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LA MUSICA CHE CI GIRA INTORNO

THE MUSIC THAT GOES AROUND

The MUSIC WE TURN AROUND (but it's precisely what you listen to in the origin countries?)

During a gathering dedicated to puertorican salsa, salsa New York Style and the Los Angeles had a chance to spend the evening alongside Tito Ortos and Tamara Livolsi (two of the best dancers of Puerto Rico). I could tell from their expressions that they were quite surprised at the music that they put the dee jay, focused mainly on sound of New York of the ' 60 and ' 70.

In Puerto Rico, in fact, that kind of music you listen to little, as Puerto Ricans prefer far more music salsa gorda guarachera — various Cortijo y su Combo, Bobby Valentin, El Gran Combo de Puerto Rico, La Sonora Poncena, Tommy Olivencia, Roberto Roena, Ralphy Leavitt or that of Cheo Feliciano, Ismael Miranda, singers like Immortals , Hector Lavoe, Andy Montañez, Marvin Santiago, Frankie Ruiz, Gilberto Santa Rosa Cano Estremera, José Alberto el Canario, Celia Cruz, Oscar de Leon, etc etc. ..

But the thing that Titus and Tamara have found most surprising is the fact that dee jay instead of mixing the hard sauce with the more romantic, mixed with bachata, a genre that in Puerto Rico just like the Dominican community.

Now it is true that every people has its own characteristics, but I wonder if the music that you hear today in the premises depends on the tastes of the public or those of dee jay, influenced in turn by that slice of teachers dancing on a particular style rather than on another …

The same principle can be extended to those nights that theoretically should be of "Cuban music".

A closer look I'm not evenings dedicated to "Cuban music" but only to "Cuban timba" (with continuous hikes in timbaton or in reggaetton.)

Today it is virtually impossible to hear, as part of an evening Cuban, an older son, guaracha, a pachanga, a bolero or even a chachacha.

Great artists of the past such as Benny Moré, Arsenio Rodriguez or Celia Cruz are absolutely off limits, to the point that the younger generation absolutely ignore dear salseras/os around who they are.

So it's easier to listen to these great artists in the context of those evenings dedicated to the sounds of Puerto Rico and New York and (in theory) dedicated to Cuban music.

It is not paradoxical, dee jays, friends? …

The result of this shortsighted and reckless policy is that today the musical level generalist evenings it has dramatically lowered to the point that it is increasingly difficult to bring together under one roof, along the way, people have developed taste in music and dance tastes completely in contrast, although sharing the same root.

Of course if the dee jays strove to mix more various genres of music, maybe you could do more culture, to transmit more curiosity, more tolerance, combining quality with fun (as, indeed, once …)

Honestly, I don't know if we will never change the current trend, but there is no doubt that dee jays, organizers and teachers should try to leave aside mere bottega interests to resume their role as communicators and defenders of Latin American culture (which cannot be confined to a single nation, be it Cuba or Puerto Rico.) 

There will we ever?

You dee jay judge …

December 7, 2010 at 15.09

About Stefano Bognolo

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