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Jorge Luis Suárez is a singer, musician and multifaceted artist and a bastion of Afro-Caribbean music

In Venezuela, the musical talent is undoubtedly first line and proven quality on any stage nationally and worldwide.

Specifically in the state of Lara and in the city of Barquisimeto, a great number of artists with category and hierarchy have emerged and been born, exalting our Latin rhythms.

For this edition of “Salsa Escrita”, we are honored to have as a special guest vocalist Jorge Luis Suarez, pride and bastion of Afro-Caribbean music and various genres, who, for years, demonstrates his class and professionalism.

Jorge Luis is a singer, musician and multifaceted artist; born on August 7 in the city of Maracaibo, son of parents from the city of Carora, where he spent part of his childhood in that state and began to lean towards music, having as main influence his father, who played the guitar and sang romantic music.

In the early 80’s, he moved to Barquisimeto to attend university and was discovered as a singer and player of the bass, cuatro and guitar. Welcome Jorge Luis Suarez to “Salsa Escrita”, through International Salsa Magazine, www.salsagoogle.com.

Vocalist Jorge Luis Suárez, pride and stalwart of Afro-Caribbean music

To begin this pleasant, enjoyable and long awaited meeting, because we wanted to have you as one of our interviewees and tell us about your experiences about your artistic career, which has been very successful nationally and worldwide for the pride of all who know you.

Thank you Professor Carlos Colmenárez, for inviting me to your well read and recognized salsa column, unique in the center-west of the country and in which you project Venezuelan musicians worldwide.

Jorge Luis, with which groups did you begin your journey through this wonderful art, in which you have demonstrated versatility, perseverance, discipline and quality?

Jorge Luis is a singer, musician and multifaceted artist

Well, let me tell you that I started my musical activity professionally, being part of groups of regional renown, among them: “Las Estrellas del Momento”, “Orquesta Alegría” and then “Venezuela en Gaitas”, “Sazón Latino” and in the late 80’s and early 90’s, I became part of the staff of the orchestra “La Banda Actual”, a salsa icon in the state of Lara.

By the way Jorge, we remember your beginnings with “La Banda Actual” and it was an obligatory reference to be hired in private parties, night clubs and of course to share the stage with great artists and luminaries of the Latin-Caribbean music genre.

In which billboards did you have the joy and privilege of singing, alternating with national and international stars?

Indeed professor, with Banda Actual we performed with Héctor Lavoe, Wilfrido Vargas, Las Chicas del Can, Porfi Jiménez, Guaco, Los Melódicos, Hermanos Carruyo, Billos Caracas Boys, Orquesta La Crítica and many more, in their visits to Barquisimeto, having as locations the Domo Bolivariano, Complejo Ferial, among others.

In fact, Jorge Luis and due to your outstanding and outstanding vocal ability, the son of the maestro Billo Frómeta, Luis Frómeta, called you to join the ranks of the Billo Caracas Boys, how was that experience?

With Billo I learned to have more artistic discipline and gain experience for 4 years, recording three albums touring Latin America, the United States and Europe; precisely in the carnivals of Tenerife we starred in the Güines Record in public attendance at a bailanta, sharing the stage with Celia Cruz and Oscar D’León.

Jorge, tell us about your entrance to the orchestra of the world’s sonero Oscar D’León.

Professor Carlos, precisely because of that event in the Canary Islands, maestro Oscar called me and told me that he needed a vocalist with my characteristics to accompany him in his shows and international tours and honestly it was a difficult decision because with Billo Caracas Boys I was well established along with other Barquisimetans: Ely Méndez and Wolfang Perdomo, integrating the line of vocalists at that time, pure “guaros”.

But maestro Oscar’s offer seemed interesting to me and I finally said yes. With the Sonero del Mundo, to whom I owe a lot, because thanks to him I established myself even more as a performer and especially in salsa, taking his recommendations to the letter and of course it was an unforgettable experience, because with his orchestra we toured many countries and performed in venues such as: Carnegie Hall, Madison Square Garden, House off Blue in Los Angeles, Orange Ball, jazz festivals in Europe, sharing with renowned artists.

Professor, I wanted to tell you that at the same time working with Oscar’s orchestra, I recorded my production “Una Tercera Persona”, in the middle of 1992, which included the hit “Niégalo Todo”, obtaining the first places in the hit parade.

In that production I was accompanied in the recording by renowned musicians such as: Luisito Quintero, Roberto Quintero, Robert Vilera, Raul Agraz, Yorman Leon and the Nicaraguan Luis Enrique.

Jorge Luis is a singer, musician and multifaceted artist, born on August 7 in the city of Maracaibo, son of parents from the city of Carora, Venezuela.

Jorge, how many years did you stay with Oscar and why did you decide to leave his orchestra?

I was with Oscar for about four years and I decided to leave the group due to major reasons, as a result of business and commercial commitments that I had and still have in Barquisimeto.

For those who do not know, Jorge Luis is a multifaceted artist and has managed to venture as a vocalist in different musical genres, from salsa, gaitas, tropical danceable, guaracha, merengue, Venezuelan and boleros; achieving in this last aspect, being the arranger and musical producer of the trio Carora International at the end of 2014.

At the same time, he produced and performed 19 songs of Venezuelan music with arrangements by Jean Piero Gonzalez, which will be released soon.

Jorge Luis, having settled again in the musical capital of Venezuela, with whom have you recorded? Professor, in Barquisimeto I have been invited to record with the following groups: Venezuela Somos Gaita, Nikitao, Amantes de la Gaita, Venezuela en Gaitas, Unión Gaitera, Rafa y sus Diamantes, Grupo Colorama, Con Klase, Orquesta Variación, Orquesta la Mayor, Orquesta la Gran Premiere, Venezuela Rumba, La Orquesta Raza Caribe, recording with the latter 8 songs in the production that is about to be released. I was also invited to record with the Orquesta Son Colón de Maracay and with the Latin Grammy nominees, our Grupo Santoral de Barquisimeto, participating with them as a special guest in the show “El Amor se Canta”, in celebration of the Day of Love and Friendship, touring, starting at the Teatro Juares and other cities in the country, as well as private presentations.

As for current projects, what can you tell the readers of Salsa Escrita? Currently my second solo production in the salsa genre is about to be released, with arrangements by multi-instrumentalist Taylor Aranguren from Barquisimeto and myself.

We are launching the record label, precisely this June with the promotional track “No lo beses”, a song that was interpreted by Alejandro Fernandez, by the Mexican composer Jose Luis Roma.

The production is called “José Luis Suárez Covers”, which includes songs that have been hits around the world, such as: Cobarde cobarde, Escándalo, La bomba, Cuatro rosas, Darte un beso, El amor más grande del planeta, Bailando, No lo beses, among others. In this production, I am accompanied by my nephew Taylor Aranguren, the musicians: Carlos Giménez, Rómulo Paiva, Jeison Marchán, Wílner Navas, Freddy Adrián, in the master and mixes: Latín Récods Digital. Sound engineer: René Zerpa and in the general production: Jorge Luis Suárez. Jorge Luis, what are your social networks or digital platforms to interact with your followers? My contacts are, Instagram: @jorgeluissuarezoficial, Youtube: Jorge Luis Suárez Oficial, [email protected]. Jorge Luis, to finish, we want to congratulate you for your perseverance in music and wish you to continue harvesting triumphs, because you have quality and to spare.

Salsa Escrita “La Columna Salsera de Barquisimeto”, will be at your disposal to support you in your present and future projects, good luck… Thank you professor and personal friend, Carlos Colmenárez, for giving me your support in your salsa column, unique in the west of the country and thus allowing you to reach your regular readers around the world; again a thousand thanks, blessings and long live Venezuela!

Article of Interest: Gerson Aranda “La Tabla de Caracas”

Carlos Colmenárez

Correspondent in Venezuela for International Salsa Magazine

Nelly Ramos, A Woman of Wood “Honorary Teacher”

Growing up with music, living from music, producing music, performing music, studying music, is not a cacophony, they are different states that a music lover can go through.

Either involved with one or several roles on the subject simultaneously. It is true that their development is transversed by music as a field that requires developing cognitive, motor, intellectual, and social skills, and even those required by the industry, such as those related to negotiation and marketing.

Nelly Ramos, A Woman of Wood “Honorary Teacher” — Nelly Ramos, A Woman of Wood

This means that music involves memory for the need to learn, remember and evoke; it involves dance as a pleasant form of non-verbal communication; it involves musical performance for the execution in various disciplines; it involves ingenuity and creation, to make arrangements and compositions; it involves social interaction, for the role of music in dances, concerts, programs, parties, festivals, competitions, orchestras and groups and finally it involves a field that very few are concerned with, such as research.

But even though for the music lover music occupies a transversal axis, his daily life demands him to fulfill the necessary requirements to live in society, in them, the need to work, study, and take care of the family without neglecting to cultivate himself as a person simultaneously with enriching his spiritual demands.

Linked to all this panorama is a basic principle based on birth as a source of explanation of what men and women will be and will do. We came into the world unprotected, it was our parents who at that stage facilitated our adaptation to life, and as we grew up they unconsciously drew up a script for us about what we would be in the future, often being disappointed by not seeing any of their projections fulfilled.

Growing up with music, living from music, producing music, performing music, studying music, is not a cacophony, they are different states that a music lover can go through. — Awarded as “Honorary Teacher” of the National University of the Arts.

During the first years of life, the school and the family took the reins of our formation, socialization and the transmission of values, but in this process, the influence of the environment played a preponderant role by carrying behind it a hidden curriculum whose function was to transmit information to us, different from what the school or the family could have covered. In my personal growth,

the influences received by the environment that offered me living in a neighborhood such as the Marín neighborhood in the parish of San Agustín del Sur in Caracas were decisive.

It was living my adolescence in the ’70s, wrapped in the confluence of uses, customs, traditions and a whole diversity of socio-cultural practices inherent to the daily life of the neighborhood all culminating in shaping my tastes, my preferences, my interests, my way of being, of saying and acting. How to escape, for example, from the practice of a neighbor located at the top of the neighborhood who habitually listened to salsa amplifying it for the whole community; to coexist with the Saturday rehearsals of Frank y su Tribu and Mon Carrillo and his sextet or the almost daily practices of Alfredo Padilla studying his timbal on the balcony of his house, or Pedro García “Guapachá teaching the youngsters his tumbadora techniques; or waiting every year end for the street descargas; dancing in the parties and temples enjoying the song “Rómpelo de los Dementes, “Guasancó” by Sexteto Juventud or “Pao Pao” by Federico y su Combo Latino; listening to the salsa hour with Phidias Danilo Escalona was a must at lunchtime, and at night “Quiebre de Quinto” with Cesar Miguel Rondón.

Obviously, what I have said in this account is nothing more than a brief synopsis of how much influence I may have received, but when added together they give as a result of the support of my expansion through a cultural world that was seasoned by pop music and the expressions of the hippie movement during the 70s.

I continued my formal education studying Psychology at the Central University of Venezuela, simultaneously I studied Theory and Solfeggio with Professor Eduardo Serrano and then at the José Lorenzo LLamozas School, another part of my time was dedicated to studying Traditional Dances at the National Institute of Folklore.

In 1977, a group of musicians and young people from the Marín neighborhood promoted the creation of the Madera Group, through which we were able to channel all those concerns experienced in everyday life.

Maintaining the activity with the group, I got involved with Choral Singing at the Vinicio Adames Foundation. At the Bigott Foundation, I studied percussion with Professor Alexander Livinalli and popular singing with Professor Francisco Salazar.

I was a member of the group “Afroamérica” formed by Jesus Chucho Garcia, Miguel Urbina, Benigno Medina, Orlando Poleo Johnny Rudas and Faride Mijares. Since 1988 I dedicated myself to the production of Didactic Encounters of percussionist musicians teaming up with Jesús “Totoño” Blanco (R.I.P) and José Agapito Hernández.

In 1993 I was chorister of Marianella y su Orquesta. I was part of the Editorial Board and at the same time an article writer of the magazine “Así Somos”, a publication of the Ministry of Culture.

Pending not to neglect my academic interests, I dedicated myself to pursuing a Doctorate in Education at the Universidad Católica Andrés Bello.

Moving on to another facet, I had participated as an actress in the film “Pelo malo” by Mariana Rondón (grandmother Carmen) obtaining the award for a best supporting actress at the Tribeca Film Festival in New York (2014), in the Venezuelan Film Festival-Cinelco (2014) and the Municipal Film Award (2015), then I participated in the video clip of “De tú a tú” of Lasso’s promotional album in 2014.

Awarded as “Honorary Teacher” of the National University of the Arts (Unearte), in recognition of the cultural work developed.

Facebook: Nelly Josefina Ramos Tovar

Article of Interest: Professor MSc. Carlos Colmenárez and his “WRITTEN SALSA”

History of the Orchestra “La Terrífica” of trumpeter José “Joe” Rodriguez

In the early 70’s, the trumpet player of La Sonora Ponceña, José “Joe” Rodríguez, decided to leave the orchestra led by Papo and Quique Lucca.

Joe had been part of “La Más Sureña” since almost the foundation of the orchestra and was even the lead trumpet player in the successful productions “Hacheros Pa’ Un Palo” (1968), “Fuego En El 23” (1969), “Algo de Locura” (1971), “Desde Puerto Rico a Nueva York” (1972) and “Sonora Ponceña” (1972) with which the orchestra achieved great international recognition; however, this time, the trumpet player had decided to execute an idea that had been in his head for some time.

He was also joined by percussionist Mickey Ortiz and, incredibly, the lead voice of La Sonora Ponceña, Tito Gómez.

In the early 70's, the trumpet player of La Sonora Ponceña, José "Joe" Rodríguez, decided to leave the orchestra led by Papo and Quique Lucca. — La Terrífica 1974

Soon, Joe Rodríguez, with the collaboration of the resigning members and his first cousin, bongos player Francisco “Chalina” Alvarado, who curiously had also been part of La Sonora Ponceña in the past, organized his own orchestra which he called “La Terrífica” and began to travel all over Puerto Rico performing at festivals and patron saint festivals.

La Terrífica ‎"Sabor A Pueblo" 1976 — La Terrífica ‎”Sabor A Pueblo” 1976

Sometime later they signed a contract with the powerful Fania Records label to record with its subsidiary, Internacional Records, their first album under the production of Larry Harlow, titled “Terrífica” (1974), which featured Adalberto Santiago on backing vocals, Héctor Lavoe and Yayo ‘El Indio’, which included the song ‘Hachero Mayor’ written by Francisco Alvarado and vocalized by Tito Gómez as a protest to one of the most popular Sonora Ponceña songs on the island: ‘Hacheros Pa’ Un Palo’ authored by Arsenio Rodríguez.

“Yo traigo el hacha mayor, De aquella 72 Arsenio me la dejó la, con doble filo la traigo yo.

I come to chop down a stick, which they call ‘palo mayor’ because I’m the brave one here, I’m the axeman, I bring the axe, from that 72 Arsenio left it to me, I bring it with a double edge.

I come from the mountains and I bring a lot of firewood,

Gentlemen, I come waving, I am the main axeman.

Seventy-two axes for one stick, with my two-edged axe,

Now I cut it.

I bring the biggest axe, with a double edge I bring it.

Gentlemen, I went to the mountain and I come very tasty, to distribute to the whole world, I’m the biggest axe man.

Double-edged, double-edged gentleman.

With double edge I bring it.

Careful, jump out of the way, gentlemen, so that they will know, I’m coming with “La Terrífica”.

If you don’t get out of the way, I’ll run over you with my truck.

I’ll bring it with a double edge”.

The new orchestra was doing well, they enjoyed the public’s acceptance.

The contracts began to arrive by themselves and they had a good future, however, Tito Gómez would surprise everyone when he announced that he was resigning from “La Terrífica” because he had received an interesting proposal from New York to join the powerful band of conguero Ray Barretto who, after the sudden departure of his singer Tito Allen, was looking for a new vocalist to accompany the young Panamanian Rubén Blades at the front of his orchestra.

The following year, La Sonora Ponceña records in “Tiene Pimienta” (1975), its next production, the song “Hachero Sin Hacha” in the voice of Miguelito Ortiz (who arrives to the orchestra replacing Tito Gómez to accompany Luigui Texidor), written by Papo Lucca himself, in which he responds harshly about the alleged awarding of the axe to “La Terrífica” and even makes fun of the resignation of Tito Gómez with the pregón “una gallina que no pone porque ya no tiene gallo” (a hen that doesn’t lay because she no longer has a rooster).

“Where is that great hatchet man who advertises himself out therethe one who remembered Arsenio for a triumph to get.

You are nothing more than a parrot a head without brains a hen that does not lay because it no longer has a rooster.

That axe that you have looked for cardboard teeth that was that the great Arsenio, a joke played on you.

Search well in your memory the year sixty-nine when in your presence Arsenio with Lucia sent me an axe as a reward the sign of the woodcutter.

Axemen without an axe, they are.

Your axe does not break skulls, your axe is made of cardboard.

Arsenio mistook you, Arsenio misled you, your time is long gone Ay, I’m telling you, where is that great axeman?

Maybe he died, maybe he died, you have to put your head in it, you have to put inspiration in it”.

Orquesta La Terrífica Casa Pobre, Casa Grande 1980

Incredibly, when a strong response was expected from “La Terrífica”, its director Joe Rodríguez decided to concentrate his energy on finding a replacement for Tito Gómez and to reinforce his orchestra. Thus, Yolandita Rivera from New York and a 16-year-old teenager named Héctor “Pichie” Pérez joined the group and recorded “Sabor A Pueblo” (1976), their next LP under the production of pianist Jorge Millet.

The differences between both orchestras seemed to vanish as if by magic after a supposed private meeting between the founders of both groups, a situation that allowed them to have a peaceful party.

This fact would be verified later with the recording of two songs by La Terrífica: “Humo En La Cabeza” and ‘”Vida Se Llama Mujer” both authored by Luigui Texidor, the vocalist of La Sonora Ponceña; and the linking to Quique Lucca’s orchestra of vocalist Yolanda Rivera (the main voice of La Terrífica), who, besides other hits, recorded the merengue “Si No Me Meto” composed by Francisco Alvarado, co-founder and bongos player of La Terrífica in the album “El Gigante Del Sur” (1977).

The result of this determination gave great and good results for all, to the extent that Tito Gómez returned to La Sonora Ponceña to record several songs written by Francisco Alvarado, among them “Moreno Soy” included in the album “Explorando” (1978) and eventually Joe Rodríguez participated with Quique Lucca’s orchestra as a guest trumpet player for some trips.

From this moment on, “La Terrífica” would act as a kind of quarry of vocalists and musicians that would provide La Sonora Ponceña with salsa talents, this is the case of Manuel ‘Mannix’ Martínez, Héctor ‘Pichie’ Pérez, Yolanda Rivera, Luisito Carrión, Wito Colón, Luis ‘Cuchy’ Castro (trumpet), Efraín ‘Frao’ Hernández (bass), Freddie Del Valle (trumpet), Japhet Rodríguez (timbal), Jorge Miranda (bongo), among many others.

La Terrífica ‎"Mas Terrífica" 1992 — La Terrífica ‎”Mas Terrífica” 1992

La Terrífica, from its creation until 1992, recorded ten incredible productions, saying goodbye to the Salsa market with the hit “Corazón Fracturado”.

For his part, Joe Rodriguez, the founder of La Terrifica, has been retired from music for quite some time and devoted to his religion; while Francisco “Chalina” Alvarado founded El Conjunto La Perla and is still immersed in the world of salsa.

Facebook: Orquesta “La Terrífica”

Source: Frank Manuel Orellana

Article of Interest: Where the idea of the name of the Fania Record label came from

November 22nd International Musician Day

Music is our messenger from the world

Each November 22nd, music and those who make it have their own celebration called ‘Musician Day’. This is the story of this date that fills the people who reach millions of hearts through this art with pride.

And who does not like music? It is practically impossible to find a human being who does not enjoy music. Another different thing is the style of music.

But in general we all like it. The reason is the fact that it is in our genes. Regardless of its genre, music is able to change our mood by reducing sadness, stress and making us feel better.

November 22nd International Musician Day — Music is our messenger to the world

Why is Musician Day celebrated?

The date of November 22 commemorates the death of Saint Cecilia, patroness of musicians. This Christian martyr was portrayed in the 15th century by artists of the time, always playing the harp or other musical instruments. This is why she has been so associated the art of music.

The first celebrations date back to Edinburgh in 1695. Subsequently, countries such as Germany, Spain and France joined the celebrations. In Latin America, Brazil was the pioneering country in celebrating a party on November 22nd, starting between 1919 and 1920, eventually spread to the rest of the Ibero-American countries.

Finally, next Monday, November 22, 2021, we wish a happy Musician Day to those who make this art. A reality for the millions of people’s benefit.

Music (from the Greek: μουσική [τέχνη] – mousikē [téchnē], “the art of the muses”) is, according to the traditional definition of the term, the art of creating and organizing sounds and silences while respecting the basic principles of melody, harmony and rhythm, through the intervention of complex psychochemical processes.

Another different thing is the style of music. But in general we all like — It is practically impossible to find a human being who does not enjoy music.

The concept of music has been evolving since its origin in Ancient Greece, when poetry, music and dance were united without distinction to a unitary art. For several decades now, the definition of what is and what it is not music has become more complex, since prominent composers in the framework of diverse border artistic experiences have performed works that, while they could be considered musical, expand the boundaries of the definition of this art.

Music, as any artistic manifestation, is a cultural product with various purposes such as, among others, bringing out an aesthetic experience in the listener, expressing feelings, emotions, circumstances, thoughts or ideas, and increasingly, fulfilling an important therapeutic function through music therapy.

Lyrics and Music by Johnny Zamot & Sociedad 76

Music is My Life

Music is my life, my companion and my friend with her I have stayed awake to entertain the world my voice is the messenger of Latin music thank you Santa Cecilia for having given me the gift ob being a Latin music musician and singer that’s why I am telling you just so long you have got it clear. To sing guaguancó, you need a good atmosphere.

Links of Interest:

“Big Band Máquina” la Más Novedosa Producción de Angel Meléndez Lanzada por Gia Fu

22 de Noviembre Día Internacional del Músico

Dinero y Música: El Matrimonio Perfecto

Immigration attorney Bill Martínez talks about his great work

Who is Bill Martínez?

This is Bill Martínez — Attorney William Martínez in a photo taken by photographer Miriam Berkley

For many reasons, the music business is closely linked to the world of law, because there are many details that artists and their respective teams must take into consideration when carrying out their activities, especially when they travel outside their countries of origin or residence. That is when they should contact attorney William Martinez, who would be happy to help them to complete all required paperwork for this purpose.

William Martinez, better known in the music scene as Bill Martinez, is an immigration attorney who is also known for organizing musical events in the San Francisco Bay Area since the 1970s, which reveals that the relationship between the legal professional and the arts has been very close for several decades now. He is a degree from the University of San Francisco, the same city where he was born, has exercised his profession, and has made his living since then.

This man has played a very important role in obtaining visas for a fairly large number of artists and their orchestras for a few years, including Juanes, Christian Castro, Mercedes Sosa, Pablo Milanes, Isaac Delgado, Chucho Valdes, and many more. The list of groups that have managed to perform in the United States thanks to Martínez includes Los Van Van, Los Muñequitos de Matanzas, The Buena Vista Social Club, Cubanismo, and so on.

All this without mentioning that the attorney has done a commendable job in helping artists interested in traveling from the United States to Cuba, which is really difficult because of the political, legal, and migratory friction that this implies. Bill demonstrated that it is possible thanks to his efficient efforts with the Office of Foreign Assets Control (OFAC) of the Department of the Treasury. There are many groups that have managed to travel to the island thanks to licenses obtained by the lawyer, as was the case of AudiosLave, a famous Californian alternative rock band whose emergence goes back to the year 2001. In 2005, the group gave a historic concert in which it performed in front of a crowd of more than 70,000 spectators, becoming the first rock band to play live in the Caribbean country. All thanks to the excellent work done by this great professional man of law.

Another facet of this great American is his role as a producer and manager. As his official website states, he is one of the co-founders of Latino Entertainment Partners together with cultural activist Arturo Riera, with whom he sought to create an organization capable of producing around 50 concerts whose main talents will be Cuban music legends such as N.G. La Banda, Los Van Van, Orquesta Aragón, Los Muñequitos de Aragón, among others.

This group created by Martinez has also been responsible for producing other musical events that have had the presence of The Spanish Harlem Orchestra, Eddie Palmieri, Giovanni Hidalgo, and many others.

William and Septeto Nacional — William Martínez and Septeto Nacional

Enlightening talk

Nowadays, he has an extremely busy schedule due to the ravages caused by COVID-19 in terms of immigration with the closing of embassies, flight ban, among other things. Today, he will tell us more in detail about his work and how much it has been complicated by the pandemic.

Do you only work in the issue of immigration specializing in artists?

Yes, I only work with artists. Although from time to time I talk to clients about other issues, but I mostly work only with artist visas.

What is the first thing you check in one of your cases?

Well, I work with visas as you can imagine. All this depends on two things: luck and credibility. By luck I mean officials, events, and factors for the application. Credibility is also key to all this. We are talking about two visa categories: an O1 visa for a distinguished artist in the field of music or the arts and the P1 visa or P3 visa which can be issued for a maximum of one year, while the O1 visa can last up to three years. The P3 visa is for groups that have performances that serve as a reflection of their own country. Many artists may qualify for this. For example, if we are talking about an artist who has a bachata, vallenato or hip hop repertoire. As long as they are reflections of their own country, they can apply for the P3 visa. The P1 visa and O1 visa require evidence and documentation that proves that the singer is of a high standard and recognized worldwide such as foundations, press articles, among other things. That is what we have to see. You have to prove that the itinerary is credible and this can be done with contracts or invitation letters. If an applicant, cultural center, promoter or agent wants to invite an artist without any shows or contracts, it will not matter if he is well known, because he will not have credibility. On the list of things I need, the first thing I look for is the invitation letter with an itinerary, the story of the artist, documentation, his repertoire, among other things.

The process also depends a lot on the officer who analyzes the case, am I right?

The case can be approved at first, and then, when it goes to the consulate, you have to get lucky with the official who does the interview. You have to be lucky with the USIS (United States Citizenship and Immigration Services) and with the second step which is the interview at the consulate. You also have to get lucky with people who do the interview, as it can be someone flexible who understands the situation very well or, in the opposite case, someone who had a bad day and will always say no.

Is it sufficient for one of those steps to fail for the visa not to be approved?

That is right, I have the same experience as any applicant and we use all our tools for this situation. It is like a puzzle where we have to see what works. Sometimes, we have even to ask for help from congressmen for this. This has happened to me both as a lawyer and as a producer.

Bill Martínez again — Immigration attorney Bill Martínez

What was the most complex case in your career?

It was my first case in 1993 with the Cuban group Mezcla. We did a festival in San Francisco called El Encuentro del Canto Popular in which we had a representation from each country in Latin America and the Caribbean. Then, we took the risk of inviting a group from Cuba, which was the group Mezcla, a rock band that used elements of Santeria. Like I said, there are two steps to obtain a visa: the application with USIS and the interview with the consulate after approval. In the case of Grupo Mezcla, the application was approved in the Immigration Service and then the members did their interviews in Havana. Subsequently, the case began to collapse until the head of the State Department for Cuban Affairs called me and told me that he had the file in his hands and that the group could not enter the country. When I asked him why, he said they were Cubans and that is all I needed to know. We made a claim in federal court, but we lost the case. Two years later, the state department’s attorney basically said they could do whatever they wanted without justifying anything. However, some time later, the Bill Clinton administration accepted that there is value in having exchanges with Cuba and, little by little, they opened the doors to allow entry to other Cubans like Changuito El Timbalero, Irakere with Chucho Valdes and Los Van Van. COVID-19 complicated everything and has had a great impact in each case, but things calmed down a bit and now artists are allowed to enter if they provide proof of their vaccination or PCR test.

Which are the nationalities The United States denies visas most often?

It is definitely Cuba because every Cuban has to ask for his or her interview in a third country and sometimes we are in contact with the consulates in advance to request permission to doing the interview there. Mexico is usually plan B, but sometimes we ask the consulate to allow a Cuban citizen to do an interview in their facilities. It may happen that they say that they do not accept applications from a third country. It also happens that two weeks later another consulate accept the interview without any problem. Each consulate has its own answer as to the availability and access to their system. Now we are asking for visas for Cubans in Mexico DF. I can say that Middle Eastern countries, Korea and Cuba are the most complicated places to apply for visas.

You have also taken U.S. artists to Cuba and other complicated countries, could you tell me a little bit about that?

Well, I participated in several exchanges with Cuba. The best known was Puentes Musicales in 1999 in which we presented 45 well-known rock artists. In 2005, we presented the rock group AudiosLave. I also worked as a lawyer in the production of the group Broadway and that was historic. It was a very important album in the history of rock and it was all done in Havana. I had a documentary on HBO about this event in Havana. We have plans to do other recordings with Broadway in Havana in the future. It is almost impossible to do exchanges of this magnitude these days owing to restrictions related to COVID-19.

How much has COVID-19 complicated things?

It is easier now. COVID-19 had a big impact at all levels. An application at USIS (the first step in the process) was impossible because their officials were not in offices as in the past. They were at home, so we could not do anything like as the past when we could go to an office. It was much easier to resolve situations, issues with identity and documentation. When officers are not in offices, they cannot go to the other buildings. They have to call from home to ask about applications and communication is not as effective. It is easier to resolve situations like that by being in the same building and coming face to face. COVID also has an impact on the number of people who are working in the consulates. The less people who work, the less it is possible to change dates when needed. However, the situation improved in contrast to the last year, so there is hope that some things will get back to normal.

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