms performed by a band of 9 girls accompanied by the Havana Nights Dance Company, with its impressive performance in which Salsa & Merengue, as well as urban dance and hip-hop, merge harmoniously in a fiery choreography.
At their side will also be the technical precision of the artists of the National Circus of Cuba, winner of multiple awards at circus festivals around the world, including Monte Carlo, China, Italy, Spain, and France.
The stage is made with authentic decoration of Cuba and lights with 3D projection. The 33 artists on stage will impress you with their great production and warm Caribbean sounds that will transport you directly to the heart of Cuba.
Born in 1950 in New York, of Puerto Rican origin, he is considered by critics as one of the soneros with the best vocal technique.
Néstor Sánchez “El Albino Divino”.
In 1968 he began his musical career at the age of 19 in New York with the orchestra of Ray Rodriguez, Ray was the brother of the late Bobby Rodriguez, the recording was entitled “Introducing Ray Rodriguez and his Orchestra”, he was also with the Tonny Pabon Orchestra, and the Conjunto Candela.
1976 Nestor Sanchez joined the orchestra of the wonderful Jew, Larry Harlow, replacing Junior Gonzalez as lead vocalist and became a member of the Fania label stars, at that time,
Harlow was recording the album “La Raza Latina” for which Sanchez performed one song and the rest was in charge of the Panamanian Ruben Blades where he musically created the history of Nuestra Raza, from the Amerindians, the Spanish conquest, and the arrival of the black African slave.
The album, “El Albino Divino”, was one of his official presentations with the orchestra, with the Harlow Orchestra he spent almost ten years and recorded seven albums, among these: Rumbambola, Dulce aroma del éxito, Soy Latino.
1979 Harlow disbanded his orchestra, Sanchez also recorded with Tito Puente’s orchestra the song “Bonito y Sabroso” in the LP “Homenaje a Beny Moré” which won a Grammy award for Puente.
In 1984 he recorded the production Julio Castro y La Masacre, in 1990 he was released as a soloist in the romantic wave with the album Como Nunca.
Néstor Sánchez “Maestro de Soneros¨
In the year 2000 he was invited by the King of Bass Mr. Bobby Valentin to participate in the album La Gran Reunión, and in all the recordings where he participated as the first voice in the chorus.
This talented man, whom we consider one of the most outstanding voices in our music, and sonero of soneros, never had the recognition he truly deserved. As a tribute and vindication, the February 2017 Salsero of our page is dedicated to him in a heartfelt and sincere way.
As a singer, Néstor Sánchez loved Cuban music and considered himself an admirer of Abelardo Barroso, Beny Moré and Miguelito Cuni, and from La Isla del Encanto his favorites were Tito Rodríguez and Ismael Rivera, in whom he was most likely inspired to create his own style.
His musical career began at the age of 19 in New York in 1968 with Ray Rodríguez’s orchestra. His first recording was the same year and was entitled Introducing Ray Rodriguez and his Orchestra; the second, in 1969 and with this same orchestra, was called Delusion, these two musical works were made for Al Santiago’s label “Alegre Records”.
In 1970, Néstor Sánchez joined Tony Pabón’s orchestra with which he recorded six albums in LP format, these musical productions are: in 1970, Tony Pabon And His All-Stars and La Protesta With Tony Pabón: Free; in 1972, On The Right Track; in 1973, Introducing Néstor Sánchez; in 1974, Tony Pabón & La Protesta Featuring Néstor Sánchez – El Capitán; and in 1976, Tony Pabón Y La Nueva Protesta – Fango – Pura Salsa, Puro Disco.
After his time with La Protesta, El Albino Divino joined Conjunto Candela, with whom he produced an LP entitled Conjunto Candela.
In 1976, he joined the orchestra of “El Judío Maravilloso” Larry Harlow as lead vocalist, replacing the Puerto Rican singer Junior González. With that, he became one of the stars of the Fania label. Between 1977 and 1984 he recorded the albums La Raza Latina – A Salsa Suite, El Albino Divino, Rumbambola; Larry Harlow & Junior González – Our Latin Feeling / Nuestro Sentimiento Latino; El dulce aroma del éxito; Larry Harlow, Canta: Gary Carrión / Así Soy Yo; Larry Harlow – Yo Soy Latino and Larry Harlow / Señor Salsa, featuring the young singer Ray Pérez.
Between 1968 and 1984, Néstor Sánchez was not only part of the orchestras of Ray Rodríguez, Tony Pabón, Conjunto Candela and Larry Harlow. He also recorded with King Nando, Orchestra Colon, Los Hermanos López, Yambú, Andy Harlow, Adalberto Santiago, Charlie Palmieri, Ismael Rivera, Tito Puente, Willie Colón, El Conjunto Libre, Azuquita y Su Melao, Fania All Stars and Louie Ramírez.
Throughout the eighties, Néstor Sánchez’s career had a second stage, in which he participated in musical works as a singer and backing vocalist for other great stars of our musical firmament, such as Héctor Lavoe, Típica 73, Ray Barretto, Julio Castro y La Masacre, Rubén Blades y Seis del Solar, Cheo Feliciano, Ismael Miranda, Oscar D’ León, Celia Cruz and Bobby Valentín.
It is presumed that in his more than three decades of music he participated in some two hundred musical works, about half of which are presented in our “Discography” section, available on our web page. Her voice was also recorded in many musical works of the so-called salsa romántica.
Among the songs that the beautiful voice of our great Albino Divino left us, we highlight numbers such as: “Amor pa’ qué”, “Averigua”, “Bobo tú te quedarás”, “Bonito y sabroso”, “Compay, póngase Duro”, “Con la mayor elegancia”, “El bobito”, “El diablo viene”, “Madre”, “Mentiroso”, “Quasimodo”, “Suena La Quija”, “Va llover”, “Guaguancó para los soneros” and “Vamos a gozar”. Our great sonero also recorded some songs in English.
Finally, we repeat that the present investigative work on the musical life of the great singer, chorister, arranger and composer Néstor Sánchez, “El Albino Divino”, is a tribute to his musical legacy with which the section “El salsero del mes” of our web page www.latinastereo.com wants to remember and keep all his work in force. Néstor Sánchez will remain forever in the hearts of the salseros of the world.
On September 2, 2003, Néstor Sánchez passed away at the age of 54 at his home in Bronx County, New York, after losing a battle with lung cancer.
Born in 1950 in New York, of Puerto Rican origin, he is considered by critics as one of the soneros with the best vocal technique. Nestor Sanchez “El Albino Divino”.
We meet today with Taino Roldan from the fabulous station Radio Brisa Tropical. Good morning Mr. Roldan, hope you are well.
Quite well, thanks to God. Warm greetings to you from our radio station Radio Brisa Tropical.
How did you start liking broadcasting and how did you know you wanted to get into this?
Whilst resident in Italy, I began my career as a DJ there and in Germany. When I returned to the United States, I started going to all the local stations to have a salsa show. At first, they always replied that they were not interested and the doors were closed to me, but that never caused me a problem. I have always believed that if a door has closed, you have to find a way to enter that world, no matter what. At last, I started working at an AM station where I spent three years and then at a FM station for almost 10 years.
During this whole period, I was studying broadcasting at the local university and playing with the internet. It was by that time that streaming and webcasting, which was in 2005 if I got it right. A friend of mine who was a computer programmer told me that I could broadcast my shows in this manner. I asked him for help, given he was the expert, so we did this and connected. At that time, Facebook or any of those things did not yet exist, but MySpace did. Then we managed to webcast until the streaming service came out from the hand of YouTube and other platforms, and that’s when I opened my accounts in those social networks and created my website.
While I was on FM, we continued webcasting until 2012, which was when I officially left that station. I was on about four FM stations, but on different days in the area where I was. After I stopped working in those places, I decided to keep right here in my own studio and do my show solely and exclusively on the internet and it has been the case until today. It has been 31 years of happiness and here I am still standing.
Taino Roldán in his studio, where he webcasts his show Radio Brisa Tropical
We understand that this Radio Brisa Tropical project started in 1991. How was this idea conceived?
While I was on AM, my show was not called Brisa Tropical, but rather “¿Qué pasa?” There we included all kinds of music and gave cultural news about all countries, since I am in an area represented by all Latin American countries, the Caribbean Centre, South America and Spain. Having such a diverse audience, I decided to talk about all countries and not just mine, which is Puerto Rico. I talk about the important days of all the countries such as independence days and other historical events. I want to make content to entertain and educate the audience.
When I switched to FM, the station where I did my show is called “The Brise” and it played contemporary music in English. So, I sat with a friend who was helping me and it was there when I called my own program “Brisa Tropical”, as it is during that time that we included salsa, merengue, bachata, vallenato and much more.
Thank the Lord and the audience we have, we are more dedicated to salsa, and when I say “salsa”, I am including Cuban son and all these Afro-Cuban rhythms that were called salsa since the 70’s till present. However, we like to include all tropical music, classic as well as contemporary. So, it is at the point now where we have created an international audience, and that’s why it is so important to identify and mention the names of the artists, the orchestras, the composers, the arrangers, the members of the groups. Let us remember that there is plenty of time on the Internet. This is nothing like an AM or FM station that are commercial and you only have to reduce the amount of time. Here, I am the programmer and the announcer.
Radio Brisa Tropical is streamed exclusively on the Internet
You have already told us about the role played by the internet and social networks in implementing your project. So much so that networks have become the main transmission channels of the station. Is the internet the main broadcasting channel or are you still on the radio?
My show is streamed exclusively on the internet. Commercial broadcasters were my beginning, but I am absolutely sure that the future is the internet and I am not just talking about Facebook because this social network is not a music platform. I have my YouTube channel, my Facebook page and my Twitter account, but webcasting has opened the door to all musicians, performers and composers from anywhere in the world. The internet is the future of music. I am dedicated to salsa and Latin jazz, but I usually include other genres that listeners often ask me for, such as cumbia, tropical music, vallenato, etcetera.
In addition to salsa, your station plays other genres such as Latin jazz, vallenato, cumbia and plena. Why did you start this project with salsa as a base?
I grew up with salsa and developed myself as a DJ for many years both in Italy and Germany. Although I used to play everything, when I saw the love of Europeans for salsa on the dance floor, I always decided on it. Salsa has always been my life. I like all positive music, but I will always prefer to broadcast salsa and Latin jazz. Now, if a listener asks me to play a good song that does not have high-flown words or anything, I have no problem with it. Here I have been asked to play even rancheras because I have learned that you never say no to that loyal audience.
You currently broadcast live on YouTube, Facebook and your website. Do you know which transmission channel has a bigger audience?
Most of my audience listens to me through the link to my server and website. Remember that the website has the links to the channel and the other social networks. Through TuneIn, I receive a lot of audience around the world. I also use Live365 because the station pays royalties and I have the license to broadcast legally. The problem is that this platform is not heard in some places in South America or Europe, which is precisely why I also use TuneIn. When I check my content every day, I realize that we have a lot of audience coming from the Caribbean, South America, Central America, Europe and the United States.
Taino Roldán holding a Wito Rodríguez album
Age ranges of Radio Brisa Tropical
Many would say that the genres played on your station are to the taste of an older audience that enjoyed the salsa of the 70’s, 80’s and 90’s. What is the age range of your station?
According to the demographic information and the comments I am getting, I have seen that we have people from 10 or 11 years old and up. Once, a lady sent me a comment saying that her 100-year-old dad stayed in bed listening to the station and even sent me a picture of him smiling. I’ve also received messages from young people. I would say my demographic ranges from 20 years old and up.
I include classic salsa because many of those performers and bands remain relevant with their legacy despite having passed away, but there are also many salseros from that golden era in the 70’s and 80’s who are still active like Willie Rosario or La Sonora Ponceña. I have a lot of Venezuelan and Colombian friends from Venezuela who always send me music.
I like to balance my way to program. I like to take people back to the 70’s and even beyond, bring them back to the present and explain the ins and outs of a song or album. One of the most important things a broadcaster must do is to mention the artist, the composer, the arranger, the musicians, among others. You have to talk about the piece that is playing and what is behind it.
Taino Roldán and Willie Rosario
What you are saying is very important because many times people only focus on the vocalist or leader of a group, but they do not wonder about all the behind-the-scenes work or even talk about the rest of the members, such as the guitarists, the pianists, the arrangers or the musical directors. In that sense, what do you do to disseminate all this information?
I like reading a lot. If I am going to talk about a specific artist, I will look for who he is, what his trajectory is, how his beginnings were, what he did, what he is doing now. Of course, I have never included any personal data. This is very important to me because this helps the artist to sell his stuff. When there were a lot of record sales, I had the habit of checking the back to read the liner notes of that artist. That information is very valuable to me because that is what I use to inform the audience unequivocally.
From what you have told me, you have been working exclusively on the Internet for many years. Did you do it before or after the pandemic?
I had already been webcasting my program on the Internet for many years. In fact, I have been doing it since 2012. Thank goodness, the pandemic has not affected me in any way. My wife and I have taken care of ourselves and followed the sanitary rules, but this situation has not affected our work. On the contrary, I am here before the microphone in my studio while I speak and play music every day in the morning. It may also happen that I bring my laptop to a remote location and air the show from there or through my cell phone. I have done a lot of interviews during all this time because I like it so much.
What other projects or shows are you carrying out?
I have discovered that I can do a show about music, but without playing music. Sometimes I do it, but this is not my usual due to the issue of copyright with Facebook. I have a show called “Hablando de Salsa” and I am proud of it because it has been very successful. I am doing this project with Eduardo Saya. The show is entirely about salsa and we broadcast it every Wednesday at 6 PM CST. There, we always choose a different subject to be tackled every day.
Taino Roldán and his wife Carmen Roldán
Link to the Facebook page of Taino Roldán: Taino Roldán
