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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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Salsa Magazine History: 'Mambo Madness' Luis Chaluisan Salsa Magazine https://vimeo.com/137782523
1. Tito Rodriguez 1955 NYC
Tito Rodríguez (Santurce, Puerto Rico, 4 de enero de 1923 — Nueva York, Estados Unidos, 28 de febrero de 1973) fue un cantante, músico y director de orquesta puertorriqueño.
In The Coming Weeks We will Be Broadcasting Vintage Performances and Appearances:
2. Tito Puente 1980
Ernesto Antonio Puente (Nueva York, 20 de abril de 19231 2 - 31 de mayo del 2003, conocido como Tito Puente, fue un percusionista nacido en los Estados Unidos, aunque de origen puertorriqueño, que desarrolló su trabajo en el campo de la música cubana (son montuno, chachachá, mambo, bolero, pachanga, guaracha), y del jazz afrocubano, el jazz latino, o la salsa.

3. Miguelito Valdes 1953
Miguel Ángel Valdés. Fue un intérprete de la música cubana, cantante, compositor y percusionista cubano, conocido popularmente como Miguelito Valdés, pero cuyo verdadero nombre era Miguel Ángel Eugenio Lázaro Zacarías Izquierdo Valdés.

4. Mr Salsa Izzy Sanabria 1995
Izzi Sanabria: Bueno, mis primeros trabajos los llevé a cabo realizando correcciones. Luego, al terminar la escuela superior, realicé mi primera obra de arte en un estudio. No obstante, mi fervor por el arte, desde el punto de vista musical, se inició cuando yo fungía como maestro de ceremonias en el club Triton, en Nueva York. Allí me reencontré con Johnny Pacheco, quien fuera mi compañero en la “Junior Schools”. Le planteé la posibilidad de diseñarle la carátula para su álbum Pacheco y su Charanga. Este álbum alcanzó la mayor venta que tuvo la música latina para ese tiempo. Te voy a relatar la historia entera, porque sirve para inspirar a la juventud.

5. Percussionist Eddie Montalvo 1999
En el curso de su larga carrera, el conguero Eddie Montalvo ha grabado y tocado con algunas de las luminarias más brillantes de la música latina: los Fania All Stars, Celia Cruz, Willie Colón y Johnny Pacheco, por ejemplo.

6. Jose Feliciano 1968
José Monserrat Feliciano García, (Lares, Puerto Rico, 10 de septiembre de 1945), más conocido como José Feliciano, es un cantante, músico y compositor puertorriqueño, considerado el primer latino en introducirse al mercado de la música en inglés; abriendo las puertas a otros artistas. Ha permaneciendo vigente durante cinco décadas, influenciando la música popular por más de dos generacione

7. Hector Lavoe, Yomo Toro, Willie Colon 1973

8. Eddie Palmieri 1972 Central Park NYC

9. Joe Quijano 1980
Nacido el 27 de septiembre de 1935, en el edificio A, apartamento 1, de la comunidad del Fonasterio en Puerta de Tierra, José Quijano Esteraz construye su vida en la ciudad de Nueva York, adonde sus padres emigraron en 1941 buscando mejor fortuna. El barrio del Bronx se convirtió en su comunidad y desde allí absorbió las tendencias musicales imperantes en la época con las que fue educando su oído musical, sin pensar que la vida le aguardaba un asiento en la escena de los futuros protagonistas del ritmo latino.
Con tan sólo seis anos de edad, y dando rienda a su iniciativa, construyó unos bongoes de lata para entretener a su familia y con los que tocaba las melodías de las canciones más escuchadas en la radio, principalmente las interpretadas por Dámaso Pérez Prado y César Concepción. Poco después, sus padres lo matricularon en clases de piano con los profesores Edubijes Bocanegra y María Luisa Lecom, esta última madre de Luis Varona, el pianista de "Machito". Esa experiencia lo relacionó con dos jóvenes habilidosos que pronto se convirtieron en figuras relevantes para la música latina: los hermanos Charlie y Eddie Palmieri.

10. Ray Barretto 1972 Interview

11. Federico Pagani 1980
Promoter Federico Pagani attracted new clientele with gimmicks such as a shortest skirt contest. Mafia and drug bosses were commonly in attendance. Many people recall a purple haze hanging in the air from all the marijuana smoked in the ballroom, which along with heroine and cocaine, was a choice drug of many regulars. Order was maintained by three bouncers—Tony, Vic, and Yumpy—who unceremoniously tossed troublemakers down the back staircase. Photographer A. Harry Fine, an amateur dancer himself, regularly slid across the ballroom on his knees to close in on a good shot. These characters all played second string to the real stars of the Palladium—the bandleaders and their musicians. Two orchestras were featured each night, cooking up some of the hottest music New York had ever heard. Many Latin bands played the Palladium, although house favorites were Machito and his Afrocubans, Tito Puente, and Tito Rodríguez. Dancers too were stars of the Palladium, although they were dependent on the inspiration they received from the live music to which they always performed. Several dancers achieved such fame that their performances could rival the fame of the orchestras (witness Augie and Margo’s name on the Marquis under Tito Puente and Tito Rodríguez).

12. Andy Gonzalez 1972 Central Park with Eddie Plmieri

13. Bola de Nieve 1948
Ignacio Jacinto Villa Fernández (Guanabacoa, Cuba, 11 de septiembre de 1911 - Ciudad de México, 2 de octubre de 1971), más conocido por su nombre artístico de Bola de Nieve, fue un cantante, compositor y pianista cubano. Se trata sin duda de uno de los más geniales músicos que ha dado la isla caribeña y un genuino icono de la idiosincrasia cubana.

Presented by: Luis Chaluisan WEPAwebTV Roughrican Productions Rocker Roller Rican vlɒɡ Salsamagazine.com 2014 Recognition Awards Maria Hernandez Federico Chaluisan L.f. Chaluisan Batlle Editors WEPAwebTV - New Edge Theater El Extreme Luis Chaluisan Tito Rodriguez Jr
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Salsa Magazine History: Cheo Feliciano-Richie Ray Luis Chaluisan Salsa Magazine https://vimeo.com/137761399 Salsa Y Bembe 1962
Secco Records releases Joe Cuba’s Stepping Out LP. In Jimmy Sabater’s tune Salsa y Bembé, vocalist Cheo Feliciano wants his main squeeze to add salsa to the bembé (dance) when she dances. The lyrics suggest that there is a request for the dancer to liven up or spice up her performance. “When I wrote this tune,” said Sabater, “I was labeling the music as salsa…you know exciting. When musicians were asked to spice up the music there were shouts of “guataca”. When the band executed the mambo part, I heard shouts of “wapachosa." These were labels which never caught on. My use of salsa was to describe the music, not the food.”
Plus "El Diferente" Richie Ray Años 7O mas exacto 7 de Noviembre de 1970.
Diferenciando.
Hay que dilema tan grande,
este problema que tengo,
si no llevo la contraria no puedo vivir contento,
hay quien se conforma al ver,
cómo la vida le pasa,
sin tratar de corregir al mundo cambiarle en nada,
mas yo buscaré la forma, de ser siempre diferente,
pa’ que no diga la gente, que Ricardo se copio
y ahora voy a buscar, a ver si a mejor la encuentro,
de poder entrar pa fuera y poder salir pa dentro,
pa que la gente no diga que sueno cómo pacheco,
como tombo camara…

Pa que la gente no diga que sueno cómo tito puente,
y aquella mulata, se parara también,
se parara de tito fuente, se parara también,
cómo el tito está de moda, se parara también,
cómo se le acomoda, se parara también,
se parara tito puente,
Pa que la gente no diga que sueno cómo yocuba,
oye y ese pito…

Yo quiero que todos sepan,
que quien le toque Ricardo,
hay que buscar la forma de ser siempre diferente
es muy difícil bajar pa' arriba y es más difícil subir pa' abajo
hay que buscar la forma de ser siempre diferente
sentarse de pies o pararse sentado,
o andar derecho si es jorobado,
hay que buscar la forma de ser siempre diferente
cruzar un puente hasta la mitad,
o ahogarse en tierra por no nadar,
hay que buscar la forma de ser siempre diferente.

Presented by: Luis Chaluisan WEPAwebTV - New Edge Theater WEPAwebTV Roughrican Productions Rocker Roller Rican vlɒɡ Salsamagazine.com 2014 Recognition Awards Maria Hernandez Federico Chaluisan L.f. Chaluisan Batlle Editors WEPAwebTV - New Edge Theater El Extreme Luis Chaluisan https://www.facebook.com/groups/salsamagazine/
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Salsa Magazine History Machito, Mario Bauza and Graciela Luis Chaluisan Salsa Magazine https://vimeo.com/137725374
In the coming weeks I'll be interviewing Mario Grillo of the Machito Orchestra.
http://www.machitoorchestranyc.com/
WEPAwebTV News: Hear from the Integral members of The Original Machito Orchestra on Espiritu salsa. I meet and interview all of them in 1977 for my Show Espiritu Salsa on WAMH FM in Amherst Massachussetts. Later in the summer of 1977 I attend rehearsals of the Machito Orchestra at the Garden of Roses in the Bronx (by then they have drifted apart into two different entities with Mario Bauza utilizing Graciela for his own Orchestra). I am invited to Machito's home in the Bronx for a Latin NY interview regarding his career. There I meet Mario Grillo who shares with me how his father Frank (Machito) Grillo consistently listens to his car radio checking out Rock and Roll plus African American Soul then Disco music to keep up what is happening in American Pop Culture trends.
Presented by WEPAwebTV - New Edge Theater WEPAwebTV Roughrican Productions Rocker Roller Rican vlɒɡ Salsamagazine.com 2014 Recognition Awards Maria Hernandez Federico Chaluisan L.f. Chaluisan Batlle Editors WEPAwebTV - New Edge Theater El Extreme Luis Chaluisan https://www.facebook.com/groups/salsamagazine/
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Latin Tinge Mix Numero 2 with Luis Chaluisan Salsa Magazine WBGU FM 
Despertar en otra tierra que no es la mia 
Y aspirar el aire extraño de otros lugares 
Me trae de vuelta con la lejania 
Ha sido el sueño de inmensas soledades 
Ese soy yo que despierta cada dia 
En una tierra de todos y de nadie 
Aqui muere mis contadas alegrias 
Entre nostalgias ausencias y pesares 

No es lo mismo que yo me encuentre alla 
Por mas comodidades y dinero 
si es acaso lo que dicen es verdad 
pues no a todos se le cumple el mismo sueño 

Que si yo, que si yo, que si yo estuviera alla 
Donde estan los que yo quiero 
Tendria lo que mas jamas 
Podra comprar el dinero Amor 
Si no seria uno mas 

Oh Cuanto estraño mi tierra 
Vivo para regresar y encuentro esquiva la fecha 
Por si no alcanzo a volver para el dia en que me muera 
De regreso a mi pais cubrame con su bandera 
y pero de regreso a mi pais 
cubrame con su bandera. 

Volver 
a mi tierra de siempre 
a estar entre mi gente 
Volver volver volver 
Volver 

Volver 
yo quiero volver a verte 
Tambien visitar mi gente otra vez 
Volver 
Respirar el aire puro que es un recuerdo de ayer 
Volver 
Decir que te estraño y que por siempre en mi mente te tendre 
Volver 
Llorando me despierto yo quiero verte mi tierra de siempre 

Volver 
a mi tierra de siempre 
a estar entre mi gente 
Volver volver volver 
Volver Volver 
 
Asi es …!!! 

Esa es la tierra que siempre añoro 
Yo quiero volver 
Yo quiero Volver Yo quiero volver a verte 
“es que yo quiero volver” 
Yo quiero te quiero yo quiero te quiero 
Yo quiero sin ti yo me muero ve 

“yo quiero volver” 

Con lagrimas yo recuerdo tu nombre en mi mente 
“es que yo quiero volver” 
Ya no soporto 

https://www.mixcloud.com/RockerRollerRican/latin-tinge-mix-numero-2-with-luis-chaluisan/ 

Presented by: Luis Chaluisan​ WEPAwebTV - New Edge Theater​ WEPAwebTV Roughrican Productions​ Rocker Roller Rican vlɒɡ​ Salsamagazine.com 2014 Recognition Awards​ Maria Hernandez​ Federico Chaluisan​ L.f. Chaluisan Batlle​ Editors WEPAwebTV - New Edge Theater​ El Extreme Luis Chaluisan​  https://www.facebook.com/groups/salsamagazine/
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Salsa Magazine History: Latin Ny Music Awards 1976 Luis Chaluisan Salsa Magazine https://vimeo.com/137672518
Second Annual Latin NY Music Awards (In Color)
Louie Ramirez Leads Latn NY Orchestra (Theme)
Opening Remarks Mr Salsa Izzy Sanabria
Tito Puente: Mambo Inn
Bobby Rodriguez Y La Compania: New Band Of The Year
Roger Dawson
Rita Moreno
Seguida: Latin Rock Band Of The Year (Randy Ortiz)
Hector Lavoe: Conjunto Del Ano El Todo Poderoso
Leon Gast/Alex Masucci: Special Award for film "Salsa" and "Our Latin Thing"
Presented by: Luis Chaluisan WEPAwebTV - New Edge Theater WEPAwebTV Roughrican Productions Rocker Roller Rican vlɒɡ Salsamagazine.com 2014 Recognition Awards Maria Hernandez Federico Chaluisan L.f. Chaluisan Batlle Editors WEPAwebTV - New Edge Theater El Extreme Luis Chaluisan https://www.facebook.com/groups/salsamagazine/
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Salsa Magazine History: Tanga 1942 (Live) The Magic City Manhattan in color 1943 https://vimeo.com/137686058
One my most prized possessions from my time as Music Editor of Latin NY Magazine (1978/79) is discovering a Studio version 78 RPM recording of Tanga by The Machito Orchestra and then a 33 1/3 pressing of the composition made prior to his going into the studio that is created when the Orchestra plays live at a NYC Nightclub. That is the version I utilize here combined with vintage color film of NYC filmed in 1943.
Presented by: Luis Chaluisan WEPAwebTV - New Edge Theater WEPAwebTV Roughrican Productions Rocker Roller Rican vlɒɡ Salsamagazine.com 2014 Recognition Awards Maria Hernandez Federico Chaluisan L.f. Chaluisan Batlle Editors WEPAwebTV - New Edge Theater El Extreme Luis Chaluisan https://www.facebook.com/groups/salsamagazine/
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Salsa Magazine History: El Gran Combo 1991 Madison Square Garden Luis Chaluisan Salsa Magazine https://vimeo.com/137565435
El Gran Combo de Puerto Rico, commonly known as El Gran Combo, is a Puerto Rican Salsa music orchestra based in San Juan, Puerto Rico. Celebrating its 50th anniversary in 2012, it is Puerto Rico's most successful musical group, and is considered "the most popular Salsa group that has ever existed". The group received the moniker La Universidad de la Salsa (The University of Salsa) in Colombia, due to the sheer number of famous salsa musicians and singers who developed their careers with it, who started with the group (particularly Andy Montañez), or who were occasionally backed up by the band (including Celia Cruz, Héctor Lavoe and La India).
The Salsa Orchestra was founded in May 1962, by Rafael Ithier.
Ithier is still nominally its musical director, and is the only remaining members from the band's original lineup. As of 2010, Willie Sotelo, who joined the group in 2006 as pianist, has become the band's de facto musical director on tours, with Ithier conducting the group and playing occasionally in select live performances. They are still actively performing after 50 years together. The group was scheduled to celebrate its 50th anniversary on 11 November 2012 at the Coliseo de Puerto Rico. The group started its celebration with a grand world tour that took them to five continents.
Presented by: Luis Chaluisan WEPAwebTV - New Edge Theater WEPAwebTV Roughrican Productions Rocker Roller Rican vlɒɡ Salsamagazine.com 2014 Recognition Awards Maria Hernandez 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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WEPAnews: Salsa As a Cultural Revolution Izzy Sabnaria Luis Chaluisan Salsa Magazine https://vimeo.com/137759150
While some respected cuban music historians have popularized the myth that Salsa originated in Cuba the earliest evidence of it was in the Puerto Rico with Rafael Cortijo and Ismael Rivera. Salsa started having as background the rich heritage of the Plena, the Afrocaribean form of music that that evolved in Puerto Rico and the influence of more melodic rhythms brought in and developed by mainline Puerto Rican musicians that lived in the United States during the 20's, 30's and 40's and began returning to Puerto Rico after the second world war. These arrivals not only gave the newer Puerto Rican musicians a rich treasure of sounds from all over Latin America, including the Cuban Son and the Guaracha, but also placed on them the responsibility of being creative before those that knew the difference between talent and gimmickry. So the emerging Puerto Rican musician generation began to experiment in new combinations and ways to improve the established styles such as plena.
It is here as in other times across the history of Cuba and Puerto Rico that music met. The presence in the island of a group of Cuban exiles product of the Batista dictatorship together with the return to the island of seasoned Puerto Rican musicians that were versed in , among others, Cuban music meant that the Cuban rhythms, and in particular the "Son" also made his presence and were accepted and adapted to the mix. The young generation of Puerto Rican musicians in Puerto Rico had all the ingredients for a "sauce" of musical forms or "salsa" as it came to be known. However, the music genre itself wasn't born at the time. It was still in the womb of the puertorican musicians' community.
Cuban music was instrumental in the development of the salsa. There is no salsa as we know it without the Cuban Son. The elements of the Son are visible at every turn of the salsa's first ten years of history. But from this to imply that salsa originated in Cuba by Cuban musicians is a stretch of the imagination in light of the evidence.
This new attitude towards music and willingness to experiment that took shape in Puerto Rico in the late 50's was transplanted to New York in the early 60's when puertorican musicians started moving to this city that they viewed as the place to make their talent known. And this transplanted generation meet in this city with a new generation of puertoricans ready to take up the labor of creativity and give birth to Salsa. Again New York became for young puertorican salsa musicians what it was for puertorican quartets and singers in the 30's.
This new attitude towards music and musical creativity also moved to Cuba with the arrival of the revolutionaries. They brought with them not only a political revolution but also a cultural revolution. And this accounted for Cuba easily adopting salsa when it came to itself. This music that they saw as coming from US friends of those that came down from Oriente was the next logical step in the evolution of the cuban music. For them it was easy because the cuban afrocaribean musical background and the strong presence of elements of the Cuban Son in salsa made it feel as a new format for their own music. Thus, by the time of the formation of the anti Castro Cuban exile community in the US salsa was already a new musical form in Puerto Rico that had moved to Cuba.
Incidentally, this is not the first time that something like this happens. While many historians say that the latin american bolero started in the early 1880's in Cuba this type of bolero actually developed from the andaluzan bolero via Puerto Rico. The andaluzan bolero that arrived to Puerto Rico in the XIX century underwent a transformation in structure as well as in tempo. However, it did not saw its discovery to the outside world until it arrived to Cuba in the early 1880's. There it kept its new structure but its tempo was further accelerated. It came to Cuba after the Lares uprising with the arrival in Cuba of exiled Puerto Rican revolutionaries fighting against the Spanish rule.
In the early 60's this new form of Puerto Rican music later called salsa was born in New York to satisfy the demand for things Puerto Rican from the now established community that developed as a result of the migration of almost half a million Puerto Ricans to New York during the 50's. At the same time, however, a new massive migration, this time of Cubans, was taking place. But their main goal was the city of Miami in Florida.
The need of the Cuban exile community to develop a new "Cuban American" personality acceptable for all in the US moved them to adopt some modes of other groups that preceded them. They took as they see fit and claimed as their creation some popular cultural trends that had not been claimed by others before. Hence the myth that salsa started in Cuba. This was aided in part by a slew of excellent refugee writers that came to the US as a result of the closing of several Cuban newspapers in the island. Some of these writers were , and still are, respected chroniclers of the Latin entertainment scene that have produced very valuable historical documents. However, they tend to have a certain Cuban bias that produces a distorted interpretation of facts as it pertain with creations that have some elements of Cuban influence.
Also some ascending Cuban musical performers headed further up north, to New York and found that acceptance was easier if they adopted the music of the dominant hispanic community. The cuban singer La Lupe, for example, was accepted not for guarachas or other distinctively Cuban sounds but for performing the same music that the Puerto Ricans played and danced to at the time of her arrival.
However, the strongest evidence of this was Celia Cruz which at her arrival to the New York Metropolitan area was known as "La Guarachera de Cuba" or the guaracha singer from Cuba. Within a few years she came to understand that her music did not have a future among the new musical generation in the north and by 1971, half a decade after Hector Lavoe and Willy Colon, she began to sing salsa. Finally the cubans had somebody that could claim salsa as their property and didn't waste time in promoting her to the point that this guaracha singer which found so much help from the puertorican musician community in New York soon began to be called "la Reina de la Salsa".
Hence the myth that salsa came from Cuba comes from the fact that it has strong elements of Cuban music, especially of the Cuban "Son", the over zealousness of the Cuban writers that can not come to terms with the fact that some other people took the Cuban Son and other styles and created something as impacting as salsa and the adoption of it into the acts of arriving Cuban performers.
The evidence, however, points in another direction. Not only there is evidence that the elements that gave birth to salsa came together in the late 50's in places like Santurce, Puerto Rico but there is also ample evidence that the ones that helped to transport it to the international arena were for the most part Puerto Ricans and in particular Puerto Ricans that were from New York or that at a certain point of their life lived in New York. If salsa had originated in Cuba its spread would have been from Miami on out and not from New York on out.
The point at which we find the Puerto Rican musicians at fault is at failing to claim their creation as their own. They were too busy "making salsa" to care about taking proper credit for their creation.
As a final note we have to mention that Ismael Rivera, the person also named by the handle "Sonero Mayor" can also be considered the "Father of the Salsa", the person that set the patterns to follow by the salsa for the following 40 years.
Presented by Luis Chaluisan WEPAwebTV - New Edge Theater WEPAwebTV Roughrican Productions Rocker Roller Rican vlɒɡ Salsamagazine.com 2014 Recognition Awards Maria Hernandez Federico Chaluisan L.f. Chaluisan Batlle Editors WEPAwebTV - New Edge Theater El Extreme Luis Chaluisan https://www.facebook.com/groups/salsamagazine/
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Salsa Magazine History: Roughcut clips of Machito, Mario Bauza and Graciela Interviews Luis Chaluisan Salsa Magazine
Salsa Magazine Sunday's Salsa Show. In the coming weeks I'll be interviewing Mario Grillo of the Machito Orchestra.
http://www.machitoorchestranyc.com/
The Greatest story We Have To Tell Is Our Own Series.
WEPAwebTV News: Hear from the Integral members of The Original Machito Orchestra on Espiritu salsa. I meet and interview all of them in 1977 for my Show Espiritu Salsa on WAMH FM in Amherst Massachussetts. Later in the summer of 1977 I attend rehearsals of the Machito Orchestra at the Garden of Roses in the Bronx (by then they have drifted apart into two different entities with Mario Bauza utilizing Graciela for his own Orchestra). I am invited to Machito's home in the Bronx for a Latin NY interview regarding his career. There I meet Mario Grillo who shares with me how his father Frank (Machito) Grillo consistently listens to his car radio checking out Rock and Roll plus African American Soul then Disco music to keep up what is happening in American Pop Culture trends.
Later Im excited about meeting him at his parents home in 1977 since I know he is a consistent Studio Musician at Casabalanca Records. Spot him first on The Village People's First LP.
Pero hablame de MACHITO! http://www.machitoorchestranyc.com/
The legendary "Machito Orchestra" was founded in New York in 1939 by Cuban vocalist Frank"Machito" Grillo. Mario Bauza joined the band as Director in 1940. They were initially named "Machito and his Afro-Cubans," and they revolutionized Latin music with its fusion of Afro-Cuban rhythms and big band Jazz sounds. Their wildly successful Latin Nights launched the legendary Palladium Ballroom. One of the city's most popular orchestras for decades, the band included a "who's who" guest list of musicians over the years, including Dizzy Gillespie, Charlie Parker, Dexter Gordon, Buddy Rich, Cannonball Adderley, Johnny Griffin, Lew Soloff, and Jon Faddis. The band's 1943 hit "Tanga" is considered one of the first Afro-Cuban Jazz tunes to be recorded. In 1947, the orchestra performed the first Latin-Jazz concert ever held at New York's Town Hall, sharing the bill with the Stan Kenton Orchestra. Throughout the 70s, 80's, 90's, and the new millenium, the band continues to tour extensively around the world, creating new aficionados of Machito's Cuban Salsa and Afro-Cuban Jazz. Between tours, Machito served as a volunteer counselor to youths and seniors at Project Return,and the Senior Citizens Outreach Center. His 1982 cd,''MACHITO AND HIS SALSA BIG BAND'' earned him a GRAMMY® Award, for Best Latin Album,for Timeless Records,recorded in Holland,during one of his many European tours.
In 1984, Machito died while on tour in London at age 75. His presence lives on with the Machito Orchestra, led by his son, multi-percussionist Mario Grillo, and the band remains at the vanguard of the Latin music movement, playing concerts, dances, and clubs around the world, whilst retaining a strong "Afro-Cuban" foundation. Biography;Mario Grillo.Mario was born 1956,New York City,reared in ''El Barrio'' and The Bronx,as a 5 year old he played his first gig at ''The Palladium'',playing a timbale solo while standing on a chair with ''The King'',Tito Puente.Mario says,''there was a simple formula in my home,1.my Uncle Mario Bauza picked my teachers,2.my dad paid,3.my mother,Hilda Torres Grillo,made me practice for an hour,every single day of my life,I will be forever grateful for her belief in me and her love''.Living in NYC gave him the chance to study with some of the most notable drum teachers and authors in the world of drums.''Having the opportunity to study with Henry Adler,Ted Reed,Joel Rothman,Sam Ulano,and just about every drummer under the sun like,Elvin Jones,Connie Kay,Art Blakey,on and on and on,at ''Frank Ippolito's Professional Percussion Center on 50th. St. and 8th. Ave.,considered the home of the greatest percussionists in NYC'',solidified his musical training.The learning and teaching continues with clinics around the world,TOCA,SABIAN,EVANS,VIC FIRTH are awesome companies to represent,and he enjoys it...''it's very important to share knowledge,and when you represent such incredible companies,that is always first''.''I started playing in Dad's band when I was a freshman at Rice H.S.,so it's been an unbelievable ride,''around the world in 80 days'',would be the best phrase to use,I look forward to continuing the musical legacy which has been left for me to safeguard and take the music of Machito Orchestra near and far''.
www.inadittke.com/about/
he musical catalogue of Machito Orchestra, is now enshrined at THE LIBRARY OF CONGRESS WASHINGTON D.C.
scores,arrangements,lead sheets,and personal items will now be available to scholars, from around the world. This will insure Machito's legacy for generations to come, he will be in great company, Ella Fitzgerald, Max Roach, Gerry Mulligan, The Gershwin Brothers, Mozart and The Declaration of Independence. This is indeed a high honor. We as a family are very proud...

Thank you all, MARTHA(mima) GRILLO CARABALLO, FRANK R.(chicho) GRILLO JR., BARBARA(babajay) GRILLO SARRICA, MARIO(mayito) GRILLO, PAULA GRILLO. JUNE 1,2015.

FOR VIDEO; GO TO: WWW.YOUTUBE.COM THE BIG 3 PALLADIUM ORCHESTRA FEATURING MACHITO JR. ''SUNNY RAY''.
BB

Salsa Magazine History: Tanga 1942 (Live) The Magic City Manhattan in color 1943 https://vimeo.com/137686058
**
Presented by: WEPAwebTV - New Edge TheaterWEPAwebTV WEPAwebTV Roughrican Productions Rocker Roller Rican vlɒɡ Salsamagazine.com 2014 Recognition Awards Maria Hernandez Federico Chaluisan L.f. Chaluisan Batlle Editors WEPAwebTV - New Edge Theater El Extreme Luis Chaluisanhttps://www.facebook.com/groups/salsamagazine/
https://plus.google.com/u/0/+LuisChaluisan
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Luis Chaluisan

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Salsa Magazine History: Latin Ny Music Awards 1975 Beacon Theater Luis Chaluisan Salsa Magazine https://vimeo.com/137678312
First Annual Latin NY Music Awards (In B/W)
Louie Ramirez Leads Latn NY Orchestra (Theme)
Opening Remarks Mr Salsa Izzy Sanabria
Latin Music Dance/music History:
Featuring Lourdes Ramirez
Afro Dance Sequence
Merengue Sequence
Plena/Bomba Dance Sequence
Son Montuno Dance Sequence
Comedy Sequence
Palladium Mambo Sequence
Cha Cha Sequence
Latin NY Theme Salsa Dance Sequence
Featuring solos by:
Bobby Porcelli on Saxophone
Ray Maldonado Trumpet
Nicky Marrero Timbales
Presented by: Luis Chaluisan WEPAwebTV - New Edge Theater WEPAwebTV Roughrican Productions Rocker Roller Rican vlɒɡ Salsamagazine.com 2014 Recognition Awards Maria Hernandez Federico Chaluisan L.f. Chaluisan Batlle Editors WEPAwebTV - New Edge Theater El Extreme Luis Chaluisan https://www.facebook.com/groups/salsamagazine/
https://plus.google.com/u/0/+LuisChaluisan
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Luis Chaluisan

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Salsa Magazine History: Nydia Ocasio introduces Tween Dance Sensations Bobby and Evita Club Broadway 2 1996 https://vimeo.com/137682044
Without Dance, Salsa music is only half cooked and here Tween Dance Senations Bobby and Evita Club tear the floor up at Broadway 2 in 1996.
Presented by: Luis Chaluisan WEPAwebTV - New Edge Theater WEPAwebTV Roughrican Productions Rocker Roller Rican vlɒɡ Salsamagazine.com 2014 Recognition Awards Maria Hernandez Federico Chaluisan L.f. Chaluisan Batlle Editors WEPAwebTV - New Edge Theater El Extreme Luis Chaluisan https://www.facebook.com/groups/salsamagazine/
https://plus.google.com/u/0/+LuisChaluisan
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Luis Chaluisan

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Salsa Magazine History: Coming Soon To Salsa Magazine Historical Highlights Luis Chaluisan https://vimeo.com/137634471
1. Nydia Ocasio & Dance Senations Bobby/Evita 1996
2. Latin Ny Music Awards 1975 Highlights
3. Latin Ny Music Awards 1976 Highlights
1975
Latin Music Dance/music History:
Featuring Lourdes Ramirez
Afro Dance Seqauence
Merengue Sequence
Plena/Bomba Dance Sequence
Son Montuno Dance Sequence
Comedy Sequence
Palladium Mambo Sequence
Cha Cha Sequence
Latin NY Theme Salsa Dance Sequence
Featuring solos by:
Bobby Porcelli on Saxophone
Ray Maldonado Trumpet
Nicky Marrero Timbales

1976
Tito Puente: Mambo Inn
Bobby Rodriguez Y La Compania: New Band Of The Year
Roger Dawson
Rita Moreno
Seguida: Latin Rock Band Of The Year (Randy Ortiz)
Hector Lavoe: Conjunto Del Ano El Todo Poderoso
Leon Gast/Alex Masucci: Special Award for film "Salsa" and "Our Latin Thing"

Presented by: Luis Chaluisan WEPAwebTV - New Edge Theater WEPAwebTV Roughrican Productions Rocker Roller Rican vlɒɡ Salsamagazine.com 2014 Recognition Awards Maria Hernandez Federico Chaluisan L.f. Chaluisan Batlle Editors WEPAwebTV - New Edge Theater El Extreme Luis Chaluisan https://www.facebook.com/groups/salsamagazine/
https://plus.google.com/u/0/+LuisChaluisan
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    Theater Arts, 1975 - 1986
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Luis Chaluisan The Rise Of Salsa Magazine salsamagazine.com
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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
Work
Occupation
Television Producer
Skills
Variety
Employment
  • WEPAwebTV
    Television Producer, present
  • CBS, PBS, Telemundo
Places
Map of the places this user has livedMap of the places this user has livedMap of the places this user has lived
Currently
Bowling Green, Ohio
Previously
Bronx, New York - Amherst, Massachussetts - Hartford, Ct - New York, New York - Huntington Station, NY - Los Angeles, CA - Toledo, Ohio - Mayaguez, Puerto Rico - Brooklyn, NY