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Monday, August 8, 2011
"SALSA" A phenomenon in New York City,...The glorious 70’s
In the 1930s, 40s and 50s, Cubans in New York, living among many Latinos from Puerto Rico and elsewhere, played their own distinctive styles of Cuban music influenced most importantly by African American music. Their music included son and guarachas, as well as tango, bolero, rumba, mambo and danzones, with prominent influences from jazz.
While the New York scene continued evolving, Cuban popular music, especially mambo music, became extremely popular across the United States. Albeit, it was at the old Palladium in NYC, where this music and this dancing style became popular. This was followed by a series of other types of Cuban music, which substantially affected the Latin scene in New York City.
I’d seen or read somewhere, that The word "SALSA" is an excellent ”metaphor” for a genre of music that emerged as a result of mixing; Cuban-based rhythms played mostly, by Puerto Ricans in New York City! - What salsa is…” A sauce”, helped to clarify the cultural and musical atmosphere of New York City during the late 1960s and 1970s. What it is not, is a rhythm. Nonetheless, when we refer to Salsa and its birthplace, we cannot totally ignore the true origin of these rhythms (Cuba) or also ignores every other country that has contributed to the popularization of the "salsa" phenomenon in New York City.
Many people have written numerous articles on this subject, and while I agreed with some of them, I disagreed with others. Why? Because I was there, not as a musician, or a record producer, or a seasoned promoter… I was there, as a young Latina, salsa and Latin Jazz lover, an amateur music collector, a dancer, a chance promoter and as a young person, from that era.
To better describe NYC at the end of the 60’s it's my opinion that Allan Tannenbaum did a remarkably sturdy piece of journalism, in his article New York in the 70s. A Remembrance, (February 2004). The following is an excerpt from his skilful and highly detailed article; Dirty, dangerous, and destitute. This was New York City in the 1970s. The 1960s were not yet over, and war still raged in Viet Nam, fueling resentment against the government. Nixon and the Watergate scandal created even more resentment, cynicism, and skepticism. Economically, stagnation coupled with inflation created a sense of malaise.
The Arab Oil Embargo of 1973 delivered another blow to the U.S. economy, and brought the strain of long lines to buy gasoline.
Conditions in Harlem and Bed- Stuy were horrendous, with abandoned buildings and widespread poverty. The subways were covered everywhere with horrible graffiti, and they were unreliable. It seemed as if the entire infrastructure were in decline. Political corruption, sloppy accounting, and the cost of the war were killing the city. The times Square, the crossroads of the world, was seedy and sleazy. Pimps, hookers, and drug dealers owned the night there.
Crime was rampant, and the police were powerless to stop it. The random killings by the “Son of Sam” made New Yorkers even more alarmed... -The parks were in decay with litter, and without lawns, and there were perfect home to muggers, and rapists. When the proud City of New York had to beg the Federal Government for a financial bail-out, the President said no. The Daily News headline said it all: “Ford to City – Drop Dead.”
Although today I may seem so far-removed, and I am thinking it was long ago. These words written by "Allan Tannenbaum", describe vividly clear what NYC was actually like before–. It is difficult to imagine.
The war was still rampant in Nam, for lots of us that were not fighting the war there, albeit, we were fighting our own battles, right here, in the street of NYC.
In our ghettos’... OMG- It was a challenge just walking to and from home!! these were the days that both, the Bronx and Brooklyn was on FIRE.... BURNING!! You wouldn’t even recognize these places, or relate them with what they were like back in the 70's-.
You’d have been tripping over hypodermic needles, and fighting off the hookers and the petty dealers back then. It was awful.....
Additionally most of us had families and friends that were coming back in boxes, or missing limbs, almost every month. This was disheartening, eerie and unreal for anyone that was at that time, not only a minority (most of us minority was sent to the front) it was quite daunting for anyone a little older than 14 years of age.
Then came the"SALSA", and that for us young Latinos in NYC, it obviously became sort of a cause. It was our revolution. - Our generation of NYC Latinos, the majority of us, we were not into fighting any war, communism, socialism or anything. We were just radical; we were not fanatic, extremist, or militant. Our main purpose was our easy going attitudes, and fun and games lifestyles. Many of us, didn't work unless it was quite necessary, never went to church nor did we care about saving. School for many was a place to hang out, to meet people, to demonstrate against the war, and many of the civil right issues of that time. Nevertheless, we actually were not too passionate about anything, until SALSA came to our world.
We used illegal drugs and listened to rock and roll and funk music. Our generation, With its radical beliefs and practices. We stunned America's in many ways. The Vietnam War and the civil rights movements, they made a tremendous impact on the American society, and the world as we knew it... Even today the effects of that era are still felt. Although we were so extreme, and lead such a carefree life, we made tremendous advantages and set examples for the youth of today and years to come.
SALSA came as a way of giving us some hope, and a musical identity for the young Latinos living in New York City, and a small group of non-Latinos. - It actually gave us a reason; it allowed us to discover something new, to interact with other young people, to feel free of the guilt from all the death images coming from the television, and many of the funerals we attended in our neighborhood.
Many of these young people dying in the war, they were people we knew, school mate, closed friends, relatives, brothers and sisters; all fighting an unknown war with no purpose or a sense of a cause, dying for something that they did not want to fight or die for. - Oh what a waste! What a responsibility for a generation of flower children! We preached LOVE not Hate, PEACE no WAR, in spite of living in such a troubled nation, divided by racial issues. Our youth were living in fear of being drafted... - "The draft" was used by the United States government to force young adult men into uniform to fight the raging war on Vietnam. Wth the growing anti-Vietnam war protests in the 1960s was a growing general disillusionment with American middle class material progress, with the "keeping up with the Jones mentality" and the general emptiness of American life.
As alienated kids protested, grew their hair and smoked their pot, they began to reorder their lives and some of them "dropped out" of school and traditional careers to pursue different styles of living. These included more sexual freedom, less work, less ambition, and more being stoned or "high," more meditation and thoughtfulness, more bicycle riding, more walking and more hitch-hiking. These kids and young adults became known as "hippies." Of course, no one quite knew what a "hippie" truly was, so you just smiled when someone asked you if you were a "hippie." Many of the hippies were ostensibly apolitical or nonpolitical.
- The Beatles made their American debut on The Ed Sullivan Show on Sunday, February 9, 1964.... - In 1959, Berry Gordy -- a one-time assembly line worker at Ford Motor Company -- founded a Detroit-based record company called Motown. By 1963, Motown became the most successful black-owned record company in the history of American music. Motown had a stable of vocal groups, songwriters, musicians.
The music was an attempt to reflect upon the events of the time --- civil rights, the growing unrest over the war in Vietnam, and the rise of feminism. In many instances, the "message" within the song was simplistic or even banal. However, other songs received substantial airplay and became "anthems" at concerts, rallies, and demonstrations. The most prominent artists to emerge from the folk tradition include Bob Dylan, Joan Baez, Phil Ochs, and the trio known as Peter, Paul, and Mary.
While all of these changes were happening in New York City, America the world, what was happening in our Latino world in NYC ? - Quite a lot!! New York was, is and will remain a melting pot for centuries to come, and we cannot single out one group as the center of the musical universe. El Barrio, as well as The Palladium Ballroom in downtown Manhattan, are both essential places in the development of the salsa music, but they are not the birthplace of "salsa".
There was a time up to the 1960, when, old school musicians and salseros can still remember there was no such terms as "SALSA", and when everybody played, and danced to Cuban music.
These were the days of the Boleros, all over Latin America, South and Central, the Caribbean. These were times, when most of the musical talents were coming from Cuba, as well as other places in Latin America.
There was indeed a wealth of talent in our music coming out of the radios, it was not uncommon to hear the leading voices, of Benny More, Blanca Rosa Gil, Olga Guillot, Felipe Pirela, Marco Antonio Muniz, Gilberto Monroig, Daniel Santo, Celio Gonzalez, Orlando Contrera, La Sonora Matancera, Panchito Riset, Chano Pozo, Machito, Vicentico Valdez, Rolando La serie (El guapachoso). The mid 60’s, in New York City brought a new generation of young musicians with different, contagious, and sensual rhythms, and movement.
Of these accomplished musicians that started to revolutionize our music as we knew it back then in the mid 60's, we had the like of Joe Cuba, with his boogaloo, Joe Quijano with his Pachanga, Orlando Marin, with the acclaimed hit " Se quemo la casa" El Gran Combo had integrated some serious bogaloo, Cortijo y su combo singing Ismael Rivera, have taken the Latin America world by storm, Tito Rodriguez, Tito Puentes and Machito were the Kings of NY, La Lupe was the Queen Of Latin Soul.
" Mambo was extremely jazz-influenced", and it was the mambo popular bands that kept alive the large jazz ensemble tradition, while the mainstream movement of jazz was moving on to the smaller bands of the bebop era. Throughout the 1950's, Latin dance music, such as mambo music, rumba and cha cha cha was mainstream, popular music in the United States and Europe. However, the 50s also saw a decline in popularity for mambo popular bands, followed by the Cuban Revolution of 1959. It was then, that the leading bands started declining…… So the golden years of the Mambo Kings bands, was coming to an end by the end of the 60’s.
Before 1963, we never hear the Word SALSA. We only knew it as a cooking ingredient. The 60’s certainly gave us a variation in dancing styles.
We still had the mambo. In addition, we were still dancing the chat, cha, cha, Rumba and the Cuban Habaneros. However, we were presented with new, fresh, and sultry and seductive rhythms such as charanga, Malanga, Pachanga, Boogaloo, Latin Jazz and a new sexier style of dancing the older Son Cubano, we got the son montuno.
Ah, Salsa, Salsa, Salsa…. This was our street music. Born in our ghetto’s… It was “Our thing” it brought hope, yes it did… Salsa has been from the first time I listened to the first salsa tune, a source of healing, comfort, contentment. My personal views about this music, is extremely intense, to me is like a direct contact with something divine. It's more than a religion; it's more like a philosophy. Its lyrics and the African beat give my soul a sense of Freedom.
This sultry sound of salsa gave us young Latinos in NYC a new sense of normality. It gave us hope and a new way to describe our generation- While the adults in our families, in our communities were conservative, hard working, and caring mostly, about money, We didn’t care about any of that. We were party animals!!
Before they called it “SALSA”, many musicians in New York had already explored the possibilities of doing some experimentation blending Cuban rhythms with jazz, an example of this music, was played quite often before in the 1940’s by Cuban legends, Machito and his brother in Law, Mario Bauzá.
This mixture was known as the "Afro-Cuban jazz," This music was obviously for dancing. The Latin big-band era in New York City, found favor with dancers and listeners alike, With the bands of the Mambo Kings, Tito Puente, Tito Rodriguez, Machito, Orlando Marin and many other Cuban musicians of that era. These musicians were fervently committed to playing for the most part, Cuban music in the '50's —. While this was happening in New York City, back in the Island of Puerto Rico, Rafael Cortijo, along with singer Ismael Rivera got the island's dancers moving to their own genres such as the bomba and the plena.
By the mid 60’s, Johnny Pacheco founded the Fania Label, with the help of Jerry Massucci (An Italian lawyer). Johnny Pacheco was by then an accomplished musician, he had a Charanga Orchestra, was a producer and composer. Among the first artists to record on Pacheco's Fania labels were Nuyorican trombonist/composer Willie Colón and Panamanian-born singer/composer Rubén Blades, both stamped and carved a pivotal role in salsa music history, this was partly for their socially conscious and topical lyrics. Some examples of this music, was, El malo, Abuelita, Calle Luna Calle Sol, by Willie and Siembra, Juan Pachanga, Chica plastic by Ruben. They also paved the way for many other young Latinos to get into this new wave, new sound “SALSA...”.
According to what I read about the Fania Label, it was totally dedicated to recording tropical music. To my way of thinking this revolution, and yes indeed... Salsa was a revolution, Came about, because of the Cuban situation and conflicts with Castro, where the United Stated, simply cut any relationship with Cuba.
This political situation between these two countries, impacted the music industry and all the Cuban musicians. It was also felt all over the world. This effect was not only intended to influence them politically, besides the music, it also affected the art and culture. Nevertheless, it was no longer possible to call Afro-Cuban, to anything related to any music that had any Cuban influence.
Sometime in the 1970, I think, it was in Latin New York Magazine, where I read an article, which actually bother me, and in a way made me a little mad and disappointed in the views and ways of thinking of Tito Puentes. - I obviously don’t remember who was the author of the article. It was either Izzy Zanabria, or perhaps, it was someone else. - This article was relating, how Tito Puente’s was refusing to call this new music "SALSA". The article cited how he (Tito Puentes) felt about this music, his feelings towards the boogaloo. His views, were extremely negative, at that time, he was not supporting it “ He said that this new music was nothing less than the combination of all the old Cuban’s Rhythms and some new arrangement..... He was right, in many ways! - Salsa music didn't invent the wheel! However, this was a new sound, it was not mambo, cha-cha, son montuno etc. Therefore, it deserves a proper name. He was refusing to give credit to all these new and, young, talented musicians, which were emerging mostly from New York City. His attitude was pretty much, the same as he carried, during the Palladium's days, with all the other legend.
I certainly don't want to say anything negative about an extremely well known, loved and respected, timbalero, producer and an extremely talented musician which most Latinos and Non-Latinos called the KING-. He earned that title hard and fair- There is no doubt about how marvellous Tito Puentes was. Just like Tito, these young musicians were the descendants of Puerto Ricans. Tito shared with these young musicians, their musical talent, and the fact that their families have left the Island earlier in the late 20's, 30’s and 40’s, looking for a better life in this soil- Many of these young men were from El Barrio just like Tito.
The new generation of young musicians had come up with a totally different concept, and deserved to be recognized and supported. They made a significant contribution to our "SALSA" These are the names of some of the fathers of our Latin music, Willie Colon, Joe Cuba, Joe Pastrana, the Parlmieri's brothers, Ray Barreto, Louie Ramirez, and many others that will take much room for me to log in this article.
Then, came the 1970, these were the days that the Fania was at its peak, everyone in New York was talking about the Fania. In addition to the Fania, which was the main record label. There were other labels, such as Cotique, Tico records, Alegres, Coco records, Inca, etc.. Furthermore, most of New York Salseros were only familiar with the Fania label/
The Fania has several artists, and these were the musicians, we, the young salseros wanted to go and watch play live, and dance to their music; Eddie Palmieri, Charlie Palmieri, Ray Barreto, Celia Cruz, Willie Colon & Hector Lavoe, Cheo Feliciano, Bobby Rodríguez y la Compania, Chivirico Davilas, Kako, Ismael Miranda, Junior Gonzalez, Richie Ray and Bobby Cruz, Tommy Olivencia with Chamaco Ramirez, Marvin Santiago, Willie Rosario, Roberto Roena and his Apollo Sound, Rhapy Levvit, Frankie Dante, Santiago Ceron, El Gran Combo, Ismael Rivera, La Sonora Poncena, Dimension Latina, and so many others. By the mid 70’s, Salsa was changing the way people listened and danced to Latin music.
This music was so contagious, and catching, that it was spreading all over New York, some parts of the United State, Europe, Africa, South and Central America, the Caribbean island, Japan, all these people all over the world were treated to this new sound. Puerto Rico became the Central figure in this revolution. It contributed to produce some of the best interpreter to this new genre.
What was new and contagious about this new sound everyone was calling SALSA ? …- While Cuban clave remained as the heartbeat of the music, there are four main factors in how it became its own genre: the important role of the Cuban timbales in the ensemble, the modern harmony associated with jazz musicians increased use of trombones, and the incorporation of Puerto Rican rhythms, instruments and stylistic elements.
Even" though", our city was dying with all the social diseases of that era, and the impact of the war, all the embargoes, Watergate and a complete list of issues that were clearly of not importance to us, including the young Latinos, that had just emigrated to this mecca, and were now calling it home. - Oh New York City! - The city of wonder!! How powerful this city appeared to the innocent eyes of our youth... NEW YORK CITY!!!! We never imagined such an incredible sunrise!! A fun day would be to get on the subway from the Bronx, head out downtown, where we just walked around the city and watch it in motion, people going to work, people at work… It felt so right. It was quite active in the summertime, so much to do. We’d walk past neighborhoods, and see kids at play, then, we’d go past high skyscrapers, downtown Manhattan, would walk long blocks and wonder around "Times Square".
We would venture into Coney Island, then would return to the Bronx. Many times we used to hang out the whole night in Crotona Park or just any street in the South Bronx or South of Brooklyn, listening to the music of Joe Gaine, dancing in the park, in the streets. We pretty much went everywhere. While pondering in these days of my youth, I just couldn’t fathom, living anywhere else on the planet – I’ve never felt unsafe in the city.....
Rubén Blades once said, “Salsa would remain as one of the world's most influential music and dance genres in the decades to come.” - Oh the 70’s …. These were unquestionably the glorious days of this music. There was salsa everywhere you went- In the streets of New York…. The Bronx was baptized “El Condado de la Salsa” (The salsa county). The salsa was blasting out of every radio. There were more clubs, discotheques and after- hours that it was humanly possible to attend.
I frequented every club that existed in NYC in those days. Beginning from the late 60’s, up to the mid 80's when I decided it was high time, to take a break and dedicate my life, my efforts and energy to my marriage, upbringing and care of my young children, and to finished my education and concentrate on my career.
I tried to go to more than four places some nights.... It was hard! All over the city, the Latin clubs were featuring live music. In any typical Friday or Saturday night, Willie Colon with Hector could be Playing at the Corso, while at the Hipocampo was Adalberto Santiago y los Kimbos. Then at the Chez sensual, was perhaps, Angel Canales, at Boombamakao, it was Chivirico Davilas, or Joe Cuba, Cheo Feliciano. It was a chore just choosing where to go first-. Many of us frequented more than one club in any given nigh. Once the clubs were closed, then we all head out to the after hours.
Then came the summer time! - Oh my Gosh.....- What a pleasure it was to wake up, drenched in sweat!! - Yes we took showers in the middle of the night...Why? I certainly, can say that as far as I can recall, Latinos didn't own air conditioners!.. This is just my perception of that time, maybe everyone I knew was just extremely limited or unusually cheap - Every house you went there were none.... It was just ordinary old fans, they used to sell them in 3rd Ave, I never saw an AC in the " good" old Bronx.... Well despite the heat wave, that we always during that great decade, the summer was a period of unstopping parties all over, every day of the week. The weekends, they were just AWESOME!.. It was "La Montaña del Oso", La fiesta Del Mamoncillo, Las Villas, La Fuente (Central Park) all the free concert in Central Park, Orchard beach with their free concert and the salsa dura on Saturdays and Sundays. El Barrio was the place, and still until today, it has remain the place to go and hang out the entire summer.
Back then and now, Begining from 105th to over 120th, you can just walk around and there would be an all day rumba where you can dance and have the most fantastic time of your life. In the Bronx, every park, was swinging with salsa and the young people dancing, then you will have your friends throw you in the POMPAS (fire hydrant) although many times we got quite upset, because they got you all wet... Now, when I reflect on that time, all I could say is ..... IT WAS JUST PLAIN FUN!!! This was the main reason why in the mid 70's El Gran Combo, came up with their now all time classic 'UN VERANO EN NUEVA YORK" that salsa song in particular describe what it was then and perhaps in a lower scale, now.
To me, this was as wealthy as a generation could be, in enjoying new music, a new culture, unaware that we were being part and were to eventually going to bear witness, to this beautiful new genre that was available to us from the best of the best. Live, every night, every weekend!!!!!! SALSA!!
How was it possible for a young person, (some of us, were as young as 15 years of age, ID's were not checked at the clubs, LOL, no wonder we got into so much trouble) to choose, where to go dancing and stay there the whole night, while somewhere else there was an explosion of rhythm, with another great Orquesta, group or bands. There was not a shortage of things to do or places to go....
How could choose to have a career, to try and get an education when all of this was happening in NYC. I found that even keeping a relationship was difficult. On my part, I can say, I did it all in half in those days, part time school, part time work, part time sleep, part time eating, while it was full time clubbing, swinging and dancing. There was just not time...
In addition to the Clubs and discotheque, there were the after-hours..... OMG, the after-hours!!! These were quite shady places in New York City, places that operated without any kind of licenses, ha, ha, ha…. That was the former New York City… These places usually opened at 4:00 am every weekend until 10:00 or 11:00 am, the next day which was either Saturday or Sunday.. The only reputable and excellent after hours, I knew of, was Pozo in El Barrio, albeit no matter how dubious theses places were, they were quite keen, their DJ’s were the best, the music was always awesome In those days instead of” awesome” we used to say “groovy” or everything else that was happening, was BACANO. In these after-hours are where you had the pleasure of dancing with the best salsa dancers in NYC!!
These were the days, that crashing parties were a skill.... Nonetheless, we all had fun... Had it not been, because the Viet Nam war, I guess, life would have been 100% trouble free. Those house parties were “THE BEST. “ Free food, free liquor, and a “free head”. - They were extremely popular, and every weekend, as well, as the club, you had the temptation of having to crash a party, anywhere in the city..... It didn’t matter; we went everywhere, thanks to the NYC subway system. Our core values and belief was, “No invitation was needed” and it didn’t matter how far a subway trip was going to be, the challenge of crashing a fabulous party was worth the trip.
I remember one day I had a party in my apartment in Woodycrest Ave in the Bronx (I was only 18 years of age and, I already had a place in a lovely area and a beautiful building "Nonan Towers" by the Yankee Stadium, with a doorman. Well, I was already an ambitious young woman, had a terrific job working for a Lawyer, was doing Salsa promoting in the evening and the weekend, so I had a fantastic life! (No one at that age, nowadays can afford to keep an apartment and have a car as well) At that party, we were celebrating my cousin Dictelio's 21th Birthday..... I had a large studio apartment, by 11:00 Pm that night there were over 150 people, 80% of these people I did not know; they heard about the party from someone, that knew someone, that there was a party in the Bronx..."Bien Bacano!!! - Bacano or Bacana was a term used for people that were players, good dancers, dressed well, were popular and knew where it was "happening" in NYC. One more requirement to be considered a Bacano or Bacana was to be into the drug culture of those days. Bacaneria was everything the Bacano and Bacanas did. As you can see, for what is left of many people of that generation today..... THERE WERE MANY BACANO/A....
Because there were so many clubs, after-hours, house party and discotheque. It was certainly too much happening in NYC. Most of the time if you were considered by others, and though yourself to be a true Bacano or Bacana, (This was a reputation that you have to keep in order to go places in NYC, and to be able and fit in with the right crowd, seriously). At least, this was the term used among people in my circle. About my circle of friends, it was quite extensive..." I knew people from Jersey, I had a sizeable group of friends from Brooklyn and Queens, many from El Barrio, Washington Height and the Bronx". - To keep your reputation of being "in" (LOL) you could only stay in a club for no more than 3 hours, then you would head out to the next place, you actually didn’t want anyone tell you the next day, that you missed something, in this place of the other place.
It was in these clubs that we learned about our Latin music, “Our Latin Thing” These are some of the clubs, discotheques and after hours that come to my mind. It was in some of these places that we, the Latinos’ "Baby Boomers" felt in love for the first time or for the hundred times. This is where we learned how to dance salsa, cha cha, charanga, son cubano, son Montuno, Disco etc....
For many of us, it was at these places that we learned and developed the social skill that have allowed us to interact so well until now, because in these NYC clubs of the "good" old 70's, everyone knew each other from somewhere, or they knew your “panas” from your hood (friends) "so", everyone was your friend.
The Chez José, (located at the Hotel Park Plaza, 50 West 77th Street between 8th and Columbus Avenue) The St. George Hotel in Brooklyn, NY, (to me this was the place where salsa was born, it was at this place where I danced to more than 10 bands in one night. They started bringing many Latin bands in the mid 60's during the height days of the boogaloo) El Hipocampo, Casa Blanca, (this was the place where after they've closed the Palladium the mambo dancers took refuge, Machito and Graciela were the house bands on Saturdays) The 3 and 1/2 times, Pozo (after hours, it was at this place, that you could dance and mingle with all the stars, such as Pete El Conde, Casanova, Pacheco, Hector Lavoe, and anyone that was anybody in those days, of course, Pozo would not let you in if he didn't think you were "somebody" also, LOL... You can just imagine, that I used to put on airs, because I was always at POZO) Tu Casa Social Club (after hours) La Mariposa, La escalera, The Chez sensual, Park Plaza, El dorado, El flamingo, Savoy Manor, Faces inc, Boombamakao, Barnie Google, El Corso, The Roseland(only for large events), the Birdland(Special events only), The Palladium(closed in 1966, sometime open for specific events), The Maganette, Scorpio's Inn, Hunts Point Palace, Colgate Gardens, Luigis, EL Toro, Terrace Garden, Burnside Manor, The Epoca, Tapestry, El Toro (Castle Hill) The village Gate, The Ipanema, The Corks and Bottle, Leviticus, The Nest, The original Copacanana (57th off 5th aveThe Cheetah (this is where all began) Embassy ballroom, Side Street, Concourse Plaza, Peek -A-Boo Lounge, The Loft (Soho, Prince St) The Stardust Ballroom, The wagon Wheel, El Chico, Ochentas, The Tropicana, Broadway ll, There were also the Disco we frequented in the City, where we dance to the Funk music of that time or discovered the new crazed of the time... DISCO DANCING; Some of the names that come to mind are, the Forbidden Apple, The Santuary, The Fun House, Reflection, The Loft, Starship Discovery 1, Inferno. Disco fever (The Bronx) Danceteria, The Sound Machine (East 55th street, later on was the Discovery) Bond, Well I am sure there are many others that I don’t remember right now, but there were many more.
The best Salsa radio program was also in this glorious 70’s era... "Symphony Sid" and "Descarga" hosted by Joe Gaine, I remember the summers, how every street in the Bronx, The south of Brooklyn and El Barrio, the Heights, were "Encendia" (on fire) with these radio stations and the music that Joe Gaine played. Joe would be blasting, Ray Barreto, The Apollo Sound, Any of the Palmieris, Willie and Hector, La Ponceña, El Green Combo, Cheo, etc. He played all the music we danced to at the club, every night. It was " in fact". - "Un Verano en Nueva York" Then the Polito Vega on Sundays, and all the concerts at Orchard Beach, of course, there was our dear old Ernie, always spinning the best salsa.
Most of us, young Bacanas, had the body to wear Bikini’ LOL, for some of us, including myself, it’s just a fond memory..... So we danced with our bikinis and our buffalo Sandals (The natural color platform sandals that were quite popular in 1974 and 75) Got our tan, and went to show it at the club in the evening, with our halter blouses and hot pants. Ha, ha, ha, Is truly remarkable, that in a "lifetime", you can get from a size 8, to ?????
There were so many places that it was hard to keep up. I remember Dancing 7 days a week, going to work and to City College..... Oh well! Did I ?.... uhmmm…… "Please", don't ask me how I accomplished all these tasks and responsibilities. Apparently I did, and I was adept at it, at least I was able to keep myself out of "Reall or serious trouble"... Furthermore, I was able to graduate finally after being in school for over 12years…… Yeah that is how long it took… .., Salsa was extremely distracting.
Generally, I can say that these were " in fact", incredible times. Fun and easy… Those of us that were young, careless liberal, radical, freethinking and fearless.
Then came the 80’s, this was a time of diversification, Our hard core popular salsa, evolved into soft and mild salsa romantic, with lyrics dwelling on love and romance, and its more explicit cousin, salsa erotica. At this time, the salsa became more accessible, it expanded to Mexico, Argentina, Peru, the Caribbean, some countries in Central and South America, Europe and Japan, where in Japan it was popularized by the famous Orquesta Del Sol. By this time, in the Dominican Republic the Merengue has some sort of renaissance. Now Merengue is another story, I am not going to touch it in this article. I am Dominican, and when I visited the Dominican Republic in the early 70's, Dominicans there were not into salsa yet!! When I went out dancing, the music you heard was from young, Fernandito Villalona, Cuco Valoy, Sergio Vargas, Anthony Rios, Johnny Ventura, Millie y Los vecinos, Conjunto Quisquella etc. Due to my devotion to salsa, I used to make my visits there truly short....NYC, and my SALSA, was calling!!!!!
In the 1990s evolving out of salsa from Cuba, timba drew on the Songo rhythms and was invented by bands like Los Van Van and NG La Banda. By this time, this type of Cuban-born salsa was known as timba and became popular across the world. Another form of Cuban salsa is Songo-salsa, with extremely fast rapping.
Salsa has registered a steady growth and now dominates the airwaves in many countries " in Latin America," Asia and Europe". I am a firm believer that salsa will survive, the Bachatas, Reggaeton, Los Merengues de Kalle and that the best is yet to come, Of course, it would be different. I do think there will be a salsa Renaissance.
Well, I was just pondering in these fabulous memories..... I am glad, I had these experiences, met so many terrific people, some of them are still my friends, and we still keep in touch regularly get together and go out dancing. After all these years and all the changes we saw happening with our music, the clubs we frequented are no longer there. The promoters we knew, either passed on, or are retired, Most of the music labels we knew are non existent. Regardless, we still, go out, support our music and enjoy ourselves. The music, the club, the promoters are not the same. We are not the same … Our love of salsa and our culture brought us together and will keep us together, this is the thing about salsa, which is so healing and therapeutic. It brings the best in you, I feel truly blessed, to had been around when the Afro Cuban music, gave birth to the salsa!!
Oh well……. This was a quick trip down memory lane......
Please continue to support our musical journey through the fascinating world of Salsa music!!
QUE VIVA LA SALSA SIEMPRE
By: Carmen Cepeda