Some initial ideas about the frequency of 432 Hertz
The stress of daily life is extremely harmful to the health of any human being who gets it, so that is an issue that should be dealt with the seriousness it deserves. Fortunately, there is plenty we can do to combat this problem such as meditation, yoga or music. Concerning this last point, we can mention the frequency 432 Hertz, which has already been shown to have certain effects on sleep quality. There is still a lot of misinformation spread and incorrect data in respect of it, but here we will try to shed some light on this interesting topic.
After a lot of research in this regard, it is already known that music can decrease the activity of the sympathetic nervous system, which, in turn, results in a significant reduction in anxiety, blood pressure, heart rate and breathing. In addition, muscles relax considerably and the mind is distracted from the frantic thoughts that does not let it rest. It is thought that this set of tones has sleep-inducing properties, but there is still a lot to discover about this. Some musicians only refer to this frequency as a calm, soft tone.
Here are some musical frequencies
What is the tuning of 432 Hertz?
The tuning of 432 Hertz is name after the 432 oscillations it produces per second. The sounds that comprise the frequency tend to be a little deep and the link of the harmonics is carried out to perfection.
It can also be defined as a clean frequency that has been widely used to break down mental barriers and promote a much deeper and more restful rest. Its greatest proponents claim that this combination of sounds has the ability to synchronize with the Universe’s energies, leading to a much healthier life for those who listen it.
Studies done on the frequency 432 Hertz
The miraculous frequency or frequency of happiness as some call it, has been extensively studied by the Department Physiology at the All India Institute of Medical Sciences, which was based on the hypothesis that the 432 Hertz frequency induces sleep and decreases REM (Rapid Eye Movement) phase.
According to the conclusions presented by the experts responsible for carrying out the experimentation necessary for the study, the tone showed promising effects on the electroencephalographic activity of the brain during a daytime nap period. The decrease in REM sleep latency suggests that the already mentioned musical frequency has a rather significant relaxation effect on a sleeping brain.
A lady who is sleeping
What the experts say
To bring a clearer notion and a broader perspective on this topic, we have contacted M.D. Argelia Melet who is going to offer us her views on this frequency and the effects that it can have on those who ever listen to it.
This is our conversation with her regarding this issue:
What is the frequency 432 Hz?
I would like to fisrt remember what a Hertz is, since the frequency 432 Hertz is expressed in that unitof measurement: A hertz is the frequency measurement unit of the electromagnetic field, including, of course, the acoustic one. These are waves that are propagated in space, carrying energy, but not matter. A Hertz measures how many times these waves repeat themselves in one second. So, then, the frequency 432 Hertz is nothing more than a 432-wave frequency in one second. In recent years, one issue that emerged among scholars of musicology, musicians, and academics who proposes 432 hertz as a frequency that is more “attuned ” to our physiological structure. Many people are in favour of this and also many others deny that there could be a difference.
Having said this, the music industry uses the standard note A as tuning in the frequency of 440 hertz, but this was not always the case. Because it was in 1953 when the International Organization for Standardisation (known as ISO), imposed it as a pattern to tune and build most of the musical instruments.
As for the frequency 432 Hertz, “it has been gaining popularity among the performers, because as it is played, it emits twelve harmonics, which involve the 12 notes of the chromatic scale. In the case of the frequency of 440 Hertz, it is although brighter, but involves only 8. Many early music interpreters, I among them, use the frequency 432 hertz. And the difference can be noticed” (personal communication). (*)
What effects could you see?
I am not an expert in music therapy, which has become a specialty discipline that includes many fields linked to the health profession and obviously much more to psychology and psychiatry. But I have used certain Barroque pieces, particularly (Mozart, Pachelbel, Vivaldi) in some therapies known as “desensitization in fantasy”, which uses the patient’s imagination in a relaxed state to deal with situations that leads to anxiety with very good results. It has been successfully used in carcer patients or people with severe sickness to deal with these coplicated cases that create suffering.It is also used in pediatric dentistry and geriatrics.
Differences between the Frequency 432 Hertz and others
I do not think I am capable of answering a question concerning a very specialized subject as is music …. Those who are in favour of the frequency 432 Hertz criticize the standard and explain that it increases tensions and fatigue in the listener. Instead, the frequency 432 Hertz can help to balance the mind causing further relaxation by listening to it and thus help to prevent future diseases. But controlled studies would be necessary to prove this statement.
What kind of therapies with this frequency are used in people?
Although I am not clear about this question, I assume that you are talking about which patients would benefit from these music therapies. At present, there is widespread use of music therapy (and I am talking about this and not about a particular frequency): its value in anxiety disorders, phobias, and dysfunctions such as attention deficit disorders is well known, and it is even starts being used in people with Alzheimer’s. Today, it is an important tool and it is believed that it will be useful in the future. There are even studies that link it to brain neuroplasticity. And here I would like to anwer tthe following question: yes, there are positive results in many areas of emotional, work, and social life.
Would you recommend this therapy in insomnia and other sleep disorders?
The question is whether I recommend it as a unique therapy or as a complementary therapy. In medicine you cannot act in a “religious” way and in this regard I mean discard any belief other than your own. Music therapy promotes relaxation, serenity, inner peace and, in that sense, it helps to reduce insomnia, nightmares or night terrors. But a lot of times, it will be necessary to combine it with other treatments. This always depends on the seriousness of the problem.
As a doctor, would you consider that this frequency raises consciousness or achieves effects at levels higher than simply sleep improving?
As to whether the frequency 432 Hertz raises consciousness, as the question puts it, I am not in a position to affirm or deny it. It may be necessary to specify that in our brain there are many types of waves of different frequencies.
As to whether the frequency 432 Hertz raises consciousness, as the question puts it, I am not in a position to affirm or deny it. It may be necessary to specify that in our brain there are many types of waves of different frequencies. Brain waves regulate our thoughts, emotions and behaviors. They are measured in hertz or cycles per second and these electrical patterns are divided into five in human beings: gamma, beta, alpha, theta and delta. For purposes of this presentation, I will just talk about alpha waves. The so-called Alpha waves predominate when the Central Nervous System is at rest, relaxed but awake and alert. If there is an alpha deficit, the individual has trouble relaxing. We would say that the brain is idling, relaxed and at rest, but ready for action if necessary at the same time. This frequency helps mental coordination, mind/body integration, calmness and alertness. Music therapy has been linked to the stimulation of alpha brain waves.
However, we got a long way to go. The brain, the grand master of our lives, seems opposed to being discovered in all its magnificence. It is our “Moon’s far side”.
(*) Professor Oscar Battaglini Suniaga. Msc in Musicology
Psychiatrist Argelia Melet
What are the brain waves?
As Dr. Melet has told us, brain waves play a fundamental role in the behavior of our brain and the way it works. Then we will classify brain waves according to their different types:
Gamma: of all the types of brain waves, gamma brain waves are those that appear more frequently, but with a much smaller amplitude. Their most common presentation is 40 Hertz and it is believed that they are the waves that most relate to the process of conscious perception, although there is not yet wide agreement betwween scholars on the subject.
Beta: these electromagnetic oscillations are those that are activated when the brain is in a certain kind of awareness in which a certain degree of attention is required, such as a speech delivered before an audience or a hard test. During this stage, waves have an greater frequency than the rest of its types.
Alpha: these waves are usually more frequent than theta waves, but are related to a state of relaxation where the body has its eyes closed, but not asleep. They slow down when sleeping, but are altered when opening the eyes or thinking about doing it.
Theta: Theta waves are generally associated with the early stages of sleep. Contrary to the case of beta waves, they make the body relax either when awake or when sleeping.
Delta: these waves have an extremely low frequency, which means the brain is asleep and may even dream off in some cases. there is potential for them appearing while in a coma or severe brain damage.
Classification of brain waves
Neurolinguistic programming and its use as a tool for mass manipulation
It is the interchange of thoughts and habits through a set of techniques that involve perception and communication. It is also known as a branch of neuroscience that studies the connections between behavior, thought and language. There were many political personalities who saw huge potential in this tool and one of them was Josehp Goebbels, who soon found out that culture and language were two fundamental aspects in the achievement of his political objectives.
It was this infamous character who gave rise to the study of what is now known as neuromarketing, in which seemingly insignificant details such as voice, tone, gestures, body language and even sounds are absolutely controlled. It is no coincidence that Goebbels took over German radio as a whole in order to monitor the programmes at will. Soon it becomes clear that the aim of this measure was not just to inform, but also to manipulate people’s thoughts and, as a reult, their way they talked and behaved in everyday life.
One of the best examples was the installation of loudspeakers in various crowded public spaces such as squares or markets. As a result, those who were not attracted by the official programming ended up listening to it against their will. To that is added a loud siren that sounded each time there was an important announce to make, so everyone had to get closer to loudspeakers to hear what was being said. Anyone failling to do this was heavily criticized.
The programming included Hitler’s speeches alternated with an set of cultural and cultural programs. There were not few state officials who insisted on the multiple mood benefits of listening to them, when the reality was that they sought to modify and manipulate people’s psyches by alternating musical pieces and sounds pleasant to the ear with the political statements they wanted to etch on the minds of citizens. Had the Nazi regime been pioneer in the use of certain sonic frequencies to generate reactions in brain waves? Had we ever been the victims of this type of manipulation without even noticing it? Only time and science will tell.
Joseph Goebbels, the man who took over German radio by order of Hitler
I had recently spoken with broadcaster and event promoter Jesús “Chuy” Martínez about his beginnings, career, experiences, unpublished facts and other details concerning his brilliant career in the entertainment world. Without further delay, we will carefully read his words and enjoy the stories he has to offer.
Jesús “Chuy” Martínez some years ago
Good morning, this is Karina Garcia, North America director for International Salsa Magazine. I am very happy today to have a very special guest, who is none other than broadcaster, promoter and organizer of events born in the Dominican Republic, specifically in the city of Pacheco, Jesus ¨Chuy¨ Martinez, with whom we will have the pleasure of talking. How are you today, Mr. Martinez?
Very well. I am here ready for your interview.
Okay, Mr. Martinez. You have a long and successful career in the world of the arts. Could you start telling us how it all started and what made you turn to the entertainment world?
It all started in New York City in 1970 when I began to do activities in lakes. In New Jersey, there were many lakes and we started doing dances with Pete ¨el Conde¨ Rodriguez and many other orchestras. After doing a few activities in New York, I moved to the city of Los Angeles, where I worked for a radio station called 107.1 FM KMAX starting with two hours of tropical music and we lasted about three years. We started with two hours and then we had five hours per day. We were supported by some record labels that gave us all the music, especially Fania Records and TH Company. We brought all the music to Los Angeles, which was practically in its infancy. There was no tropical music. There were only three stations that were only dedicated to playing norteño music, so we were an option for the California audience. We had salsa, Merengue, Colombian, Venezuelan, New Yorker, and Puerto Rican music. We started the program with two hours a day, came to have five hours a day and it was a success for the public, but at that time, FM radio stations were only present in the houses. At that point, FM did not yet exist, which started appearing in cars and cassettes in 1979 or 1980. Prior to that, a thing called cartridge was used, but with the coming of FM stations in cars with cassettes, this frequency began to become stronger because people could still listen to the radio in their vehicles and homes. That was a process that in which made the radio strong and able to work with FM. I worked at KMX radio for about three years and then I went to other places like Radio Cali KLOVE as an account executive before I started a new program at KFOX 93.5 FM in 1982. At that time, we did activities in nightclubs like Virginia, Los Globos, Sombrero, among others, and we used the different orchestras of the time like the Siba orchestra and Azuquita Y Su Melao. All that was a process in the 70s. Then, we started in the 80’s to do FM radio with all the guarantee of the radio in the cars, which was when we began to work in discos like Candileja, La Bamba, and Escondite. Something important was the experience gained and, in view of my studies as a sound engineer, I learned a lot about equalization and all that stuff. I went to Cali, Colombia a few times and then to Venezuela, where I learned equalization and the system for discotheques. We had not only the 80’s, but many South Americans in Los Angeles like Venezuelans, Colombians, Ecuadorians, Peruvians, and Central Americans. Something that helped to internationalize the rhythm in Los Angeles was to take Saturdays and most Sundays to make projections at KFOX 93.5 FM. In the case of Saturdays, we had four hours of Central American music, we had a large audience of Salvadorans, Guatemalans, who listened to our program.
Jesús “Chuy” Martínez interviewing Oscar D’ León at Kfox 93.5 fm in 1990
All right. Taking into account the emergence of the FM frequency in cars, playback devices, the internet, and digital media, could you say that people like you have had to modernize and reinvent themselves to stay relevant in the market?
That’s right. At the time of the existence of record companies like Fania, Sony, RMM, MP, everything was easy and everybody could project their music in the 80s and 90s. First, people used LPs and cassettes, but the first CDs began to appear in 1986, so no one wanted the old LPs and cassettes anymore. Music was played on the radio where I did my show and at KLOVE, where salsa artists like Grupo Niche with their song Cali Pachanguero were played. Then Marc Anthony and many other artists appeared, so record companies promoted you and you had the ease of projecting a singer, but by the year of 1996, people no longer wanted CDs because modern technology came in and everyone started downloading music with the new internet system. All of this has contributed to a total change and it is the same thing that exists now, which makes it difficult to project an orchestra or a soloist. There is no longer the question of radio promotion and now everything is digital, so we have had to adapt to the new technical internet system with all its means of communication.
Would you consider that this new system has been beneficial to fans and detrimental to artists at the same time?
That is right. They do not have the opportunities they had before. In the late 80’s and early 90’s, there were many record companies with which everyone could be promoted, facilitating the projection of an artist in the market quickly. Now it is different and a determining factor was the death of most of the good artists from Fania and other companies like Pacheco and Larry Harlow, so young people who want to project themselves do not have the record label and the CD. They have to use other methods such as the internet, the downloading songs, and the sale of songs. There are some DJs who are experts at downloading music and there are many channels focused on providing DJs with both video and audio.
Poster announcing Oscar D’ Leon and Grupo Niche’s concert at the Palladium Hollywood in 1987
There are many web portals dedicated to offering music through which people can get songs without even spending a cent, so the artist makes nothing to offer his art.
That is true, but there are companies dedicated to selling songs on an individual basis. They can charge up to 99 cents per song and different things that have been invented. There are artists who gain some profit from selling their songs, but it is not what it used to be. In times gone by, people used to buy CDs, but now there are some DJs who are specialists in downloading music and connected to sites which offer the possibility to download videos and songs in exchange for a monthly allowance. I know about five DJs who have the ability to download songs, but it is not the same as before. We are in the year 2021 and things are not easy for new artists who are making themselves known because they no longer have so many benefits.
Modern salsa and memorable experiences
What do you think of current salsa?
There are quite a few orchestras here in Los Angeles, which perform at the Mayan, the Granada and Steve’s Steak House. There are many orchestras that project themselves through their performances, but with COVID-19, everything has gone way down in terms of concerts. We are doing concerts, but in a very limited way because the community had great fear of going to the venues, especially now that there is talk of the Delta variant. People are really scared and it is unbelievable what is going on in the California artistic scene, the world with the COVID problem and people’s fear of getting infected. That is why a large part of the population does not go to concerts, except for the youth that defies the moment and is not afraid.
Poster made by KFOX 93.5 FM, the radio station where Martínez worked
Could you tell me which venues are open for dancing salsa in Los Angeles?
Granada, Steve’s Steak House and the Mayan are the most active for tropical music. The Mayan is hosting the largest number of concerts. Toño Rosario’s was a success and Jerry Rivera will come soon, so let’s see what happens. Other promoters are going to bring La Sonora Ponceña and different singers, but there is no certain that people will come for all that has happened.
Could you tell me which is the most memorable experience you have had in your career?
The most memorable experience was when Frankie Ruiz had a concert at the Bonaventure Hotel and the man went to jail the same day (laugh). That was the greatest trouble because there were so many people interested in seeing him and he never came. That was a really bad experience in life. I did a lot of dances with Oscar D’ León, Eddie Santiago, La Orquesta Inmensidad. The first time Grupo Niche came here in 1986, with whom we did dances with Oscar D’ León and La Misma Gente at the Hollywood Palladium. We also worked with Ray Barreto, Pastor López, Santiago Cerón, La Orquesta Inmensidad, Andy Montañéz, Lalo Rodríguez and many other artists. Before there were many orchestras in a single event, but now people get used to one orchestra and several DJs.
A final message to those who go into the arts
Tenacity and perseverance at work, Hard work, hard work, hard work. You should study the field when you want to do something, be sure that your idea is good and avoid failing.
Poster announcing Frankie Ruiz’s concert at the Bonaventure Hotel in 1989
The versatility, trajectory, and professionalism of this musician and composer, born in the capital of Venezuela, make him one of the most important and sought-after salsa bastions in the country.
This time comes to Salsa Escrita “La Columna Salsera de Barquisimeto”, the outstanding trombonist Eliel Rivero Rivas, who was born on April 3, 1961, and already has an artistic life with more than 40 years; for this and many reasons, we bring to our readers a complete review about “El Chamán del Trombón”, as he is jokingly nicknamed by his musical friends.
Eliel, welcome to the salsa column, which is currently dedicated to providing information on the happenings of Afro-Caribbean music and therefore also projects and makes known nationally and globally the musical talent here.
Thank you very much Professor Carlos Colmenárez, for giving me this opportunity to share with you and all the regular readers of your prestigious Salsa Escrita “La Columna Salsera de Barquisimeto”, and to spread my career.
To begin with, we want to know how were your beginnings in music? -My life was surrounded by music since I was a child since my grandfather Pablo Emilio Rivas was the first tuba player of the Symphonic Orchestra of Venezuela, besides that in the family gatherings we listened from symphonic music to the most emblematic Caribbean artists of the moment, and so on, until I lived in Los Frailes de Catia, Macapaya sector, there was “La Dimensión Latina” and I was captivated by a cover where the trombone was shown, I think it was Dimensión Latina 76, and since that time I said, I would like to learn to play that instrument, but I did not do it because it was so expensive to buy one. Until one day Rodrigo Mendoza, who had just joined Dimensión Latina and who lived in front of my house, heard me playing a trombone solo of the song “Yo tenía una mujer” by Roberto Roena in a meeting that we often had and he told me: start studying that instrument.
Eliel Rivero, “The Shaman of the Trombone”
From then on my musical career began, I was able to buy a trombone and thus began this beautiful story that I enjoy to this day, thanks to the support of my family. I began to have contact with many musicians in the area, among them, Johán Muñoz, a brother sent to me by God, Antonio Acevedo “Toñito”, son of maestro Dugarte, trombonist of the Sinfónica Venezuela and Alberto Crespo, who also lived in Los Cuatro Vientos de los Frailes.
We all followed the trajectory of orchestras and musicians that rehearsed in the area such as “La Banda y su Salsa Joven”, “La Renovación”, we followed the steps of Alejandro Pérez Palma, Faustino González, Enrique Blanco “El Bachaco”, César Monjes “Albóndiga”, José Antonio Rojas “Rojitas”, Nené and Taíto Piñango and many more. From that moment I began to take my course as a trombonist with seriousness and professionalism until today.
Eliel, where did you study music and with whom? My friend Carlos, I studied theory and solfeggio at the Musical Association of the Federal District with maestros Daniel Contramaestre and Daniel Milano.
I continued my training at the “Simón Bolívar” Conservatory of Music, directed by maestro José Antonio Abreu, and at the “José Ángel Lamas” music school, under the guidance of professors Ángelo Pagliuca, Tiero Pezutti, Antonio Estévez, Erick Colón, among others.
I continued my professional and work training with the “Simón Bolívar” Symphony Orchestra for 40 years, sharing with different masters of national and international music.
At the same time, I had the opportunity to participate as an active or guest musician in national and international orchestras of the salsa genre.
Now that you mention the salsa genre, with which orchestras and vocalists have you participated? Professor, at the national level, apart from the Simón Bolívar Symphony, Municipal Symphony, Venezuelan Symphony and Caracas Philharmonic, I have been on stage with: Bailatino, Oscar D’León, El Pavo Frank, Mariana, Marianella, Andy Durán, Cheo Navarro con Tributo, la Banda Sigilosa, Orlando Poleo, Hildemaro, Alfredo Naranjo y su Guajeo, Silva y Guerra, Saxomanía, Trina Medina, Orlando Watussi, Magia Caribeña, Moisés Daubaterre with Grupo Mango, Bacheo, Servando y Florentino, Naty y su Orquesta, La Negramenta, El Trabuco Venezolano, La Nueva Parranda, Canelita Medina, Javier Plaza, Guarará, among other participations to which I have been invited.
And as for international artists and groups, which ones have you worked with? My friend Carlos, I have had the honor of accompanying: Gilberto Santa Rosa, Celia Cruz, Justo Betancourt, Nino Segarra, Eddie Santiago, Willie González, Roberto Lugo, Ismael Miranda, Maelo Ruiz, Cheo Feliciano, Paquito de Rivera, Andy Montañez and in relation to artists outside the salsa genre: Rafael, Andrea Bocelli and José Luis Rodríguez “El Puma”.
Excellent and admirable career Eliel, now, what can you tell us about who you have recorded with? Indeed Carlos, I have made recordings with the Simon Bolivar Orchestra, Música Latinoamericana, Bailatino, El Pavo Frank, Naty y su Orquesta, Victor Quintana, Rumberos del Callejon, Bacheo, Un Solo Pueblo, Trina Medina, Saxomania, La Dimension Latina with Joseito Rodriguez, La Negramenta, Orlando Poleo, Carlos Julio “El Oso”, Juan Pablo Barrios, Víctor Cardona y su Máquina de la Salsa, Gilberto Santa Rosa con la Sinfónica Venezuela, Cheo Navarro y su Orquesta Tributo, Francisco Requena, Oscar Dudamel, Otilio Galíndez, Luisito Quintero, among others.
Eliel, what can you tell us about your facet as a composer? I started when I was 13 years old and I have written songs for the following artists: Orquesta Los Satélites de Cheché Mendoza with the song “Sufrí por ti” on the LP Di Corazón, I have also written compositions for the Sabadonga orchestra, Oscar Dudamel, Victor Quintana and most for the Bailatino group, of which the hit “Bailatino llegó” was versioned and recorded by the Hispanic Orchestra of Harlem (SHD) of New York under the name “Baila Latino” on the CD “Viva la Tradición”, Grammy award-winning album.
World Artistic Tours? I have performed in Italy, France, Spain, Japan, Germany, Argentina, Colombia, Chile, Switzerland, England, Holland, USA, Mexico, Australia, Cuba, Dominican Republic, and Peru.
Eliel Rivero is one of the most important and sought-after salsa bastions in the country.
At present, what do you do besides being with different orchestras?
Well, Professor Carlos, I am currently involved in pedagogical activities with the trombone, doing master classes and I am a frequent guest in the “Orquesta Nuevo Mundo” of Bogota, directed by Alejandro Orellana, covering symphonic salsa and permanently in the trombone and composer with the group Bailatino.
By the way, how did Cheo Navarro ask you to be part of the staff of musicians of Bailatino y Tributo? In fact, my friend Carlos, that was one night when we were in block 6 of 23 de Enero in Caracas, we greeted each other and he told me that he wanted to make a band to cure us playing the salsa that fed our lives, such as Palmieri, Libre, Mon Rivera, Típica 73, Bobby Rodríguez and others.
And I told him to count on me and since at that time I was playing with Johán Muñoz with Ajoporro of Grupo Mango in private parties, Cheo told me: “Tell Johán if he wants to participate in this project” and the affirmation was not long in coming. As for “Tributo”, the same thing happened, Cheo wanted to record emblematic songs that nurtured his career, and of course, we gave him our support since those of us who recorded in that project are from “Bailatino”.
Eliel Rivero performing pedagogical activities with the trombone.
Finally, what are your social networks? My social networks are Eliel Bailatino on Facebook and eliel_bailatino on Instagram. Concluding, we want to know why that nickname “El Chamán”. Ha, ha, ha, ha, my friend Carlos, that epithet was given to me by my great friends of the “Negramenta” Orchestra. Let me tell you Eliel that for me and for “Salsa Escrita” it was a privilege to have you as a special guest in this issue and from “International Salsa Magazine”, we wish you the best of the best and of course, keep on giving it up with pure tastiness…!
Thank you very much Professor Carlos Colmenárez for this opportunity that you give me and I take this opportunity to send my greetings to the great number of salseros in the city of Barquisimeto and congratulate you for this praiseworthy work of supporting and projecting the musical talent of Venezuela and the world.
Remember not to leave your house…! Until next time and let’s keep on salsing!
We will be doing a tour around the world to find out where you could enjoy a pleasant musical and recreational environment worldwide, such as: places where you can have a good time dancing either alone or accompanied or listening to music from musical groups and / or DJs. . In the Latin American section we have a great variety of countries and we wanted to start with a tour of Mexico and we heard that there is a city where there is a great landscape and climate, where you can enjoy live tropical music.
Satellite photo of the Zebra Hotel
In the city of Tulum, Mexico, its inhabitants tell us that it was the ancient Mayan city, whose name was Zamá, which has the meaning in Mayan “sunrise” and at present its name has been changed to “Tulum” which its meaning in Mayan “Wall”, which seems to have been used to refer to the city when it was already in ruins; It is located in the State of Quintana Roo, it is currently known for its great tourist attraction of the Riviera Maya and Tulum National Park and next to it is the modern town of the same name, Tulum.
During our tour of this historic city with many mysteries to discover, we saw different places to stay and we met a very interesting hotel where tourists can stay with great comforts and that is the “Zebra Hotel”, which is located on the Tulum Highway. a Boca Paila Km 8 77760 Tulum, Mexico overlooking the sea, a captivating place that will make you forget about the daily routine, especially if you are from the city.
The beach outing at the Zebra Hotel
In Zebra Hotel, it is a charming place, little developed and romantic, where you can appreciate the thatched roofs, undulating palm trees and the most beautiful white sand beach in the Caribbean from what they tell us, it is a classic hotel in the jungle in Tulum located on the famous Tulum beach, located inside a historic coconut plantation not to mention that the hotel made the Riviera Maya famous.
Imagine arriving at the hotel, knowing the schedule of activities they have and fully enjoying it by the sea; Currently they are giving live Latin music (especially Salsa Live) every Thursday from Taco Thursday, this event takes place from 6 to 10 pm, during this time you can dance with seasoning and enjoy the menu they offer there.
On the beach of the Zebra Hotel with live music
Remember, it is located directly on the beach in Tulum, Mexico, it has 16 suites, cabins and jungle chic rooms, it has an exclusive private pool for its jungle cabins, it has a Mexican cantina and beachfront tequila bar. , there is a great diversity of activities (dance, water sports, nature, history and exploration).
If you want to escape, relax or explore in an intimate barefoot beach setting, without having to weigh in on your routine then stay at La Zebra Hotel is the perfect place to be in Tulum Mexico.
Zebra Hotel – tourists tasting the seedlings of the place
If you want more details about the rooms, events, reservations, among others, you can contact them through the following means:
One of our contacts mentions that on April 14 a fashion arrived in Quito. We will talk about a space that came to fill the great void in the salsa dancers of this beautiful capital, an alternative that became fashion, a fashion that became custom and custom has become culture, not to mention Lavoe the site of Salsa meeting in Ecuador. This great Salsoteca has the perfect atmosphere for lovers of good salsa and bachata, a context armed with paintings of the most important Latin Caribbean music in the world, many of them autographed during their visit to this dance palace. Well-toned colors for incredible freshness, first-class attention that makes you the main artist of the night, we are talking about a 100% safe environment full of friendly people ready to give you a fascinating moment.
The Lavoe Salsoteca is located at Iñaquito and United Nations 170517 Quito, Ecuador.
Photo of the stage of the Salsoteca Lavoe
It is known and visited for being one of the most visited tropical discos and nightclubs in the whole country, there you can count on special events during the year, concerts, talks, great festivals of orchestras and dance schools during 3 months of the year, closing with the great anniversary party where we can enjoy the best rumba of the year, but with the Covid-19 pandemic they had to close their doors for the safety of all, however there were online activities with the participation of DJs, soloists and musical groups, there were even live in the parking lot of Lavoe but each one inside their own cars.
After being inactive in the premises for a year (2020) due to the Covid-19 pandemic, the Lavoe Salsoteca opens its doors again on September 9 (2021) with new regulations to comply with in order to protect ourselves and in turn enjoy a pleasant social moment where everyone can listen to live music, dance and taste food and liquors; So if you plan to go to the Salsoteca, you have to take into account the following rules without mentioning the biosecurity rules:
Identity Card
Vaccination card (full dose)
Use of KN95 or surgical mask
Fill out the health form upon admission
With its new Lavoe motto “La Magia Regreso” opening on Thursdays from 7:00 p.m. to 11:00 p.m., on Fridays and Saturdays from 7:00 p.m. to 12:00 p.m., the Cover has a cost of $ 10 that includes a drink ( They recommend booking to ensure your space).
Dancers at the Salsoteca Lavoe
And on Tuesdays there will be Salsa and Bachata workshops, all you have to do to integrate is to comply with the regulations, reserve your place through their website , if you like and pay the cover On that day, which has a cost of $ 6, the workshop is free, not to mention that the consumption of beer has a 2×3 promotion until 9 at night.
If you want to know more (its events, classes or renting the premises) you can obtain more information through:
