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Oscar D’ León. Confessions by Oswaldo Ponte by William Briceño Part II

Latin America / Venezuela / Caracas

“Continuing the musical biography of Oscar D’ León. He moved on to new horizons, new learnings, difficult experiences, and decisions, as life always holds a wide variety of surprises over time. One of those changes was his breakup with Dimensión Latina due to various internal group problems.

Photo 1: Oscar D' León — Photo 1: Oscar D’ León

Oscar’s departure caused issues for the group, as several of their scheduled performances in other countries were canceled, and over time, they lost audience, leading most of their members to split up and leave. Nevertheless, the group managed to carry on successfully but without the unique touch or ‘sazón’ that Oscar D’ León provided.

After leaving Dimensión Latina, Oscar ingeniously created La Salsa Mayor in 1976 and was able to release his first discography with his new group, thanks to the record label TH, which provided it because they were very interested in his new project, naming it ‘Con bajo y to’.’ From that moment, Oscar knew that he could consolidate himself with this group or any other, as his exceptional and unparalleled talents, so much originality, had never been witnessed”

“In any generation of Venezuelan artists. He also created another group called ‘La Crítica’ with the purpose that if any member of the Salsa Mayor Group was absent, one of them would substitute. However, the orchestra ‘La Salsa Mayor’ lasted only 4 years due to a strong disagreement Oscar had with his band on stage because the songs played during those two performances ‘were not accepted,’ leading to the closure of ‘Salsa Mayor.’ From that moment, he began to practice with his orchestra ‘La Crítica’ before his performances in Curaçao, where his songs, ‘Suavecito,’ ‘No ha pasado nada,’ served as a way to allude that everything had been overcome.”

“With this group, he achieved significant success. From that era, Oscar D’ León was known as the leading artistic figure in the country and on the American continent, with his music being heard in various homes in Venezuela and other Latin American countries. During that time, he traveled throughout the Latin American continent, the Caribbean islands, and the United States. From that moment, he leveraged his figure as he ventured into artistic promotion. He did so with Daniel Santos, Héctor Lavoe, El Gran Combo de Puerto Rico, and Celia Cruz.

If we have to mention which country Oscar liked or idolized the most, it was Cuba, because ever since he was very young, he loved the music played there, which over the years underwent various transformations in different stages, such as ‘La inmortal guaracha Celia Cruz’ which brought glory to the island; ‘la sonora Matancera’ carried the name of Martí’s land around the world; ‘Dámaso Pérez Prado,’ among other artists who contributed to the origin of Cuban music.”

“When Oscar D’ León first visited Cuba, it was an unforgettable experience and held extraordinary significance not only for the young artist but for the country itself. Its magnitude was such that, first and foremost, the ministers of culture and foreign affairs welcomed him, and every time he performed, large numbers of fans awaited to see and hear him. The respect and admiration for him were immense. In fact, this book mentions that ‘Cuban music,’ among other things, made Oscar D’ León’s existence as an artistic figure and as a person possible.”

Photo 2: Oscar D' León presenting his bibliography — cccc

“For Cubans, Oscar D’ León’s arrival had a profound effect; it was the rebirth of existing music. In short, he rescued it, causing Cuban music, ‘son,’ the central show, and entertainment venues to become their activities for relaxation and fun.

Oswaldo Ponte, in his research, mentions that when he looked for everything related to Oscar D’ León, there was immense admiration for him. Everyone he interviewed, even if they knew he was his manager and his biographer accompanied him, always said incredible things about Oscar. He not only rescued Cuban ‘son’ but also taught them to dance Cuban music, opening the minds and perspectives of Cubans, as Cuban ‘son’ continued to be known internationally. Everyone mentions what a good musician he is, that they can’t believe he isn’t Cuban and has that ‘sazón’ (flavor/charisma).

He was famous not only in Cuba but also in other countries. An example of this was Oscar’s participation in the Rome Festival when he sang a song by Adalberto. Mr. Adalberto Álvarez passed backstage and commented: ‘Cuba will never be able to repay Oscar for what he has done for Cuban music. He has kept it alive; if it hadn’t been for him, for Johnny Pacheco, for Celia Cruz, for La Sonora Ponceña and others who took it upon themselves to keep ‘son’ alive outside our country’… ‘and of all of them, the fundamental leader was Oscar D’ León because he is the most connected to authentic Cuban musical roots.'”

“In short, every time Oscar goes out to sing and dance, he is representing Cubans. For Cubans, dancing is almost a ritual. In 1950, they danced ‘son,’ ‘danzón,’ ‘mambo,’ ‘chachachá,’ ‘rumba,’ and other dances, some of which lasted a very short time, such as ‘dengue,’ ‘monzambique,’ ‘pilón,’ ‘carioca’; and others transcended time, like ‘conga’ and ‘rumba.’ Salsa is the continuation of, or the same as, ‘son,’ which can be danced with the same style or with different styles.

Photo 3: Oscar D' León in concert — Photo 3: Oscar D’ León in concert

Oswaldo Ponte began his promoter plan by hiring figures, among whom was Oscar D’ León. Becoming a serious entertainment promoter, he took the risk of doing it internationally (outside Venezuela) where he bought a contract from Guillermo Arena to present Celia Cruz with La Sonora Matancera. He also partnered with Juan Caravallo and managed to present the biggest show in Higuerote, Venezuela; with this great step, he was becoming a potential successful entrepreneur in international shows.”

“In 1983, he hired Oscar for 3 performances with ‘Roberto Blades,’ two at the Ávila Hotel and one at San Jacinto Park (both in Venezuela). At that time, Oscar was returning from Cuba, and with a new event, Oswaldo, upon seeing the show, pondered the difference between the two artists.

The Panamanian star was well-managed by his team. However, when it came to judging which was the better show, it was Oscar D’ León’s. When Ponte went to talk with him, he proposed becoming his manager on the condition that Oscar follow his instructions, as he always directed everything, which Oscar accepted. From that moment, many things changed not only artistically but also personally, offering the public not just Oscar D’ León and his orchestra, but Oscar D’ León himself, giving more charm and charisma to his audience.

One of the challenges he had to face was a stagnation in record sales. His new record productions weren’t taking off, so he decided to rely on television. Venezuela was both a recipient and a transmitter country, so his performances were broadcast on different television channels that gave great musical importance, such as ‘Siempre en Domingo,’ which covered the center and north of the American continent, and ‘Sábado Gigante,’ which covered South America, thus giving him international exposure.

One of his best and most unforgettable collaborations was with singer Celia Cruz, who was a great friend of Oscar’s. They participated in many events, one of which was in 1993, where Ralph Mercado did what he called ‘The Perfect Combination,’ which consisted of combining stars for public performances.

Participants included Oscar D’ León, Celia Cruz, Marc Anthony, La India from New York, Tito Nieves, Tony Vega, Cheo Feliciano, José Alberto El Canario, and Domingo Quiñones, of which the most recommended songs were ‘El Son de Celia y Oscar’ and ‘Vivir lo nuestro’ by Marc Anthony and La India. At that time, Oscar had left the TH label and was now with Ralph Mercado; his colleagues were Tito Puente, Celia Cruz, Sergio George, Cheo Feliciano, Tito Nieves, La India, José Alberto El Canario, and other significant stars.

There are many other details and more events up to the present day, but it would be too much to explain in one article. What is very clear is that Oscar D’ León has conquered countless goals in his life, and we can all do the same in the different areas in which we operate, if we set our minds to it with determination and an iron will.

Photo 4: Oscar D' León and his bibliography — Photo 4: Oscar D’ León and his bibliography

To learn more about this, we recommend reading ‘Oscar D’ León, Confesiones De Oswaldo Ponte’ by William Briceño, published by Fundación Simón Bolívar.”

Toña La Negra The Unequaled Velvet Voice of Tropical Song

On November 19, 1982, in Mexico City, Antonia del Carmen Peregrino Álvarez, better known as “Toña La

Toña la Negra, passed away. She was a prominent Mexican singer and actress of African descent, famous for her interpretations of boleros and tropical songs by the composer Agustín Lara, who considered her “the greatest female singer of all time” due to her “highly personal style,” “the power of her expression, and the velvet of her privileged throat.”

Toña La Negra The Unequaled Velvet Voice of Tropical Song

Antonia Peregrino was born in the city of Veracruz, in the La Huaca neighborhood, on November 2, 1912.

Her father, Don Timoteo Peregrino Reyes, played the guitar and worked as a freight opener for the crates arriving at the port; he was also one of the founders of the Veracruz Port Commercial Loaders and Openers Guild.

Her mother, Doña Daría Álvarez Campos, sang at family gatherings.

Her paternal grandfather, Don Severo Peregrino, was Haitian and had emigrated to Mexico in the 19th century.

By 1927, she had married Guillermo Cházaro Ahumada, who took her to Mexico City with their first child, who was only forty days old.

On July 16, 1929, she debuted at the cabaret El Retiro. While performing there, where she was known as La Peregrina, she met Don Emilio Azcárraga Vidaurreta. It was Azcárraga, along with Enrique Contel, who christened her “Toña La Negra.”

On November 19, 1982, in Mexico City, Antonia del Carmen Peregrino Álvarez, better known as “Toña La Negra”, passed away.

She began to gain recognition with her interpretation of the song “Enamorada” (In Love) by Agustín Lara. Lara also produced tracks for her such as “Lamento Jarocho,” “Veracruz,” “Noche Criolla” (Creole Night), “Oración Caribe” (Caribbean Prayer), “Palmera” (Palm Tree), “La Clave Azul” (The Blue Key), and “La Cumbancha.” They presented these together in a musical revue at the Teatro Esperanza in December 1932, achieving such success that they had to extend their performances for a long time.

Her voice tone was rather deep, with a velvety and rounded sound, and impeccable vocal techniquecharacteristics that became her interpretive signature.

Azcárraga added her to the cast of the XEW radio station, where she sometimes performed accompanied by Lara and other times by the Alfredo Girón orchestra.

Shortly thereafter, her spectacular performances began at the Teatro Politeama, across from Las Vizcaínas and next to San Juan de Letrán street.

Her recordings for the RCA Victor label constitute one of the most precious musical legacies in the history of the bolero.

One of the first records she cut for this label contained the song «El Cacahuatero» (The Peanut Vendor); this recording dates back to the 1930s. For RCA Victor, she recorded several long-play albums, including Caleidoscopio musical con Toña la Negra (Musical Kaleidoscope with Toña la Negra), Noche Criolla, vol. II, and La Sensación Jarocha, vol. III (The Jarocha Sensation, vol. III).

In the mid-sixties, she signed an exclusive contract with Discos Orfeón, where she recorded the last albums of her career.

“Este amor salvaje” (This Wild Love), “Por qué negar” (Why Deny It), “Obsesión,” “Mentiras tuyas” (Your Lies), “Y sin embargo te quiero” (And Yet I Love You), “Noche criolla,” “Pesar” (Grief), “Vereda tropical” (Tropical Path), “Cada noche un amor” (A Love Every Night), “Angelitos negros” (Little Black Angels), “Lágrimas de sangre” (Tears of Blood), “Estás equivocado” (You Are Wrong), “De mujer a mujer” (From Woman to Woman), “Como golondrinas” (Like Swallows), “Diez años” (Ten Years), and “Cenizas” (Ashes) are some of her successful titles recorded on over 75 LP records, some of them for the Peerless label. Already famous for many years, she recorded two songs with the legendary Sonora Matancera in 1974.

In her final years, due to some health issues, she gradually withdrew from the stage and recording.

Toña La Negra always maintained a very reserved personal life. With her first husband, the musician Guillermo Cházaro Ahumada, she had three children: Ramón (b. 1932), Guillermo (b. 1933), and Ernesto (1935–1979). Toña and Cházaro Ahumada separated in 1945.

Later, in 1955, she remarried the Veracruz-born bassist Víctor Ruiz Pazos, known as “Vitillo.” This marriage lasted until 1963. In an interview, Ruiz Pazos spoke about Toña’s artistic qualities:

Her commitment, her feeling when she sang, her style, the way she did it, how she expressed things musically; I have lived a long time, I have heard many fabulous singers, but none of them come close to Doña Toña.

The German filmmaker Christian Baudissin made a documentary about Toña La Negra for television in 1993, featuring interviews with her ex-husband, the musician Vitillo (Víctor Ruiz Pazos), and other artists who knew her during her lifetime.

Collaborators:

Los Mejores Salseros del Mundo

Dj. Augusto Felibertt

Also Read: Santa La Salsera and Diva of Mexico with her unique voice and style will continue to conquer us all

Compay Segundo The Eternal Patriarch of Cuban Son

Máximo Francisco Repilado Muñoz better known as Compay Segundo (1907-2003) The voice that conquered the world in the nineties.

Máximo Francisco Repilado Muñoz, globally known as Compay Segundo, is one of the most emblematic and essential figures in traditional Cuban music.

Born on November 18, 1907, in Siboney, Santiago de Cuba, his life was a dedication to music that culminated in a late, but well-deserved, global fame before his passing in Havana on July 13, 2003.

Máximo Francisco Repilado Muñoz, known worldwide as Compay Segundo

Origins and Musical Training

Compay Segundo was raised in a highly musical and manual environment. His father, Máximo Repilado, was a bricklayer and a great lover of traditional santiaguera music, while his mother, Caridad Muñoz, provided a strong cultural influence.

Coming from a large family, his brother Lorenzo Repilado was also an active figure in the Santiago music scene.

His beginnings were typical for the era. Compay started his career as a clarinetist in the Santiago Municipal Band, consolidating his training by later joining the Army Band. In the 1930s, he migrated to Havana, a crucial step that fully integrated him into the capital’s professional circuit.

Compay Segundo se crio en un ambiente musical y manual

Los Compadres and the Birth of the Name

The stage that would give him his artistic name and national fame was the formation of the Dúo Los Compadres in the 1940s alongside Lorenzo Hierrezuelo.

The Nickname: The name “Compay Segundo” (Second Compadre) arose because Máximo Repilado always sang the low harmonic or “second” voice (segundo) in the song, while Hierrezuelo performed the main voice. Hence, the affectionate Cuban diminutive “Compay” (short for compadre) plus “Segundo” (Second).
National Success: The duo became a sensation throughout Cuba, leaving behind unforgettable classics of son oriental such as “Macusa,” “Mi Son Orientál,” and the early version of what would become his most famous song: “Chan Chan.”

Compay created the armónico, a hybrid between a Spanish guitar and a Cuban tres, with 7 strings

The Armónico: His Instrumental Contribution

One of Compay’s most unique contributions was the invention of the “armónico,” an instrument he designed himself. It is a seven-string hybrid, halfway between the traditional Spanish guitar and the Cuban tres. This instrument allowed him to simultaneously execute bass lines, harmony, and melody, creating a unique sound that became the foundation of his style.

The Buena Vista Social Club Phenomenon

When it seemed Compay’s career was waning, destiny reserved the most glorious stage for him. In 1997, at the age of 90, he was invited by American musician Ry Cooder to participate in the recording of the album “Buena Vista Social Club.”

Global Fame: The success of the album and the subsequent documentary directed by Wim Wenders catapulted him to worldwide fame.
The Anthem: His unmistakable voice and the magical rendition of the song “Chan Chan” turned him into an international superstar, leading him to perform on the world’s most prestigious stages and bringing Cuban son to audiences of all ages.

Legacy and Family Continuity

Compay Segundo left behind a repertoire of songs considered national treasures. His most prominent tracks include “Chan Chan,” “Sarandonga,” “Las Flores de la Vida,” “Orgullecida,” and the popular bolero “Veinte Años,” which he popularized.

Compay was a father to at least nine children. His musical legacy not only lives on through his recordings but also through the activity of his descendants:

Basilio Repilado (1954–2012): Founder and arranger of the Grupo Compay Segundo.
Salvador Repilado: Upright bass player and current director of the Grupo Compay Segundo, the official international touring ensemble.

Furthermore, the younger generations (grandchildren and great-grandchildren) such as Yohel, Alejandro, and Yurisley Repilado continue the tradition in Havana with the ensemble “Los Herederos de Compay Segundo” (The Heirs of Compay Segundo), ensuring that the unmistakable sound of the Patriarch of Cuban Son continues to resonate in Cuba and the world.

Collaboration:

Sr. Eduardo Guilarte

Also Read: Son Cubano is one of the most popular musical styles in Cuba and Kiki Valera is one of its leading exponents

Raúl Eliza: from the army barracks to the stage and recording studios

It is increasingly common to find Puerto Rican artists who have had something to do with the United States Army, and our guest today is yet another example of how the music scene is not entirely separate from the military world. Bandleader and drummer Raúl Eliza has told us his fascinating story, focusing on his most important facets: military and art.

Puerto Rican bandleader and drummer Raúl Eliza playing live at Christmas

Adolescent musical tastes and the beginning of military life

In the 1980s, Raúl was a young resident of the Fairview neighborhood, located between the city of San Juan and Trujillo Alto, who was an obsessive fan of rock music. Of course, that was until he turned 19, when he enlisted in the U.S. Army in search of his purpose in life.

According to his own tale, his poor academic performance and lack of interest in other disciplines led him to join the navy, where he would love his profession shortly after. At first, he and a group of friends joined up to opt for a different alternative to the one they had, move forward from the stalemate, and be able to travel the world, but in his case, he ended up in love with this world.

In fact, a short time after entering military service, he was involved in the Gulf War, which consisted of the Iraqi occupation of Kuwait and its subsequent liberation by a US military coalition. During those days, Raúl realized that he was into something greater than himself and that the shallowing mindset with which he chose that life could turn into something bigger.

So, the then-soldier dedicated himself to doing his work as good as possible, bringing with it rewards like the opportunity to go to college, become an officer, receive medals, and much more.

Introduction to salsa

After three or four months of enlisting, he started to feel a wave of nostalgia for his country. He wanted to see his family and missed the music and food of his homeland. Then his sister sent him a package with two cassettes, one by Frankie Ruiz and the other by Eddie Santiago, which he says changed his life completely. He used to listen to them on old-fashioned players with headsets while cleaning the boat or doing the rest of his other assigned tasks.

Raúl Eliza in his uniform — Raúl Eliza in his service dress uniform

Subsequently, his brothers sent him cassettes by La Fania, Alex D’ Castro, Gilberto Santa Rosa, Cano Estremera, and many others. This made him reconnect with his roots and realize that he wanted a career in music at some point, which he would end up doing years later.

Raúl’s role as the United States representative for the Supreme Headquarters Allied Powers Europe

As the end of his military career approached, Raúl was designated as the United States representative for the Supreme Headquarters Allied Powers Europe (military wing of NATO) during President Donald Trump’s first term.

This was a tough stage of his service, as the president had a lot of run-ins with other member countries due to the excessive economic and armament burden borne solely by the United States. For this reason, every time he made some sort of announcement about that, Raúl received thousand calls from representatives of other countries asking him for explanations. He had his own office and received orders directly from the Pentagon.

Thanks to his position, he had a lot of freedom, so he always played salsa music in the background, and when his officers got into his office, they laughed and danced along with the tunes Raúl was listening to at that moment. Everyone knew that when he was in charge, there was always salsa music playing in the room.

Raúl in front of a tank — Raúl Eliza in front of an army tank while on duty

The beginning of his musical career

Finally in 2018, Raúl retired from military service, but already in 2017, he was making arrangements to devote himself to music once his duty with the army had been fulfilled. Specifically, he was in talks with Puerto Rican artists who were sending him samples and demos based on original songs that he had previously sent them. He was also writing his own lyrics and taking bass lessons to get ready for the future.

Once in Puerto Rico in 2018, he released his first single with his orchestra Conciencia Clásica, which is so named because his music was intended to raise awareness to his fans on social issues such as war, the injury suffered by the civilian population during periods of armed conflict, post-traumatic stress in soldiers, and racism, to name a few.

Artists he has collaborated with

Throughout his short career, Raúl has been blessed to count on the support and collaboration of music greats like Andy Montañez, Willito Otero, Jerry Medina, Carlos Esteban Fonseca, Medina Carrión, among others. While it is true that they all had much to contribute to the Puerto Rican artist at the level of knowledge, Montañez wrote him a song he dedicated to his Dominican wife called “Quisquellana,” which he is enormously thankful for.

He also has songs with Choco Orta and those already mentioned above. Raúl came into contact with these figures thanks to his music producer Manolo Navarro, who was the guy who introduced them to the project and managed to get them to collaborate.

Conciencia Clásica's third album — Cover of Conciencia Clásica’s third album ”Conciencia Clásica 3”

La Nota Band showcases the best of Venezuelan talent

We are proud to introduce the talented Venezuelans Rebeca Rodríguez and Armando Montiel, who are members of the group La Nota Band, which we will talk about in the following lines.

After thanking us and clarifying that they are both partners and share the direction of the band, they proceeded to tell us a bit about their origins, professions, band, and current careers.

Rebeca and Armando in 2018 — Rebeca Rodriguez and Armando Montiel at the Latin Grammys 2018

Rebeca and Armando’s beginnings in music

Armando began his story by telling us that, in his case, he has always loved music and enjoyed listening to it live. In his native city of Maracaibo, there were many street concerts featuring national and international artists, which sparked his interest in joining his school’s marching band between the third and fourth grade. This, in turn, led him to participate in some intercollegiate gaita festivals, which are very popular in many cities of the South American country.

This love for music took shape when the young man moved to Caracas and began his percussion lessons to finally have more formal training in this art. However, his parents made him promise to study a “real” career and then do whatever he wished for. He did so and studied civil engineering at Nueva Esparta University, but he has never practiced it, as music has always been his profession.

Rebeca also loved music, and from an early age, was always reciting poems, learning songs, and singing them at full blast. Then, as she grew up, she slowly built her career and made decisions based on that goal. Just as Armando, she participated in her school’s gaita festivals and took singing and dancing lessons, which led her to join bands in Caracas and become a backup singer for great artists.

Like Armando, she also studied a university degree, but in her case it was social communication at Andrés Bello Catholic University. She does not practice it either, although she does use her knowledge in favor of her artistic career.

Armando playing live — Venezuelan percussionist Armando Montiel playing live

Groups prior to La Nota Band

Armando said with a laugh that he could not mention all the bands and artists he has worked with because there are too many, but the most important ones were Ricardo Montaner, Chino y Nacho, Víctor Muñoz, Elvis Crespo, Guaco, Treo, Mermelada Bunch, and a few others.

Meanwhile, Rebeca pointed out that they met playing for Son Bubalú in Caracas and continued to share experiences in a certain way. While Armando was Chino y Nacho’s percussionist, Rebeca was hired as their backup singer, so they continued to live together and grow as artists in the same environments.

Their professional relationship developed at such a level that they ended up moving to the United States together in 2014 to take advantage of some work opportunities that arose. Among the artists they were able to play with in the United States are Gloria Estefan, Wisin y Yandel, Daddy Yankee, Luis Enrique, José Alberto “El Canario,” and many more.

Already in the year 2016, both realized that they loved collaborating with music greats, but also wanted to start their own business so they would not have to rely on what others wanted for them. That is when La Nota Band was born, with support from family and friends who were willing to help them on this new path.

Rebeca and Yandel — Puerto Rican singer Yandel and Rebeca Rodriguez at the Premios Lo Nuestro gala

The beginning of La Nota Band

In addition to being on their own, another thing Rebeca and Armando wanted to do was to offer employment to other musicians who were in the same situation as them years ago. This was the case of Armando’s twin brother, who was about to go to the United States and also devoted himself to music on percussion. Then, he bought a drum set so he could become the band’s drummer and his brother could take his place as a percussionist.

From the beginning, they have always focused on pleasing both Anglo-Saxon and Latin audiences, so they have been working to fill their repertoire with songs in both English and Spanish in order to enliven events where the two cultures come together.

What they have learned from the artists they have worked with

Of all the great artists Rebeca and Armando have been fortunate enough to work with, there are a number of things they have learned and applied to their own careers. One of these was the use of playback, as it is an extremely common and necessary resource in modern music. There are also other elements used to increase the sound quality of their performances.

Similarly, the discipline, professionalism, and perseverance necessary to manage this business are things they have seen in other artists and that have helped them get the place they want in the industry, which they also expect to achieve.

The Venezuelan musicians always keep their eyes and ears open to capture what can work for them and apply it to their own project.

La Nota Band and Chino y Nacho — Part of La Nota Band with Chino y Nacho at the Premios Lo Nuestro gala 2016

Dreams fulfilled

Among the many dreams come true thanks to music, Rebeca and Armando appreciate being able to travel regularly to many countries, even if their professional activities prevent them from sightseeing as they would like. This is something they would not have accomplished with other kinds of work, which they are enormously grateful for.

In addition to that, they are pleased to have been able to perform on big and famous stages such as Crypto.com Arena, formerly known as Staples Center, and Madison Square Garden in New York, something they never would have thought possible in their early years in Venezuela.

And last but not least, their talent and hard work have also led them to perform in important award ceremonies such as the Latin Grammys, Premios Juventud, and Premios Lo Nuestro.