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Luis Chaluisan
Works at WEPAwebTV
Attended Amherst College
Lives in Bowling Green, Ohio
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Luis Chaluisan

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Pony Time-Little Otis XXI http://minicasts.podomatic.com/play/1546781/7032580 
EPISODE DESCRIPTION 
Double Track Sung by: El Extreme Luis Chaluisan Luis Chaluisan 
Processed on Flip Recorder 
Edited on Windows Movie Maker 
Written by: Don Covay and John Berry. 
Selection from upcoming EP: Little Otis XXI 
roughrican productions (c) 2014 
"Pony Time" is a song recorded by Chubby Checker, his second US #1 (after his 1960 single "The Twist." "Pony Time" was also a number one hit on the R&B charts. 
Little Otis and The Upsetters 1984 
With glistening drops 
Of blues tinged ecstasy 
Little Otis 
Greets the crowd 
Backed up by his boys 
The Upsetters 
Dark shirts pressed 
To razor sharpness 
Shaded glasses 
Polished to perfection 
A tumbler of Black Velvet 
In Otis right palm 
A cigarette dangling 
With an air of menace 
In his left 
The music’s fiugers 
Pry open the assembled souls 
Carrying whispers of delight 
As Little Otis and the Upsetters 
Celebrate their High Mass tonight 
In A Major 
For melodic saints and sinners 
The nearness of the congregation 
eliciting a sweet sensation 
From his voice 
It’s cadence drifting through 
The smoky bar
I put a spell on you baby!
Otis feels a closeness 
Like the night creeping 
Over the horizon 
And entering 
The farthest reaches 
East of Eden 
The crowd sighs 
And the boys fly 
Twisting cover songs 
To their own whims 
In their hearts 
The boys completely understand 
That the magic they feel 
Is the love they have 
For the music 
For the passion 
For the ecstasy 
The gentle breezes escaping 
From their throats 
As they sing their 
Twisty Love 
Incite the crowd 
To let go 
Dancers on the night winds 
While the Upsetters reach deep 
Into their Bible 
Of 
Blues Confidential Prayers 
One song left in the set 
Milo 
Buy the whole house 
A Wet Shaved drink 
Compliments of Stevie J. 
And save a dance with Mo 
Over there 
For ME 
Then the boys slip 
Into a whole other dimension 
For tonight is 
Otis’ last night 
Of doing covers 
For tonight they dream 
New Dreams 
And at the stroke of midnight 
Unleash them to greet 
The new day 
And blast into the future 
The boys set off a bomb 
Driven by Ron’s bass 
Fueled by Timbo’s harp 
Flavored by Rasman Norman 
Beating a Caribbean Drum 
As Phil N. DeBlanc’s 
Kansas City sax growls 
At Billie’s parachuting guitar riffs 
A new gospel is born 
As the congregation 
Greet the Upsetters 
With jubulation 
It’s the way of the bar band 
When they take the risk 
To do something new 
And when it comes from the heart 
It always rings true
Presented by: Luis Chaluisan WEPAwebTV - New Edge Theater WEPAwebTV Roughrican Productions Rocker Roller Rican vlɒɡ Salsamagazine.com 2014 Recognition Awards Federico Chaluisan L.f. Chaluisan Batlle Maria Hernandez Editors WEPAwebTV - New Edge Theater
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Luis Chaluisan

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For The Latest. Updated Daily. Salsa Magazine-WEPAwebTV http://www.luischaluisan.com/ 
Presented by: Luis Chaluisan WEPAwebTV - New Edge Theater WEPAwebTV Roughrican Productions Rocker Roller Rican vlɒɡ Salsamagazine.com 2014 Recognition Awards Federico Luis Federico Chaluisan L.f. Chaluisan Batlle Maria Hernandez Editors WEPAwebTV - New Edge Theater El Extreme Luis Chaluisan — with Ana Chaluisan and 9 others in Bronx, New York.
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Luis Chaluisan

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Luis Chaluisan​-El Extreme Luis Chaluisan​ has a show on 08/03/2015 at 08:00 PM @ CH... in Long Island City, NY http://www.reverbnation.com/q/61bu6l 
Presented by: WEPAwebTV - New Edge Theater​ WEPAwebTV Roughrican Productions​ Rocker Roller Rican vlɒɡ​ Salsamagazine.com 2014 Recognition Awards​ Federico Chaluisan​ L.f. Chaluisan Batlle​ Maria Hernandez​ Editors WEPAwebTV - New Edge Theater​
The 3rd Annual Chain NYC Film Festival will take place at the Chain Theatre in Long Island City, Queens in August 2015. The Chain Theatre is easily accessible by subway or car in one of the most up and coming communities in the five boroughs. Located 10 minutes from midtown Manhattan by Subway you can take the 7, E, G, or M and arrive at our doorstep. Come and celebrate the summer in New York in a community full of great restaurants, exciting eve...
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Luis Chaluisan

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Wow!Tight arrangement. Excellent tempo to dance. Swinging trumpet(s). Good hook on chorus. We believe they have a hit on their hands as a single. Nuevo Sencillo de Los Hermanos Moreno "Bochinchosa" - Exclusivo Salsa Magazine Luis Chaluisan. Un arreglo impresionante. Un tempo excelente para bailar. Interesante arreglo de trompetas. Un coro picante. Creemos que tienen un éxito en sus manos. Willie Moreno https://vimeo.com/133468068 
facebook.com/loshermanos.moreno
Presented by: Luis Chaluisan WEPAwebTV - New Edge Theater WEPAwebTV Roughrican Productions Rocker Roller Rican vlɒɡ Salsamagazine.com 2014 Recognition Awards Federico Chaluisan L.f. Chaluisan Batlle Maria Hernandez Editors WEPAwebTV - New Edge Theater El Extreme Luis Chaluisan
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Luis Chaluisan

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THUNDERFUNKER Little Otis And The Upsetters theme performed by LGO El Extreme Luis Chaluisan https://vimeo.com/68487848 Luis Chaluisan http://www.luischaluisan.com/ Presented by: Luis Chaluisan WEPAwebTV - New Edge Theater WEPAwebTV Roughrican Productions Rocker Roller Rican vlɒɡ Salsamagazine.com 2014 Recognition Awards Federico Chaluisan L.f. Chaluisan Batlle Maria Hernandez Editors WEPAwebTV - New Edge Theater El Extreme Luis Chaluisan https://www.reverbnation.com/luischaluisan/songs 
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Luis Chaluisan

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Luis Chaluisan http://www.luischaluisan.com/ 
Presented by: WEPAwebTV - New Edge Theater WEPAwebTV Roughrican Productions Rocker Roller Rican vlɒɡ Salsamagazine.com 2014 Recognition Awards Federico Chaluisan L.f. Chaluisan Batlle Maria Hernandez Editors WEPAwebTV - New Edge Theater El Extreme Luis Chaluisan
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Luis Chaluisan

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Little Otis XXI & The Upsetters Now 2015 https://vimeo.com/97559356 
Presented by: WEPAwebTV - New Edge Theater WEPAwebTV Roughrican Productions Rocker Roller Rican vlɒɡ Salsamagazine.com 2014 Recognition Awards Federico Chaluisan L.f. Chaluisan Batlle Maria Hernandez Editors WEPAwebTV - New Edge Theater  
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Luis Chaluisan

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Performance Art is to me the glorification of the human spirit, and as such it is the cultural documentation of the time in which it is produced. 
LYRICAL VOICE OF THE CITY
By Clem Richardson / NEW YORK DAILY NEWS. Paper of Record NY.
Chamaco El Gangster Nuyorican Poets Cafe
Carla Virola-Piano
Adam Aron Amram-Drums
Maria Hernandez-Vocal 
Brian Tully-Bass 
Paul Decoster-Guitar
Kevin Twigg-Percussion
El Extreme Luis Chaluisan - Vocal
Luis Chaluisan's nostrils are flaring, hands stabbing the air, his body taut and ready for a fight. And this is a half-hour before he and the latest incarnation of his group, El Extreme, take the stage at the Nuyorican Poets Cafe. No one, not even Chaluisan, seems terribly worked up by his outburst. And small wonder. Chaluisan has been working the Nuyorican stage almost since Miguel Algarin, Miguel Pinero, Pedro ­Pietri, Lucky Cienfuegos and others founded it back in 1974 on E. Sixth St. Chaluisan, 48, estimates he has four hours of spoken-word poetry firmly encased in his head. Hunter College's Center for Puerto ­Rican Studies has chosen to archive ­Chaluisan's papers from 1975 to the present as representative of Puerto Rican contributions to the city's cultural scene. He will mark the occasion with a Dec. 22 performance at the Nuyorican, now on Third St. between Avenues B and C. Walking to his home just west of the Bronx's Wakefield neighborhood, ­ Chaluisan tells a visitor when each building went up and what was there before. "My family came up here in 1963," he said. "There was nothing up here. I grew up with crickets and fireflies, man. They kept goats in that lot over there.
" In an era when spoken-word poetry has carved out a niche in "slam" competitions and even on HBO's Def Poetry, ­ Chaluisan's work is old-school - often as literate as it is lyrical, stuffed with images drawn from New York City life. Yiddish theater, to which he was exposed courtesy of Jewish godparents, supplied some of his perspective. "That voice is definitely there, in terms of expression and overall development of the form," he said. "Definitely the sentiment of being the other, if you want to use those terms, is there, the idea of knowing your art but at the same time not having it be known."
"We're [Puerto Ricans] educated, but folks sometimes fail to realize we are educated beyond the stereotypical images that are out there," he said. Chaluisan blends literary forms with events from his life. A section in "Spic Chic" relates an incident involving an uncle and a surfboard he somehow found and took to the waters off Orchard Beach in the Bronx. But the poem in its entirety is meant as a rumination on Albert ­ Einstein's unified field theory of the universe, he said. "That theory came out of Einstein's quest to find God," Chaluisan said. "The poem is my take on that quest.
"His love of language sprang from his mother, with whom he learned English after the family moved here. An uncle introduced him to the writings of ­Joseph ­Conrad - "He said that was where I would find the real Wizard of Oz" - while the priests at Cardinal Hayes High School acquainted him with Dante's "Inferno," Mark Twain and other classics. "At that school, they made us go to different places where you did not normally go, like the Museum of Modern Art," he said. "I was sent to the lower East Side, and that was the first time I saw the Public Theater. It was another world.
" It was his mother who gave Chaluisan the $20 for Christmas in 1974 that he spent to go to the Vivian Beaumont Theater and see Pinero's groundbreaking play about Puerto Ricans and African-Americans in prison, "Short Eyes.
" "I was, like, 'Whoa!
'At that moment, when I saw what happened on that stage, I told my teachers that was what I wanted to be, a writer, a poet and an outlaw artist.
" An Amherst College graduate - it took him 10 years, in part because of his expulsion for involvement in some building takeovers - Chaluisan worked as a reporter, television producer and radio-station executive. Chaluisan says his poetry and performance skills hark back to 1970s and '80s performers like Gil Scott-Heron and the Last Poets. His long-form, often funny storytelling is partly an homage to comic Richard Pryor. "He has a way of using humor to show the pathos in the human condition," Chaluisan said. crichardson@nydailynews.
Presented by: WEPAwebTV - New Edge Theater WEPAwebTV Roughrican Productions Rocker Roller Rican vlɒɡ Salsamagazine.com 2014 Recognition Awards Federico Chaluisan L.f. Chaluisan Batlle Maria Hernandez Editors WEPAwebTV - New Edge Theater
Chamaco El Gangster Nuyorican Poets Cafe 
https://vimeo.com/81448078
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Luis Chaluisan

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Wow!Tight arrangement. Excellent tempo to dance. Swinging trumpet(s). Good hook on chorus. We believe they have a hit on their hands as a single. Nuevo Sencillo de Los Hermanos Moreno "Bochinchosa" - Exclusivo Salsa Magazine Luis Chaluisan. Un arreglo impresionante. Un tempo excelente para bailar. Interesante arreglo de trompetas. Un coro picante. Creemos que tienen un éxito en sus manos. Willie Moreno https://vimeo.com/133468068 
facebook.com/loshermanos.moreno
Presented by: Luis Chaluisan WEPAwebTV - New Edge Theater WEPAwebTV Roughrican Productions Rocker Roller Rican vlɒɡ Salsamagazine.com 2014 Recognition Awards Federico Chaluisan L.f. Chaluisan Batlle Maria Hernandez Editors WEPAwebTV - New Edge Theater El Extreme Luis Chaluisan
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Luis Chaluisan

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BRONXWORLD: Hanging with Jimmy Sabater in 1978:
"It's something else to be a star. All the singers in the original [Joe Cuba] sextet are a bunch of criers. Willie [Torres] can't sing To Be With You because he can't do a take without busting out crying. Cheo [Feliciano] the same thing. The day he sings 'Como Rien' he’s getting married. And if you listen carefully to the Seeco record you can hear him ready to bust loose. And that’s a couple of takes in. We had to get a mop after the first session. Sonny [Joe Cuba] was running outside to get bed sheets to hold back the river that was coming from underneath the door of the recording booth in the studio. It was crazy. I don't know how we survived. And the gigs, damn! We play the Colgate Gardens. Sonny says we got four sets but that we won't have to play after the second. That we're already paid up front. It's a lock. Guaranteed shoot out at the end of the second set. Second set ends. BANG!!! BANG!!! We pack up the instruments and speed back home. A week later at the Hunts Point Palace we blew Tito Puente's orchestra out of the water. We were promoting that Boogaloo el Pito (The Whistle) and we handed out all these whistles. Then we played our asses off and left the stage one a time. When Sonny finally got offstage the whole place was filled with the sound of these damn whistles. The audience blew so long on those whistles it disrupted Puente's set. He was pissed but we showed him that night. King or no King of Latin Music we could rock him anytime we wanted. And that pelican jaw Puente Manager Jose Curbelo couldn't do shit about it."
Jose Curbelo is an old school bandleader/manager/operator. His cocktail rumba style piano playing garners him enough success during the forties and early fifties to allow him to become a "booking agent/manager". His meal ticket is Tito Puente whom he teams up with in 1938.Curbelo is part gangster, part fop and ruthless when it comes to his Tito. Some estimate that his huge extended jay leno jaw goes beyondManhattan into New Jersey. Curbelo’s pelican like bill scoops up all the green fisheees. Only his ego is bigger.
"All these promoters are characters" Jimmy Sabater says as he pours himself a drink, "But none of them have anything on Federico Pagani.”The grand promoter of Latin sets since the 30's, Pagani is a legend on the "cuchifrito circuit". Sabater talks about one of Pagani's stranger spectaculars at the Teatro Puerto Rico in the South Bronx. (Ironically my dad had taken me to the show.
Appearing tonight - Tito Puente, Richie Ray, Eddie Palmieri, Celia Cruz, Charlie Palmieri, Pacheco, Machito, Totico, Patato, Mongo, el Bobo, Monty Rock III, Joe Cuba, Willie Colon, Larry Harlow, La Lupe..." and the marquee continues on and on. All for five dollars! Two shows -- one at five. The other at ten. 
Comes the five o'clock show and the theater is packed. Teatro Puerto Rico can hold up to 3000 people. It's the fifth largest movie house in the city. And it's packed with hard-core Puerto Ricans. 95% from right there in the South Bronx.Five o'clock and nothing. Five Fifteen Five Twenty Five thirty and nothing. This crowd of 2200 Puerto Ricans is now getting restless. From behind the blue green curtain steps Federico. A little Indian looking Rican. Five foot three -- tall for a jibaro del pais. He tries to get the audience's attention."Q me ... Q - me .. Por favor."Now they're starting to throw popcorn lids, cups, paper and Federico is ducking, "Q -me ... Q - me .. Por favor .... pero ... me perdonan ... Por favor but THERE WILL BE NO SHOW TONIGHT. "The place goes completely quiet."The truth is my mother has cancer and needs an operation and I had no way to raise the money so I had to do this."The place is stunned but now comes the moment of truth and demonstrates how Federico had delivered successful promotions for more than 30 years. From the balcony one guy yells out,"Ah the hell with it, let him keep the money."The crowd grudgingly agrees and begins to file out. Just as the audience is surging for the doors Federico sincerely announces,"And don't forget, tell your friends that there's another show at ten! "Teatro Puerto Rico hosts different acts in those days. Movies, Reviews and there is always the Passion Plays during Easter. Reenactmentsof Christ's crucifixion. It's all very solemn. Yomo Toro plays accompaniment with a Jibaro trio. Men openly weep. Women say rosaries. Children mess with each other. You get the picture. But there is a problem. The Cross noticeably shifts during the performance. At the moment that Mary Magdalene announces before Christ's stage death:"Listen he speaks" instead of "My God My God why have you forsaken me" the cross begins to crash and Jesus yells out,"Me Hooooooedeeeeeeee" (I'm screwed)and lands with a resounding thud. Not a beat is missed. The performers pick up the knocked out Jesus and carry him off stage. There is another Jesus for the resurrection scene. And who is it? Why Federico Pagani of course! That little Indian looking Rican promoter. Five foot three - tall for a Jesus del pais. There's always a Puero Rican in the mix to save the day. Especially in Bronxworld.
Luis Chaluisan http://www.luischaluisan.com/ 
Presented by: Luis Chaluisan WEPAwebTV - New Edge Theater WEPAwebTV Roughrican Productions Rocker Roller Rican vlɒɡ Salsamagazine.com 2014 Recognition Awards Federico Chaluisan L.f. Chaluisan Batlle Maria Hernandez Editors WEPAwebTV - New Edge Theater El Extreme Luis Chaluisan
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He was a very good friend of mine. Thanks for sharing. He's truly missed

Luis Chaluisan

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Lola Time with Maria Hernandez “Oh Marie-Little Otis XXI” https://vimeo.com/96453231 
Presented by: Luis Chaluisan WEPAwebTV - New Edge Theater WEPAwebTV Roughrican Productions Rocker Roller Rican vlɒɡ Salsamagazine.com 2014 Recognition Awards Federico Chaluisan L.f. Chaluisan Batlle Editors WEPAwebTV - New Edge Theater El Extreme Luis Chaluisan
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Luis Chaluisan

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Little Otis XXI & The Upsetters Then 1983 https://lnkd.in/bAJniQN 
Presented by: WEPAwebTV - New Edge Theater WEPAwebTV Roughrican Productions Rocker Roller Rican vlɒɡ Salsamagazine.com 2014 Recognition Awards Federico Chaluisan L.f. Chaluisan Batlle Maria Hernandez Editors WEPAwebTV - New Edge Theater 
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Education
  • Amherst College
    Theater Arts, 1975 - 1986
Basic Information
Gender
Male
Looking for
Friends, Networking
Other names
El Extreme
Story
Tagline
Luis Chaluisan The Rise Of Salsa Magazine salsamagazine.com
Introduction
Mobile
347-526-2670

Email
luis chaluisan@gmail.com

As one of the Staff writers for Latin NY Magazine (1977-1982) and Music Editor (1978-1979) I am blessed to have been privy to many of the events central to the Worldwide Salsa Music Explosion spearheaded by the magazine's coverage of the Latin Music scene (1973-1985/The Golden Age Of SALSA. Never in my wildest dreams did I expect to be part of world history. Along with being one of the young poets performing at the original Nuyorican Poets Cafe (1977-1979), Joe Papp's Public Theater (1977) and touring with Felix Romero's "Teatro Otra Cosa" (a bomba street theater group housed at the legendary "Teatro Puerto Rico" in the South Bronx 1977-1979) I now look back on those days with extreme exhilaration. At the time it is just the thing to do to survive as an artist. The seventies experiences lay the foundation for me to enter mainstream media when I land at job at CBS affiliate WFSB TV in Hartford Ct in 1979. For the next twenty years I have the opportunity to produce television shows, go to Hollywood, have my own rock and salsa bands, release two LP's, do radio work at the NY State Senate, ride the Internet bubble, and manage a Telemundo Affiliate Station in Washington State. And the roller coaster ride is not over. In 1997/98 I return to my seventies roots when I end up as part of Connecticut's State Team at the National Slam Poetry Championships in Austin,Texas and Chicago, Illinois copping 5 and 7th place nationally out of 200 teams each. (You can catch a glimpse of my performance and the Ct. team at the Nationals broadcast by 60 minutes on the 10th anniversary Slam blowout in Chicago.) Thanks to the support of my family - particularly my brother Ron - I am able to put together my memoirs in 2000 ("Newricane") which in turn (through God's grace) results in the Off Broadway production of "SPIC CHIC" (2001-2004) inspired by a Latin NY editorial written by Publisher Izzy Sanabria in January 1977 also entitled "Spic Chic". That show took myself, Maria Hernandez and Classical Composer David Amram to the Bonn Opera House in 2004. (I meet David while working for Latin NY in the seventies and it is a lifelong friendship since then; without Maria Hernandez (Lola Magdalena) I don't know where I would be today. Her calmness balances my manic being. I'm grateful that my father saw all this success before he passed in 2006. And likewise that my mother is still alive witnessing the next chapter of her crazy artist son's career - telling you this story (contained in the publication of "Spic Chic" as a book of poems and stories covering work from 1975-2009 inspired by another set of great mentors: Cardinal Hayes English teacher Bill Kerrigan (editor) and Steve Cannon (Fly By Night Press/A Gathering Of The Tribes NYC.) And now comes the payoff putting all these elements together: establishing WEPAwebTV in 2001 and reaching back to film a documentary on MR SALSA Izzy Sanabria, which has ultimately become the story I have been searching for during 53 years of a life that sums up an American experience as a Puerto Rican. Pa Que Lo Sepan! WEPA!

LOSalon: A Salon is a gathering of people under the roof of an inspiring host, held partly to amuse one another and partly to refine taste and increase the knowledge of the participants through conversation. Salons, commonly associated with French literary and philosophical movements of the 17th and 18th centuries, continue to flourish worldwide through the Internet that provides a new way to collaborate.
I owe a great deal of thanks to my brother Ronald Chaluisan who proposed conducting Salons in the early 1990's when he lived in Brooklyn. He suggested to study the French Salon movement in the 17th and 18th centuries.

LOSalon: Un Salón es una reunión de personas bajo el techo de un huésped inspirador, que se celebra en parte para divertirse entre sí y en parte para refinar el sabor y  aumentar el conocimiento de los participantes a través de la conversación. Salones, comúnmente asociada con los movimientos literarios y filosóficos Franceses de los  Siglos 17 y 18, siguen floreciendo a nivel mundial a través de el Internet que proporciona un nuevo medio para colaborar.
Le debo mucho gracias a mi hermano Ronald Chaluisan? quien propuso la realización de un Salon en la década de 1990's cuando vivía en Brooklyn. El me sugirió a estudiar el Movimiento de Salon Francés en los siglos 17 y 18.

CANTO I
Johnny Boy is back in town
A creeper in bruised lives
A trader in sultry secrets
He has absolutely
No right to know
A metropolitan skyjacker
Taking hostage
The stray adventurer
He preys out of emptiness
A modern vampire of emotions
Johnny Boy has arrived
Brought by powers unseen
To change the course
A necessary evil
In a dirty little town
Of ruined directions
Skyscrapers amuse him
Pits invite the taste of his special
Manipulations
Have you seen him?
El Loco Cantinero
Of hyperventilated thoughts
Have you seen him?
He arrived naked at the party
Trying to check his clothes
And announcing to all
“I CAME TO DANCE!”
He seduces
The confused poet
The isolated lover
The struggling woman
The ambitious teacher
To tell him their stories
Johnny Boy dismisses boundaries
And uses the tragedy
Of a comedian
To ejaculate his venom
He performs on stage
Fully in charge
Sparks fly from
His steel tipped heart
Creating icons
Of indignity
Of impulse
Have you met him?
His eyes tongue a red haze
Of silver spikes and
Black velvet fury
A Catholic boy on
A rampage through Hell
A new-age saint
With a customized Rosario
Who sweats benedictions
As he rides her
On an elevator rooftop
With a pistol strapped to his back
Each thrust setting off a bullet
Up between her legs
Through her stomach
Past her heart
Coming out her lips into his ...
A wild shot of cold-hearted lust
As soot falls on them
Like soft black petals
Raining on both
The living and the dead
A rogue dusky
Decadancing on the edge of razors
He stalks runners with his boy
Yo Yo Montalvo
And tries ways
To avoid their own stalkers
Night bombers in silk shirts
And four-hundred-dollar shoes
Searching for keys broken off
Long ago in forgotten locks
Searching for
The Great Game
While compromising every truth
Along the way
Searching for a way in
He's been speeding so long
Marking time
Paying cops
Burying partners
Tricking queens
Cruising shadows
Whacking even priests
In dreams reality cuts loose
Avenues slice into boulevards
D-D-D-D-D-Dodge City
He jumps into his
Third-world club car
Reeking of polo and reefer
An artillery strapped
On every extremity
He's headed for a
Sell - A - Bray - Tion
Yo Yo is spinning
Dead eyes
Crazy glued on everything
A plastic mask for a face
Fifth in one hand and
Eight Ball in the other
A new kind of pool game
Without a cue
On guard
From what
Himself
He supposes
Yo, let's go visit the savages
In Brooklyn
But they never get past the border
Johnny goes for a hit
Takes a drink
Forgets to steer
And BAM!
Rams the highway divider
The savages aren't
In Brooklyn
They're trapped
They're in the car
They're on the mainland
They're here
They're Ussssssssssssssssssssssss
Now I ask you
Have you met him?
Have you met him?
Have you met him?
I have ...
He calls collect
From way
Inside

CANTO II
Por qué tú sufres
Si tú no tienes
Porque sufrir
Por qué tú lloras
Si tú no tienes
Porque llorar

Downtown
Stop Look Listen
It’s now New Rican Village time
On Avenue A off Sixth
Loisaida
Alphabet City
New York New York
Big Butt Lulu
Slides across the dance floor
Earthquake thighs keeping time
With Andy Gonzalez' bass
As Nestor Torres' flute
Unleashes a dance hall trance
With a Valentino smoothness
Hilton Ruiz
The high priest of the piano
Arches in the darkness
Responds with tinkling caresses
That stream in between
The steady clave keeping time
For Jerry Gonzalez' drums
While Papo Vasquez fills with riffs
Notes thrust from
Every angle in the room
Penetrate
Lay sweltering
Just below my stomach
I absorb all eagerly
As music and being
Lock
For the climax
Welcome to Eddie Figueroa's
New Rican Village
Loisaida N.Y.
Temple of the New
Rican Renaissance
Lola Magdalena
Mambo smiles
Showing more teeth than Jaws
Yo Yo Montalvo
Swallows the evening
He's awaken to hunt
Billie Zombie passes joints
Laced with dust
And cases club members
To rob later
Suzie Sidewinder hovers above all
Mussolini in high heels
Little Lucie Blue Eyes
Waits for her Man
With the patience
Of a practiced killer
Wilfredo the Anointed Apostle
Is surrounded by a sea of estrogen
A man drowning on dry land
Kept afloat by Santa Ana
The turquoise dressed martyr
As Carmen Baby sits at home
Murmuring her mantras
To saints and candles
Behind blessed glass
And Johnny Boy
"El Malote del Bronx"
Well, he feeds his lovers
A thousand yards of tongue
Stingray shocks his prey
Then disappears in the mist

CANTO III
There’s one who can speak
The truth at all times
In the court
Of the Spanish King
During the days of
The Old Empire:
The Jester.
So is my role in the court
Of the New Empire.
The Light guides me,
I say what's on my mind
And at the end of the day
I dream Truths.
That way when I pass
From this Old World
I'll march right up to
Him in heaven and ask
What the hell was that all about?
And with my luck
The Elusive One will answer:
Do you remember when
We are together then before as One
You ask for IT — A human experience!
Do I deliver on your curiosity?
Travel on there’s more …
Just go ahead through the looking glass.
But, I’m scared Abba.
Trust me I walk with you.

CANTO IV
There are two things
God knows that
Carmen Baby knows
One
She is beautiful
Two
The value she places
On her life
And on the lives
Of the ones she loves
I glide precariously
Alongside her path
At once tender
Then off-center
When touched by
The moonlit madness
That fuels my mind
Two binary stars
Dancing in the night sky
Drawn in and then out
Held together by the magnetism
Of our daughter Chasan
The ark of the covenant
Wherein Carmen keeps my soul
Three universes drawn together
By a special mystical plan
Which I manage to corrupt
With the panache
Of Foghorn Leghorn
On steroids:
I Do I Say I Do I Say I love you
Carmen replies You say You do
But at night I cry and
No tears come from my eyes
Carmen prays
And drifts to another place
In that world
Chasan is safe to roam
I am at ease
And she is free to love
But those dreams are corrupted
By my impetuosity
Corrupt fascination
Bent Brilliance
She doesn’t lose her temper
She finds it
And yet she still loves
Because she has the
Blue Eyed Ark with her
Because she has
The Princess tucked away
As I travel the byroads
Writing my lines
As a Dantian reporter
From the underworld

CANTO V
I’m
An unbroken cowboy
In love with
The open ranges
In love with
HER
Small town
One-legged
Dance hall girl
Known as
“Delilah Blue”
A sensuous comet
Streaking across
My sky mind
22 Raven
On her hip
Blackjack
In her pocketbook
A stiletto hidden
By the prosthetic
Of her Little Leg
The sun rises
Every time
Delilah’s eyes open.
She speaks
And my soul is fulfilled
Delilah can figure out
My little boy secrets
With her spirit
We meet
In a mountain desert
But are far
From being dry
On our first date
I ask Delilah
Hey Baby
How you lose
Your leg
She wryly responds
I tire of it
It weighs me down
Later
Bathed in incense
Candles
And the
Sticky
Bittersweet smell
Of love-making
I peek into
Delilah’s soul
And
Witness a lifetime
Of breaking
And resetting
A body that God
Does not quite complete
One leg shorter
Than the other
A spine
That can’t support
Her height
Which rises
Above the turmoil
The final straw
Comes at the hands
Of five drunken marines
Who rape
Burn
And
Torture her
At the hospital
The doctor says
We can save your life
But maybe not the leg
Cut it off immediately
Cut away the past
Walk into the future
I cry that first date
Hearing HER story
And lay the foundation
For a year of
Twisty Love
I understand her wildness
She consecrates my abandon
Our need to
Be bad
Be with each other
And
Be in love
Outweighing the risks
At the Metropolitan Museum of Art
As I dive into the torture
Of Van Gogh’s face
Delilah robs a Belgian tourist
Of 3000 dollars
Presents it to me
Here Poppy
Here’s my dowry
Past indiscretions
Come calling
For Delilah and me
During a
Rum and cocaine-choked
Celebration
Of our first
Year anniversary
I find Delilah
Dazed
On the bedroom floor
Boozy sighs pouring
From her lips into my ears
Oh, poppy
The pain is so bad
Even my conscience hurts
It’s spring
And
We’re blind
I know I have to act
And lay a path
For Delilah to escape
And save myself
Delilah
Who can always figure out
My little boy secrets
Acts
She walks into
A local bank
Makes a .357 withdrawal
Leaves me a note
And
Flies back west
To rest
Under the Volcano
Thanks for the star-spiked rodeo
Poppy
But I’m fatigued
It weighs me down
I cry reading that note
But understand
Because Delilah shows me
By her example
By her courage
Cut away the past
Walk into the future
You see
You can’t enjoy
The light of reason
Unless you first
Experience
The Dark Night
Of the Soul.

CANTO VI
REDEMPTION
I spend my days
Making vertical and
Horizontal calculations
Along crooked streets
Of lights and shadows
Possessed by an
Arrogant ambition
To read
The mind of God
But there's a price to pay
Pain the toll
As I divide my time
Between chasing God
And chasing the Dragon
Combining lethal doses of
Horse beat with cane
A perverse boy meets girl
The gravity of my situation
Bending the light of reason
Cut off from others
Oblivious to their
Opinions and prejudices
I remain
A child at heart
Asking the simplest of questions
But obsessed
With the human equation
How did God make the universe
How did God make it right
How does one plus one equal
One
Solitude my choice
Because no one
Can take that from me
But as the temporal music
Of my solitude unfolds
So come
The visions and the voices
I listen and I’m transfixed
Listen:
I am here before it starts
And
I am here after the end
I’m a hidden treasure
That desires
To Be Known
Therefore
I create you
The Creation
In order to be known
Trust me
I walk with you
An interior illumination
That allows me to see
Through my soul’s eyes
Becomes messages in “g” forces
That rip the air around me
Becomes a deep well I fall into
Eagerly drinking from its waters
Making a lasting moment
Out of a singular incident
Becomes a shrine
All have access to
I am exhausted
After all that spiritual stuff
I lay down
Perfumed in stolen flowers
And
Sodden lust
Rocked to sleep
By the cadence of
The Elusive One's
Breath
Song
And
Words
Words
Words
Listen
Here's the secret
You have to know life
To recreate life
And
One more thing
I love you
I love you all

CANTO VII

The Literature of the Latino/a Experience and its Relevance
in the English Classroom WEPAwebTV

The literature of the Latino/a experience in the United States of America closes the gap on education in the United States. Voices of concerns have been depicted in newspapers, websites and statistics across America. On November 30, 2003, Fox television featured a segment on its series on education to vividly document stories of children with problems with standardized testing. Even the United States Department of Education has opened an Office (White House Initiative on Educational Excellence for Hispanic Americans) that is designing, coordinating and finding ways to improve the educational excellence of Latino children. The American educational system is looking for answers and embarking on a journey of redefining its solutions. An alternative to the teaching of literature is the integration of the literature of the Latino/a experience in the English curriculum. 
According to the 2000 United States Census statistics, there are 35.8 million people of Latino origin living in the United States mainland. The ones that migrated to the United States before, during and immediately after World War II, and those who were born and grew up in the United States have come out of the melting pot and have become a vital force developing a voice in American letters today. Latino/a authors have developed a literary voice of their own and are being anthologized by mainstream publishing houses like never before. Piri Thomas, Esmeralda Santiago, Julia Alvarez, Sandra Cisneros, Tato Laviera and Abraham Rodriguez have become household contemporary names that are not only being published and read in American schools but have broken paradigms by interacting, sharing, reading and positively influencing young adult audiences in schools and colleges in the United States.
The study of literature is the only real academic situation in which students have to explore issues that are relevant to their interests. Latino/a literature combines the language, history and the cultural _expression of the Latino/a experience that allows students to examine these themes and make language their own by making personal connections with their lives and background information. The characters in the story, the settings within the conflicts and the poetic language all express the experiences of the recently arrived, and even portray universal situations that all teens go through. Themes include education, identity, varied approaches to race, self-acceptance, self-esteem, peer-pressure, family, domestic violence, sex, mother-son-daughter; father-son-daughter relationships, just to mention a few. Effectively used and integrated, Latino/a literature may improve academic outcomes and provide the preparation needed for students to enhance their scores on city, national and state testing requirements.
Although Latinos have been migrating to the United States since the middle of the 19th century, it is not until the publication of Down These Mean Streets by Piri Thomas in in 1967 that their presence with a literary awakening became evident. People from all the Caribbean, Central and South America came to the United States inspired by "job opportunities, low air fares and the expectations of those that had already pioneered the way (The Nuyorican Experience, Eugene Mohr p.25).” The sudden and unexpected growth of the United States Latino population brings forth interesting yet unanswered questions. How will present and future governments address the staggering high school dropout rate amongst Latinos? What specific educational proposals will be developed to empower American Latinos to face critical social, economic and political issues in the up-coming years? What strategies, methodologies and innovative ideas will be developed to help Latino teens improve their scores on city, national and state testing requirements? In order for Latinos to have an active role in the world of cyber-space, high-tech and global entrepreneurship, the educational system must produce critical thinkers who can become pro-active participants in society.
Today’s critical thinkers are required by the educational system to be pro-active and master reading and writing skills. Recent studies indicate that there is a strong relationship between reading and writing. Two scholars in the area (Noyce and Christie, 1989) state that the mind assimilates information to explain the missing link between skills and reading/writing. The new Scholastic Aptitude Test (SAT) will have three sections: reading, writing and math. The changes will provoke spontaneous and widespread curriculum changes in the United States that will without a doubt affect the education of Latinos and other American teens as well. Therefore it is up to teachers to include additional instruction to help students fill in those missing links. Closing the gap on standardized testing means going beyond the classics and traditional literature. The classics will always be part of our curriculum, but Latino/a literature provides children with choices and helps create interest in reading and writing which will in return augment scores in the nations report card, the National Assessment of Educational Progress
 Additional research in the study of young adult literature demonstrates that language is learned through use rather than through practice exercises. Second, children need to be given opportunities to make language their own by making connections with their lives and background information. Finally, A well-designed reading and writing program should provide opportunities for diverse daily reading and various types of writing. There is no need to hide or deny that recent arrivals are confronted with the issue of assimilation.
Assimilation comes in different forms and different colors. In Piri Thomas' short story "The Konk", a young boy straightens his hair to be accepted by friends and family, but once he meets their standards, he is faced with hostility and rejection. In the process of assimilation and belonging, Latinos are faced with situations of race, identity and culture when they adapt and adjust to a new way of life. American Jewish Puerto Rican poet Aurora Levins-Morales explores multiple identities in "Child of the Americas":
 
I am a child of the Americas
a light-skinned mestiza of the Caribbean
a child of many diaspora, born into this continent at a crossroads

I am a US Puerto Rican Jew
a product of the ghettos of New York I have never known
An immigrant and the daughter and granddaughter of immigrants
(Latino/a Literature in The English Classroom, Manuel Hernández, p.318)

The so-called new literature is like a mirror where teens will be motivated to reflect upon and analyze personal experiences. Before students develop reading comprehension, literary appreciation and written communication skills in another language (English), the student makes a personal connection first. While they develop interest, the appropriate literary environment is created. Then, the transition is established, and Latino/a literature becomes a tool/facilitator whereby the changing in literary lanes occurs systematically and spontaneously with the encouragement and support to drive across the bridge to the other side: the classics.
The literature of the Latino/a experience is not only a bridge and relevant but also essential in the English classroom. I strongly suggest that it should be used to supplement classical literature in the English curriculum in the United States. It is time that this new literature (1967-to the present) be studied at a higher level of literary appreciation and analysis. Especially, over the last twenty years, the stories, poems, novels and plays written by Latino/a writers have become overwhelmingly popular not just in schools and colleges in the United States, but throughout the world.  Just a few years ago, Nuyorican writer, Miguel Piñero was the central figure of a motion picture, and short stories, poetry and essays written by Latino writers frequently appear in major magazines and in numerous classroom anthologies and textbooks. Julia Alvarez's novel, In the Time of the Butterflies, and Josefina Lopez's play, Real Women Have Curves have become major films. PBS recently documented Piri Thomas’ life and literary contribution in the nationally acclaimed; Every Child is Born A Poet. It is time to integrate Latino/a writings to those reading lists in high schools. Secondly, I suggest that the SAT’s should also include at least one or two writings (Latino/a authors) from the reading lists in the exams. If students read them, why not test them on the subject. Finally, I strongly recommend that educators rally and become advocates of Latino/a literature. This is not the work of one, but of many working together to provide teens with the opportunity that by grace we have all received; an education.


Bragging rights
Managing Editor Salsamagazine.com, Published Author, Off Broadway Perrformer, Television/Radio Producer, Subject of Documentaries and Included in various anthologies
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Occupation
Television Producer
Skills
Variety
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    Television Producer, present
  • CBS, PBS, Telemundo
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Bronx, New York - Amherst, Massachussetts - Hartford, Ct - New York, New York - Huntington Station, NY - Los Angeles, CA - Toledo, Ohio - Mayaguez, Puerto Rico - Brooklyn, NY