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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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Interview/Enrevista Coati Mundi - Luis Chaluisan Salsa Magazine 
Composer Actor Performer at Coati Mundi World
Past: Dr.Buzzard's Original Savannah Band
Studied at HB Studio
Past: NYU
Lives in Los Angeles, California
From New York, New York 
Coati Mundi, the adopted professional name of “Sugarcoated Andy Hernandez”, hails originally from Spanish Harlem NYC . He majored in business management at NYU but spent most of his free time hanging with poets, actors and musicians while occasionally entertaining the troops during NYU student strikes. After graduating from NYU he bypassed wall street and got a gig in El Barrio as a social worker. Serving as a community advocate for PINS (person in need of supervision) prepared him for the arduous and stressful business of show. Eventually Coati answered his true calling and has been blessed to serve the entertainment business in various capacities. He has worked with an array of renowned artists including Carlos Alomar, Paul Anka, Ruben Blades, Jocelyn Brown, Ray Chew, Lisa Fischer, Deborah Gibson, Salma Hayek, Nona Hendryx, Oscar Hernandez, Chrissie Hynde, Wyclef Jean, Grace Jones, Andy & Jerry Gonzalez, Raul Julia, Alan King, Spike Lee, Melissa Leo, Harry Lookofsky, La Lupe, Machito, Madonna, Paul Morrisey, David Nadien, Nico, Karyn Parsons, Tito Puente, Vernon Reid, Sly & Robbie, Paul Rodriguez, The Roots, Gustavo Santaolalla, Wanda Sykes, Phoebe Snow, Judy Tenuta, Eddie Torres and of course the “Olsen Twins”.
Band Leader - Segment features Tito Puente (TV Desi Awards)
Musical Director - Arranger (Presented by BAM & The BRC)
Mundi’s maiden voyage into the major leagues commenced back in the day when platform shoes, designer jeans and a white polyester suit with an open collar shirt reigned supreme. He however joined a band of rebellious upstarts who went against the proverbial grain and it resulted in melodic mayhem. Their debut album featuring the pioneering hit single titled “Cherchez la Femme” went multi-platinum and they were nominated for a Grammy as “Best New Artist”. The Zoot suited, Fedora wearing band of mulatto miscreants was “Dr. Buzzard’s Original Savannah Band” 
Mundi has been a Music Director for live and TV events. Credits include the Desi Awards (Paul Rodriguez - Host), Lincoln Center’s Midsummer Night Swing and BAM Presents The Latin Connection Concert which featured celebrated artists such as Nona Hendryx, Joe Bataan, Vernon Reid, Cory Daye and Carl Hancock Rux.
The 70‘s Disco period was a magical time full of wonderment and discovery. One was young and looking forward to a loss of innocence while putting the immune system to the test. The drugs were mandatory but medicinal; the sex was hot but harmless; last but never least the music was mighty. Yes the 60’s was hip and groovy but the sex was shoeless, the drugs were delusional and outside the mambo community the dancing was dumb. Mundi feels that Disco has historically received a bad rap. From Disco came amazing singers and groups like Donna Summer, Cory Daye, Gloria Gaynor, Thelma Houston, Frances Jolie, Luther Vandross, Jocelyn Brown, Chic, GQ, Wild Cherry, Dazz Band, Village People, DC LaRue, Brothers Johnson and one can go and on. Even some of the rockers joined in on the festivities like AWB, Bee Gees, Rolling Stone, Rod Stewart and Blondie. That whole disco demolition night fiasco in Comiskey Park was motivated by ignorance, fear, envy and hate. It killed disco temporarily but now it is back and in fact it is one of the most sampled genre. Disco gave rise to dance music including Rap and Chicago House. Disco theme parties and Disco retro bands dominate the private party landscape. In every sports event and baseball stadium including Comiskey Park people are doing the Village People’s “YMCA” dance routine. Disco songs are constantly being covered by today’s artist. In other words DISCO LIVES !!! Alas like many pop groups Savannah Band went from making millions to dodging the repo man. Eventually he did get a second wind and partnered up with fellow Savannah Band comrade August Darnell to form the critically acclaimed Kid Creole & The Coconuts where he served as Co-Leader and Musical Director. He played percussion, danced, sang and composed. In fact his pioneering Spanglish rap song “Que Pasa/Me No Pop I”, originally released as “Kid Creole & The Coconuts Presents Coati Mundi”, was the first hit for the group garnishing them major international attention. His zany energetic theatrical performances as Kid Creole’s comic foil sidekick had been lauded by fans worldwide including Barry Manilow, Prince, Madonna, Denzel Washington, Paul Schaffer, Spike Lee, Rick James, Def Leppard, Lady Diana and Michael J. Jackson. A group highlight was performing a sold out show at Carnegie Hall. Coati also worked on many of the Kid Creole off shoot projects including record producer for the #1 dance hit “Deputy of Love” by the “2nd Avenue Rhumba” and as Horn & String arranger for Gichy Dan’s Beachwood #9. As an actor he continues to appear in films and recently was seen in “ON THE ROAD” directed by Walter Salles (“The Motorcycle Diaries”), produced by Francis Ford Coppola (“The Godfather”) and starring Garrett Hedlund, Sam Riley and Kristen Stewart. He also worked on the award winning film “The Imperialist Are Still Alive” directed by Zeina Durra and an HBO pilot by Spike Lee and Doug Ellin (Entourage). Coati will next be working as an actor and composer on “An Artist’s Emblem” starring Harry Dean Stanton and Maximillian Schell. Coati has an extensive music catalog that has been licensed for films including “We Own The Night” starring Joaquin Phoenix, “Musical Chairs” directed by Susan Siedelman, “Gloria” directed by Sidney Lumet and “Our Idiot Brother” starring Paul Rudd 
Presented by: WEPAwebTV - New Edge Theater WEPAwebTV Roughrican Productions Rocker Roller Rican vlɒɡ 2014 Recognition Awards L.f. Chaluisan Batlle Editors WEPAwebTV - New Edge Theater Luis ChaluisanFederico Chaluisan Maria Hernandez El Extreme Luis Chaluisan

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Interview/Enrevista Marcos Colon-Queen Rose & Alo Colon Production - Luis Chaluisan Salsa Magazine 

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Interview/Enrevista David Lucca - Luis Chaluisan Salsa Magazine 
Studied at University of Puerto Rico
Past: Ponce High School 
Lives in Fort Lauderdale, Florida
From Ponce, Puerto Rico 
Full Biography on 
Presented by: WEPAwebTV - New Edge Theater WEPAwebTV Roughrican Productions Rocker Roller Rican vlɒɡ 2014 Recognition Awards Federico Chaluisan L.f. Chaluisan Batlle Editors WEPAwebTV - New Edge Theater Luis Chaluisan Maria Hernandez El Extreme Luis Chaluisan

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Interview/Enrevista Pedro Pocholo - Luis Chaluisan Salsa Magazine 
Leader Boricua Legends 
Bronx, New York 
Toa Baja 
Presented by: WEPAwebTV - New Edge Theater WEPAwebTV Roughrican Productions Rocker Roller Rican vlɒɡ 2014 Recognition Awards Federico Chaluisan L.f. Chaluisan Batlle Editors WEPAwebTV - New Edge Theater Luis Chaluisan Maria Hernandez El Extreme Luis Chaluisan Pedro " Pocholo " Segundo & Sus Boricua Legends Pedro Pocholo Segundo
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Luis Chaluisan

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Salsa Magazine: From the beginning to the future 

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Willie Colon Discusses Mon Rivera Y Su Trombanga - Luis Chaluisan Salsa Magazine 
Source Material for extension of Al Santiago section in Salsa The Untold Story 27 Minutes 
Mon Rivera's Trombanga (trombone conjunto) Sound (1962) in use prior to Eddie Palmieri. Produced by Al Santiago on Alegre Records, Mayaguez, PR native Efraín "Mon" Rivera organized his own orchestra by 1962. He was a multi-instrumentalist whose father was a musical legend in Mayaguez. As most Puert Rican orchestras of the time, Efraín's orchestra didn't play bombas and plenas exclusively. Most of Efraín's plena numbers broke into a salsa section in mid-song, and he would sing or play any genre at dances and shows. This explains his experiments mixing plena with pachanga, boogaloo and Dominican merengue, such as "Qué gente averiguá'" ("What nosey people"), a song where he mocked people who openly criticized that he was a miser, recycling old clothes until they wore thin, keeping his money hidden in a barrel or wearing an old hat from his Mayagüez days down 8th. Avenue in Manhattan. Cheo Feliciano admits being Efraín's roadie once around this time.
He also experimented with latin jazz; his efforts were capped by an instrumental salsa song that is listed by many to be a standard of the genre: "Lluvia con Nieve" ("Rain with Snow") (which he recorded in 1964). The powerful artist lineup for this record included Charlie Palmieri and Eddie Palmieri on piano, Barry Rogers, Mark Weinstein and Manolín Pazo on trombones, and Kako Bastar on percussion, among others.
There are conflicting theories that list either Efraín or his record producer, Al Santiago, as being the inventor of the all-trombone brass section (four trombones, in this case). An early example of this is the earliest recording Efraín made of "Askarakatiskis". This led to a more aggressive, bottom-heavy sound that was a novelty at the time. The sound led itself well to plenas, but didn't catch on in salsa circles until Eddie Palmieri experimented with a similar lineup almost simultaneously (Santiago produced both artists). By the end of the decade, the all-trombone brass section was part of the standard salsa vocabulary, popularized particularly by Willie Colón, who adopted it most successfully than any other bandleader.
Efraín could make a living with his orchestra, but migrating to New York disconnected him from his fan base in Puerto Rico. Health problems, a bout with alcoholism and drug addiction (plus spending some time in jail) eventually forced a reduction in his workload, and his popularity waned. 

Presented byLuis Chaluisan WEPAwebTV - New Edge Theater WEPAwebTV Roughrican Productions Rocker Roller Rican vlɒɡ 2014 Recognition Awards Federico Chaluisan L.f. Chaluisan Batlle Editors WEPAwebTV - New Edge Theater Maria Hernandez El Extreme Luis Chaluisan

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Interview/Enrevista Luisito Rosario - Luis Chaluisan Salsa Magazine 
Luisito Rosario is an experienced salsa singer who is blessed with a beautiful voice, a charismatic and commanding stage presence, and Hollywood looks.
Luisito was born with a bang, and the fireworks that are common on the 4th of July. He was raised in Hoboken, New Jersey, and now currently resides in Allentown Pa. where he is focusing on his singing career. The proximity of New York City, across the Hudson River where salsa started in the sixties, influenced Luisito's formative years listening to all the salsa legends of the decade. His appreciation for the greats of the era, especially the members of the Fania All Stars, along with his Puerto Rican roots, inspired Luisito to pursue a singing career in this genre of Latin music.
In 1996, the legendary Larry Harlow from the Fania All Stars hired Luisito Rosario to be lead vocalist for his orchestra. It's been fourteen successful years, and they are still going strong. They performed in Caracas, Venezuela to thousands of salsa lovers. Luisito recorded "Tumba y Bongo" in 2002 for Larry Harlow's 35th anniversary CD where he, along with Mr. Nestor Sanchez recorded all the background vocals. In 1996 Luisito joined the popular salsa band in New York City " Grupo Hechizo", and recorded lead vocals in their 1998 CD "Sin Limites" which charted in the Top Five of the New York City record pools. Luisito toured the Caribbean Islands and the US as Hechizo's lead vocalist. Luisito's popularity exploded in 1999 when he toured Europe, and the US with Los Hermanos Moreno..
Luisito teamed up with Mambo City Music LTD in 2001, and launched his first solo CD with "Jurame", showcasing his salsa roots. The CD included arrangements by Cuto Soto and Lucho Cueto, whom have arranged for Marc Anthony and Tito Nieves. Luisito’s sophomore recording "RUMBA DEL BARRIO" showcases the type of salsa that's popular with the hardcore salseros. This new production includes Charanga, Son, Mambo, Guajira and just straightforward old school style salsa! But very special to Luisito, was a song dedicated to the late queen of salsa CELIA CRUZ. He also had the honor of singing this song to Celia's husband Pedro Knight on the highest rated morning show DESPIERTA AMERICA!! "Rumba Del Barrio" was dedicated to all the salsa lovers of the world.
Now comes his latest production, "Casino Rueda", which not only promises to be his best, but will also pay homage to the classic sound of the "New York Salsa Era", as well as afford him the opportunity to finally become the "breakout" salsa star that he so readily deserves. "Casino Rueda" will without a doubt reach the top of all salsa playlists worldwide, and will once again give salsa enthusiasts, and dancers alike, something to be excited about. The CD will include three English tracks, three romantic tracks, and of course, four hard hitting "Salsa Dura" tracks. "Casino Rueda" will feature the group "Croma Latina" from Italy, Salsa/R&B recording artist Nino Valentino, and arrangements by Tommy Villariny, Jose Madera, Julito Alvarado, Kevin Rodriguez, Emo Luciano, and Ronnie Amoros. Luisito Rosario’s "Casino Rueda" is the "cream of the crop", and truly reflects the passion and pride that this artist has shown and has given to his audiences for some time now, and most definitely, for years to come! 
Presented by: WEPAwebTV - New Edge Theater WEPAwebTV Roughrican Productions Rocker Roller Rican vlɒɡ 2014 Recognition Awards Federico Chaluisan L.f. Chaluisan Batlle Editors WEPAwebTV - New Edge Theater Luis Chaluisan Maria Hernandez El Extreme Luis Chaluisan

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Interview/Enrevista Los Hermanos Moreno- Luis Chaluisan Salsa Magazine 
Nelson Moreno Willy Moreno
Worked at R&M Promotions/El Sol de NY
Went to Hoboken Junior Senior High School
Lives in Jersey City, New Jersey 
Tropical band Los Hermanos Moreno was formed in New Jersey in the lat5e 80's by brothers William and Nelson Moreno, climbing Latin charts during the '90s with "Sopa de Pichón," and "Quimbombo," among other songs. The group achieved the title of Best International Orquestra after participating in a Colombian festival, consolidating their popularity while touring around the world. After issuing No Me Vuelvo A Enamorar and Together, William Moreno left the act. Nevertheless, the name remained the same. Los Hermanos Moreno returned in 1999 with Una Miradita and continue today entertaining fans with high voltage Salsa. 
Presented by: WEPAwebTV - New Edge Theater WEPAwebTV Roughrican Productions Rocker Roller Rican vlɒɡ 2014 Recognition Awards Federico Chaluisan L.f. Chaluisan Batlle Editors WEPAwebTV - New Edge Theater Luis Chaluisan Maria Hernandez El Extreme Luis Chaluisan

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Interview/Enrevista Reinaldo Titi Ortiz - Luis Chaluisan Salsa Magazine 
Reinaldo Titi Ortiz 
Lead Singer Chino Ramos Y Su Orquesta
Manati, Puerto Rico
Studied at Pontificia Universidad Catolica de Puerto Rico
Past: Escuela Superior Fernando Callejo Manati PR
Lives in Manati, Puerto Rico
From Manati, Puerto Rico
Chino Ramos Y SU ORQUESTA 30,843 Votes Salsa Magazine Salsa Awards Stamford Ct.
Presented by: WEPAwebTV - New Edge Theater WEPAwebTV Roughrican Productions Rocker Roller Rican vlɒɡ 2014 Recognition Awards Federico Chaluisan L.f. Chaluisan Batlle Editors WEPAwebTV - New Edge Theater Luis Chaluisan Maria Hernandez El Extreme Luis Chaluisan
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Luis Chaluisan The Rise Of Salsa Magazine


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.

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
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
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
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

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

Stop Look Listen
It’s now New Rican Village time
On Avenue A off Sixth
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
Lay sweltering
Just below my stomach
I absorb all eagerly
As music and being
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

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.

There are two things
God knows that
Carmen Baby knows
She is beautiful
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

An unbroken cowboy
In love with
The open ranges
In love with
Small town
Dance hall girl
Known as
“Delilah Blue”
A sensuous comet
Streaking across
My sky mind
22 Raven
On her hip
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
Bathed in incense
And the
Bittersweet smell
Of love-making
I peek into
Delilah’s soul
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
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
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
Of our first
Year anniversary
I find Delilah
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
We’re blind
I know I have to act
And lay a path
For Delilah to escape
And save myself
Who can always figure out
My little boy secrets
She walks into
A local bank
Makes a .357 withdrawal
Leaves me a note
Flies back west
To rest
Under the Volcano
Thanks for the star-spiked rodeo
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
The Dark Night
Of the Soul.

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
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
I am here before it starts
I am here after the end
I’m a hidden treasure
That desires
To Be Known
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
Sodden lust
Rocked to sleep
By the cadence of
The Elusive One's
Here's the secret
You have to know life
To recreate life
One more thing
I love you
I love you all


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, Published Author, Off Broadway Perrformer, Television/Radio Producer, Subject of Documentaries and Included in various anthologies
Television Producer
  • WEPAwebTV
    Television Producer, present
  • CBS, PBS, Telemundo
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Bowling Green, Ohio
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