Paper Lanterns As Centerpieces

East

Before adopting the alias · Joe Cuba · , Gilberto Miguel Calderon Cardona called for a time Joe Panama. They'll think that the man changed his nationality as a Liberian ship, but it is not the case.

The story actually has its bembé. Nuyorican

as many stars from the Latin, Calderón fell into the world of music with one of those break points that usually produce a blunder. More if it's real. Just came the 50's when Gilbert broke a leg and thereby frustrating their desire to be baseball and basketball player (besides be studying to become a lawyer.) To avoid boredom at home, he asked his neighbor Street 115, New York to lend him some congas to mimic what I heard on albums by Machito .
And I was catching the taste with the matter.

Joe Cuba, the mayor of the district

much, that just around a year or two, was already playing as a replacement in various orchestras, participated in two or three times that of Marcelino Guerra, who is not little, until the good fortune, with the help of bassist Roy Rosa, brought him into the quintet of Panama David PREUDHOMME, which had been the nickname of Joe Panama. The fact is that PREUDHOMME was no businessman and Calderón yes, so he ended the last charge of finance and, after musical disagreements, staying with the group.
also recommended by Rosa, Joe adds a vibraphonist named Tommy Berrios, so the band renamed the Joe Panama Sextet ... until, during a concert at the club La Banda in the city, warning that appears PREUDHOMME had recorded the naming rights, so cuidao . Saw the picture, accepted the recommendation of the promoter Catalino Rolon and decided renamed Joe Cuba.

The rest you know.

not without some ups and downs, from the time the sextet was climbing the ladder of popularity in New York, mainly because its efforts to include songs with Latin rhythms, but sung in English, almost inadvertently helped to strengthen this fledgling Spanglish , and proved to be well received by those young people who are band without problems between the two languages.

was the opening act on numerous occasions, Titos in that Fantabulous Palladium, and the music was nurtured by generous that he always admired to create a unique style.
kept the margin (except for a couple of times in 1957) the use of wind instruments, concentrating the melody on the vibraphone. So forged a sound short but very effective, which could be accommodated even in small clubs, in which the cry of a trumpet could be very heavy.
Least to Most seemed to be always thinking.
already in the early 60's became one of the stars that dominated the landscape. Thanks to the lightness of his band, he could easily survive the death of the big bands, taking over the vacant lot and offering, from 1964, one of the crossovers that would give a twist to the sound newyork two years after . I'm talking, of course, the boogaloo.

radiograph of this germ, two years before hatching, is on the disc Steppin 'Out , the first full-length to record in your life. edited it Seeco Records in 1962 and serves as a transducer of the music that was dominating the sound spectrum of the Big Apple. Offers the still young but powerful voice of José Cheo Feliciano and points that music forms, in one way or another, was to assume in this decade of change.
Steppin 'Out is not only super-embarrassed recorded an album of that year Seeco may sound better than one of Fania, 1977 but the industry is well-but has a number of issues that are already part of American musical iconography. The secret seems to be that it was a hard thought, the same Cuba account the idea that he offered to record Rolon, who warned that the owner of the Seeco, Sidney Siegel, he would not give a penny of royalties. Joe also accepted because it was the perfect way to be disclosed to the public: the label was the main writer of Latin music right now, but Tico Records was already beginning to overshadow him.

So this album, recorded with the experimental stereo voices that puts one hand and the rhythm section on the other, brought together the best songs of the repertoire of the sextet: At six , the pachanga holiday that has been repeated so many times in dozens of montunos the 70 sauce; East, a old Cuban song with a phenomenal solo Berrios guapachoso few breaks and that letter says

sticky

Hey, I'm from East

hot rhythm

that makes you enjoy.

Hey, I bring joy

of this land mine

that makes you enjoy.

I bring belly, maraca,

cane flavor

and dance while my pachanga

and very cunning.

Hey, I'm from Santiago

of Ponce

Pachangueros

to know how to dance

is that I will bring hot pace East

A font mambo great, Rosalie, and a delicious guaguancó, Street, which is just one of hundreds of versions that have done the traditional flavored Yambú but downloads street. It also includes a bolero Cheo record again a decade later: How laugh, in a performance that he burst into applause to those in the recording studio; Forums, a mambo with flavor to neighborhood ; Women with choruses that game seal of the house I came pa see, with that delicious taste that Cuba could print on the montuno, and To Be With You , a bolero sung in English that produced by Jimmy Sabater a scene of professional jealousy in the heart study, since Feliciano wanted to record because I'm the vocalist of this band .
Genio. Good reception
this disc Joe reinforced the importance of Cuba in the musical spectrum. Also achieved in the years following interesting sign a contract with Tico, recorded for a time with both record labels and released in 1966 this fundamental album, which broke all sales records and helped trigger one of the most authentic musical madness New York. On that production
talk later.

Does Blonde Highlights In Red Hair Look Tacky

Boys and girls, the main victims of the use of explosive weapons in conflicts

the past 10 years more than 2 million children have died as a direct result of conflict and more than 6 million have been seriously injured or permanently disabled. childhood is particularly affected by the explosive weapons used in populated areas, as noted in the report "devastating impact, explosive weapons" . In 2010, this type of weapon caused deaths and maiming thousands of children in 13 of the 17 countries where it was used, according to the UN. The report denounced the massive violations suffered by children involved in armed conflicts where such weapons use.

Afghanistan, Iraq, Sri Lanka, Somalia, Yemen, Israel and the occupied territories of Palestine are the countries where the use of explosive weapons have tragic consequences for children. Children are especially vulnerable to the direct effects of explosions and fragmentation of the munition, effects that are both physical and psychological. Moreover, they also suffer the collateral consequences such as reduced access to health services and education. Only in the first half of 2010, conflict and the attacks on Afghanistan left out of more than 400,000 school children.

Thousands of children were killed during 2009 by direct attack with explosive weapons. Many more have died as a result of the damage reversed on health infrastructure. In addition, survivors are forced to live in a hostile environment created by the variety of psychological, mental and economic use of these weapons cause on society.

The risk of children from the effects of landmines has dropped significantly as a result of the Ottawa Treaty or Convention on the prohibition of antipersonnel mines in 1997 and the efforts of the organizations that actively fight against its use . However, each year, landmines kill or maim 8,000 to 10,000 children. Where data are available on the age of the victims, there is evidence that children represent 41% of them. In Afghanistan, the death of children represents 50% of the casualties caused by unexploded ordnance remaining.

Countries most explosive threats on children

During 2010 (before the outbreak of the riots and conflicts in the Arab countries of North Africa) the six countries where children were most threatened by the use of explosive weapons are:

Afghanistan: During the first four months of 2010 were recorded 106 attacks on schools and during the first half of the year about 400,000 children were left without classes for the development of the conflict, threats and attacks. The schools have been attacked can be closed for years.

OPT: Children were almost one third of the civilians killed during the operation Cast Lead ended January 18, 2009 after 23 days of air strikes and ground operations in Gaza by the Israeli army. In 2010 continued to use in particularly explosive weapons bunkers in the area which borders Israel and in the coastal area, causing damage to children.

Pakistan: In 2009 the Pakistani army launched an attack with artillery bombardments in the province of Khyber Pakhtoonkhwa to oust the insurgents associated with the Taliban. According to the Institute for Peace Studies from Pakistan, 3,021 people were and 7334 killed (mostly civilians) were affected by the increased use of household items. Civilians are estimated to reach 30 percent of deaths from air strikes by U.S. drones. Somalia

: Explosive weapons are widely used by both sides of the conflict between the Transitional Federal Government (supported by troops from the African Union) and insurgent groups. The intensification of the conflict since mid-February to late April 2010 left a thousand dead, most of whom were civilians caught in the bombing of both. In an MSF hospital, women and children under 14 years represented 38 percent of those being treated for war wounds, 64 percent of which had severe damage.

Sri Lanka: In May 2009 was the final offensive by government forces against the Liberation Tigers of Tamil Eelam. Explosive weapons, particularly mortars, killed a large number of civilians, including children.

Yemen: In August 2009, the government re-launched an offensive against insurgents in the north. Artillery, drones and homemade bombs killed 189 children and damaged 155. 71% of these injuries were due to direct confrontations between both sides.

Black Stool Before Labor

Koncept kaliente pace in unity, old fashion way

Twenty years before Ry Cooder arrived in Columbus plan to discover Cuban music (be refreshed, the truth), something interesting happened in New York. In 1974, a group of musicians led by the brothers Andy and Jerry Gonzalez started well in guapachoso plan, organize downloads for personal use, like a rubber ball Caimanera or spontaneous football these binges are organized on the beaches Rio. The issue was a good time, free from the shackles of the participating orchestras where these instruments and sound so delicious. Pure buddies.

This improvisation begins to more seriously when they received an invitation to give several concerts at Wesleyan University, that it is in Connecticut. To get out of joint called Anabacoa decide (taking the name of an old are Arsenio Rodriguez parent of Latin music we hear today), are presented with remarkable success, word of mouth starts, add more musicians and that's when they realize that the rumba was not confined to weekends and Caimanera of buddies. René Lopez, singer and musicologist, took the baton of the group and decides to christen him with a long name that almost nothing was soon to enter the annals of Latin music

The Group at a concert in Berlin in 2008

the · Grupo Folklorico and Experimental Nuevayorquino · .

The whole premise was to maintain that freedom, shun corsets, fashions, and assume the Cuban musical roots and Spice it of modernity, those roots that are the same as Cooder discovered several years later.
could fill lines and lines on the subject, but there is much literature on the internet and César Miguel Rondón devoted several pages of his Book of the sauce to explain this phenomenon better than I could and I do not plan to be repeating phrases. This first disc
Group Concepts in Unity, was missing the map from the late 70's until 1994, when the legendary Salsoul Records , or who stayed with her, rather, decided to do a reissue on CD. Both had read about this myth that only saw him in Caracas I bought it immediately
, I jumped several red lights to get home on time and listen as soon as possible. Great
initial disappointment, I must admit.

Before pointing missiles or hire the assassins, who know them, I will explain with a very direct statement: it is another thing I expected.
I expected something more modern, a twist to the sound newyork a heavy roll in which modernity was as palpable as a good slap given, some arrangements with them to leave the stick and Alzheimer Palmieri and Barretto with walker and dentures.
I expected a good sheath.
So when I go and squeeze play, and leave the voice of the great Virgilio Martí singing Cuba linda, I saw nothing experimental anywhere, or at least that's what I appreciated at first. Folk itself was, and much, too Cuban for my taste, though. Too santero, too (because several issues are the folklore of Santeria, which has always seemed slightly bored, but has been so important for the development of Caribbean music as Gregorian chants were for Renaissance music and all that came later.) More so when most of the musicians in the salsa expression of the 70 were Puerto Rican or Nuyorican and feeling, they will pardon me, is different. And that is one of the most salient characteristic of the sauce: that music is felt and expressed differently.
I also noticed that, first, César Miguel hiciese distinctions between the rural are sounded in the Caribbean until the sauce gave it that hue distinctly urban, and then openly aupase disk is grounded precisely in this rurality and the sauce sounded alien to both defended tooth and nail. I think it contradicted. And I keep thinking.
Nothing. The album I heard a couple more times and put him in the chest of rarities that are not re-review.

few weeks ago, thanks to the vagaries of this blog, checking my records appeared again and gave him another chance: this time came out better off.
I seem to be as momentous as he is painted on all sides, I still feel a bit overrated, but that does not mean that it is dispensable. For nothing. Because it has several things going for it, and the first is that it has aged very well. Let's see, as well as productions of Buena Vista Social Club sounds like old, because it sounds old Benny Moré and Ignacio Piñeiro even older and National Septet (And are great all eye), this album sounds too nuevayorquinos of yesteryear, but has some virtues that can not fail to emphasize: first, the enormous and brilliant rhythmic battery that supports the structure of songs, composed in several tracks by conga, second (a type of conga), fifth, drums, bongos and timbales. And others bata drums. and say, aha and what . Right. Right now, hear these drums in any recording is almost normal, but in 1975 were few and often leaving three ceremonial leather scene. Let alone a recording studio. On the other hand, percussion the sauce is usually made by the double slash and bongos, so having more skins sounding remarkably rich.
Another of its virtues are the singers: Virgilio Martí, that sonero rebel who never married the music industry and so few of us know him, in Cuba boasts a beautiful friendly song on that island, leaving aside the political issue, while in Iyá modupué succeeds in its efforts to show that folk syncretism that we have seen only the façade. Another voice is that of Heny Alvarez, who sings with the raspy banter Carmen and Dad and Mom , a sovereign that is a song guaguancó to life. Also Willie García-husband at the time of La Lupe and causes, according to a biography, all sorrows and all the torments suffered by the woman in the 70 - Chocolate's guajira playing, singing and asoyín Anabacoa . And other issues involved in Victor Montañez and Frankie Rodriguez.
But the greatest virtue lies with the instrumentalists. I will only mention them because they are many, but most will sound familiar: Andy Gonzalez (bass), the Brazilian Jose Rodrigues (trombone), Reynaldo Jorge (trombone), Gonzalo Fernandez (saxophone and flute), Alfredo chocolate Armenteros (trumpet ) Oscar Hernandez (piano), Nelson Gonzalez (three guitar), Frankie Rodriguez (congas and okónkolo), Milton Cardona (second, fifth and Itótele), Jerry Gonzalez (fifth), Gene Golden (bass and iyá), Manny Oquendo (timbales and bongo), Ben Taylor (Atcher and shekere), Victor Montañez (follower), Marcial Reyes (Lead), Jaime Flores (gourd) and Francisco Martinez (harmonica). Such a meeting, all tucked into the CBS studios in Rockefeller Center and recording in one take (because almost all the songs came to the first and the disc was made in just two days: 7 and 10 April of that year ) transmits a very special energy. Because it is a fully recorded studio work live.
As once.
not expect such harsh New York salsa sound on this album. Neither these constraints neighborhood by its singers. The download is what makes the disc and its rationale. Cuba and its music is the sight.
why it sounds so much like Ry Cooder, only twenty-some years earlier.

The disc is out of print, so it does not appear in Spotify or Rhapsody, but it still falls short in physical form online at Amazon for example. If you know who has the rights of Salsoul Records, call him a scandal and arm them for not having returned to take for sale.
suppose that due to the success of the Buena Vista ... collection, those of GFYEN decided to meet late afternoon and arrived to perform at various festivals with very good reception, though.
There are several of their videos on youtube, for anyone who is interested in listening.