To be honest....I see black male posters crap on aa women a lot and a allow to do so as long as black male posters are left unscathed. Y'all bring on the disrespect to yourselves....people say I shouldn't have a say on black american issues but let any dude talk crap about aa women it's game on.
Latino magazine mad over Empire ask: "Where are the Latinos?"
- Thread starter _Anghellic_
- Start date
IllmaticDelta
Veteran
IllmaticDelta
Veteran
On the Puerto Ricans in early HipHop issue...an old post of mine
I got love for Puerto Ricans but most of what you posted isn't fact. Puerto Ricans were not part of HipHop from the START but they were the first non-black people around. In the early years of HipHop/Park Jams they were basically spectators. They weren't involved directly but they watched from afar. Bboying was black creation early on with no Ricans around
@ 8:26 he talks about when the Ricans started bboying
Ricans started getting involved more after 1975. Most of them never tried to get involved musically they felt they had to honor their own culture by their elders. Charlie Chase and Disco Wiz both attested to this. Disco Wiz interview
http://www.waxpoetics.com/features/...op-pioneer-dj-disco-wiz-spins-hard-knock-yarn
Dj Charlie Chase
talking about from the latino and black side
@ 3:00 mins
@ 2:54....and 5:04 on his mother on him playing "black" music and not his own culture music (salsa) @ 5:18 Bboy,Trace "Salsa is beautiful we love it but you can't dance/bboy to Salsa, we needed that Funk"
.
.
Ricans biggest contribution was later on in Bboying, which is more after 1975
@ :19 sec to 1:06...
I got love for Puerto Ricans but most of what you posted isn't fact. Puerto Ricans were not part of HipHop from the START but they were the first non-black people around. In the early years of HipHop/Park Jams they were basically spectators. They weren't involved directly but they watched from afar. Bboying was black creation early on with no Ricans around
@ 8:26 he talks about when the Ricans started bboying
Ricans started getting involved more after 1975. Most of them never tried to get involved musically they felt they had to honor their own culture by their elders. Charlie Chase and Disco Wiz both attested to this. Disco Wiz interview
What was it like growing up in the Bronx and seeing the birth of a new genre?
It was a one-of-a-kind experience when hip-hop got started. Between the ages of eleven and fifteen, the streets of the Bronx raised me. I was running in packs and putting in work—robberies, stickups, the whole nine. That’s who I was before I got into the music. But once I met Caz, we instantly connected. And not too long after that, hip-hop started exploding all around us. Kool Herc’s name was ringing bells. Bambaataa and Flash were doing their thing on the other side of town. No one was really making noise on our side, so it was just a natural progression that we became students of the culture. We had already been dressing the aesthetic, we were both graffiti writers, and so becoming a part of the music was just the next natural step for us.
What were the biggest hardships of the ’70s?
Back then, New York was fukking bankrupt. There were no programs, no resources. After my father died, we became a family on welfare. My mother was working two jobs at that point just to support us. I went to school, but I think I got a better education in the streets. We were definitely aware of our social environment at a young age. When my brother and I started going to Catholic school, we were less than a handful of the Latinos there. Even before my mother went on welfare, they were already calling us welfare recipients. It was a tough time for a lot of folks. Gangs were running rampant in the Bronx, and I soon became a part of that. We were all in the same boat—broken homes and a lack of anything else to be a part of.
What kind of impact did the music have on you?
Once I got involved in hip-hop, I spent less time in the street, and I started to gravitate away from those friends. But my mind-set was still pretty much the same. I still had a really quick temper. I wasn’t that overly talkative dude you’d want to kick it with, but the music taught me a lot about being a pioneer. I was the first Latino DJ, the first Hispanic dude behind the turntables, so there were a lot of biases about that from the Latino community. Hip-hop was perceived as a Black movement when it first got started, so I was perceived as a Spanish guy trying to be Black, trying to be non-Spanish.
Disco Wiz with the Coldcrush Brothers, 1982. Photo courtesy of Disco Wiz and powerHouse Books.
What were most Latinos listening to then?
They were listening to disco, salsa, and Top 40. Whatever was available on WABC, the one station we had in New York. But we weren’t accepted at fukking disco joints. It’s not like I could have rolled up to Studio 54. So it was tough at first. But once hip-hop became more popular, and my crew started to do community events, hip-hop became distinctively ours. From there, we just gravitated to it even more and began to create our own mark, our own niche. I was still a very aggressive dude, so I started to channel that aggression out through the music. Caz used to get mad at me, ’cause I would break the knobs on the mixer. Sometimes, I’d even slam shyt and break a needle. I was known for that. I got behind the turntables like I wanted to beat a motherfukker up. That’s why I got heavy into breakbeats.
http://www.waxpoetics.com/features/...op-pioneer-dj-disco-wiz-spins-hard-knock-yarn
Dj Charlie Chase
talking about from the latino and black side
@ 3:00 mins
@ 2:54....and 5:04 on his mother on him playing "black" music and not his own culture music (salsa) @ 5:18 Bboy,Trace "Salsa is beautiful we love it but you can't dance/bboy to Salsa, we needed that Funk"
.
.
Ricans biggest contribution was later on in Bboying, which is more after 1975
@ :19 sec to 1:06...
KyokushinKarateMan
Train hard, fight easy
IllmaticDelta
Veteran
For the record, Puerto Ricans in NYC have been up on "black" music since the 30's/40's so it made sense they would gravitate to HipHop
@ 7:05
Even the music called "Latin Boogaloo", the precursor to NYC Salsa owed a debt to black american music
Latin Boogaloo
http://www.salsacrazy.com/salsaroots/boogalu.htm
My mother is from the South Bronx and she said all the Ricans and Blacks listened to songs like these
.
.
.
.
.
Pucho Brown is Black American but he also ran with Ricans and he explains some of the dynamic/cross fertalization
.
...Ricans later followed Black Americans to the Disco scene
I forgot to post Rican, Dj Junebug. He was somewhere inbetween the the Black Disco Dj scene and the HipHop scene. He was Dj Hollywoods protege and ran with people like Kurtis Blow. Ricans also went to the same Disco clubs that blacks went to.
@ 7:05
Even the music called "Latin Boogaloo", the precursor to NYC Salsa owed a debt to black american music
Latin Boogaloo
Boogalu (a.k.a. Boogaloo), a fusion of Rhythm and Blues and Cuban son montuno, was popular in the United States from 1966-69. Boogalu was the first contemporary Latin music form that captured my attention because of its funky sounds, engaging choral chants by the audience, English lyrics, references to symbols of African American culture (“cornbread, hog maws and chitlins”), and background sounds of raucous party goers. Boogalu was a highly successful crossover musical style, capturing the attention of audiences who were previously not familiar with Latin music.
Boogalu resonated particularly with African American audiences. Performers such as Jimmy Sabater and Joe Cuba clearly state that Boogalu was inspired by the interaction between African American dancers and Latin musicians in New York at nightclubs such as Palm Gardens Ballroom. They recount stories of how the structure and tone of Boogalu songs such as “Bang, Bang” were developed in an effort to appeal to African American dancers who were not responding to their traditional mambos and cha cha chas. Many of the Boogalu musicians report that they were also deeply influenced by the R+B, jazz and Doo Wap bands of that era. Music historian Juan Flores, in his seminal work on Boogalu entitled “Cha Cha with a Backbeat, suggests that the song title and refrain “ I Like It Like That” may have some roots in a 1961 R+B tune with the same name composed by Chris Kenner, from New Orleans.
By 1966 “Bang, Bang”, “ Pete’s Boogalu” and “I Like it Like That” had captured the American public. Major boogalu bandleaders included Joe Cuba, Ricardo Ray, Pete Rodriguez and Johnny Colon. During its heyday nearly every major Latin band recorded boogalus including Ray Barretto, El Gran Combo and even Eddie Palmieri, one of the styles most visible opponents. According to JJ Rassler in a Descarga.com article, Boogalu occupied a unique position in Latin music history since it emerged as the popularity of Charanga music was waning and before the emergence of Salsa.
According to music historian Juan Flores, Boogalu was not an accidental development in Latin music but was the embodiment of the social and cultural interplay found on the streets of Black and Spanish Harlem.
“As neighbors and coworkers, African Americans and Puerto Ricans in New York had been partying together for many years. For decades they had been frequenting the same clubs, with Black and Latin bands often sharing the billing … African American audiences generally appreciated and enjoyed Latin music styles, yet those who fully understood the intricacies of Afro-Cuban rhythms and came to master the challenging dance movements remained the exception rather than the rule… Popular Latin bands found themselves creating a musical common ground by introducing the trappings of Black American culture into their performances and thus getting the Black audiences involved and onto the dance floor. “Bang Bang” by the Joe Cuba sextet and Latin boogaloo music in general was intended to constitute this meeting place between Puerto Ricans and Blacks and by extension, between Latin music and the music culture of the United States.” (Flores 2000)
There was no structured dance style or patterns associated with Boogalu. It tended to be a freestyle dance without a closed embrace where partners often faced each other and created spontaneous innovative steps in response to the music much like other popular dances of the 60's.
As with most issues in Latin music, there is a great deal of debate about who was the first person to coin the term “boogalu or to create the musical style . Richie Ray was certainly among the first innovators with his 1967 album Jala Jala Y Boogalu. The song “Pete’s Boogalu” written by trumpeter Tony Pabon was the first Latin boogalu song to be played on the radio.
What happened to the golden age of Boogalu? Was it just a passing musical phase, edged out by Salsa and Rock and Roll? Not everyone had been ecstatic about the popularity of Boogalu. In an interview by Max Salazar, Fernando “King Nando” Rivera revealed his view of the rise and eventual fall of Boogalu.
“We felt the jealousy of the older band members. The boogalu didn’t die out. It was killed off by envious old bandleaders, the only booking agent at the time, a few dance promoters and a popular Latin music disc jockey. We were the hottest bands and we drew the crowds. But we were never given top billing or top dollar. The boogalu bandleaders were forced to accept package deals’ which had us hopping all over town…one hour here, one hour there…for small change. When word got out that we were going to unite and not accept the package deals any longer, our records were no longer played on the radio. The boogalu era was over and so were the careers of most of the boogalu bandleaders." (Salazar 1997)
Others such as Willie Torres have another explanation for the disappearance of Boogalu.
“…the main responsibility for the eclipse of boogaloo in the name of salsa, aside from the musicians themselves, was Fania Records. Thought the category of salsa did not come into currency until 1972, it was Fania that shook New York Latin music loose of the boogaloo and went on to define the sound of the 1970s to world audiences." (Flores 2000)
Though the heyday of boogalu was brief, the music form continues to endure. In the late 1990’s Nito Nieve’s breathed new life into the form with his rendition of “I Like it Like that”, adding hip hop, rap and house music stylings to this old standard. Boogalu may have reached new heights (or depths?) of cross-over appeal when the Nieve’s version of this song became the background music for Burger King commercials in the late 1990’s. Contemporary Salsa bands continue to revive old boogalus and create new pulsating, energetic selections such as those found on CD such as Salsa Con Swing by Sonora Carruseles and Grupo Gale's "Boogalu con Gale" on their tenth anniversary CD.
If you want to hear boogalu and Latin Funk selections, log into http://www.p*ssycatclub.org.uk/SoundClips/Latin.htm or http://artists.mp3s.com/artists/350/the_mambo_boys.html and listen to some vintage soundclips. For interviews with Boogalu artists (Pete Rodriguez, Johnny Colon, Joe Cuba) about the impact and untimely demise of boogalu, log into http://www.afropop.org/radio/program_stream/ID/9/New%York:Back%20In%The%Day.
BOOGALOO PROFILES
There were many popular Boogaloo bands including Joe Cuba, Johnny Colon, Ricardo Ray, Joe Bataan, King Nando, Joey Pastrana, the Lebron Brothers, the Hi-Latins, Pete Terrace and Pucho and the Latin Soul Brothers. This section will profile several of the important musicians that were synonymous the infectious, funky sounds of Boogalu.
JOE CUBA
Joe Cuba ( born Gilberto Miguel Calderon) of Puerto Rican descent grew up in Spanish Harlem surrounded African American and Puerto Rican music and culture. A talented conga player he began his career playing with the Joe Panama Quintet. He went on to took over the leadership of this band which ultimately became “The Cha Cha Boy’s". They made their first appearance at the San Juan Club in 1953. The Cha Cha Boys band was later named The Joe Cuba Sextet and they began holding court at the Starlight Room in the Bronx. The Joe Cuba Sextet was comprised of timbales, vibraphones, piano, bass and wonderful singers like legendary Jimmy Sabater and Cheo Feliciano. Jimmy Sabater and Joe Cuba wrote the song “Bang, Bang” which is on the CD Wanted Dead or Alive. Wanted Dead or Alive sold over a million copies and climbed to number 63 in the US pop chart in 1966.
During an interview I conducted with Joe Cuba in October 2000, he said that his 1965 tune called “El Pito” contained many elements synonymous with his later Boogalu style. "El Pito" is was based on a Dizzy Gillespie melody "I'll Never Go Back to Georgia." "El Pito" was created to finish an album called We Must Be Doing Something Right. Cuba said in his desperation to complete the album he told the band members to repeatedly play the band’s sign off musical phrase (Asi Se Gozar) and they were instructed to laugh, talk, clap and create a party atmosphere. The song was constructed around this recurring musical theme, interspersed with joyful, raucous party sounds. Cuba later added the sound of whistles. When a DJ at WBLS radio in New York played "El Pito", it was an immediate hit. During live performances, Joe would whip his audiences into a frenzy by throwing whistles out to the crowd so that they could join in the fun.
Why have the sounds of the legendary Joe Cuba endured so long? According to Max Salazar the answer is simple. “The success of the Joe Cuba Sextet is a result of elements, six musicians, four self taught …original songs…quality arrangements.. the intended execution of the arrangements and promotion." (Salazar 1992)
Joe Cuba is considered one of the first Latino/Nuyorrican (New Yorker of Puerto Rican descent) Salsa musicians to incorporate English into his lyrics. Recently Alfredo Naranjo,percussionist, released Las 6 Es La Cita: Tributo A Joe Cuba. Joe Cuba remains quite active and ebullient about his life, his music and the Harlem neighborhood where he still lives. He is one of the founders of the International Salsa Museum and has recorded over 20 albums. If you go to the International Salsa Museum in New York, you just might run into him--like I did.
http://www.salsacrazy.com/salsaroots/boogalu.htm
My mother is from the South Bronx and she said all the Ricans and Blacks listened to songs like these
.
.
.
.
.
Pucho Brown is Black American but he also ran with Ricans and he explains some of the dynamic/cross fertalization
.
...Ricans later followed Black Americans to the Disco scene
I forgot to post Rican, Dj Junebug. He was somewhere inbetween the the Black Disco Dj scene and the HipHop scene. He was Dj Hollywoods protege and ran with people like Kurtis Blow. Ricans also went to the same Disco clubs that blacks went to.
-----
This account was for entertainment purposes only.
-----
This account was for entertainment purposes only.
ralph lauren
Banned
the white man put this article out, they trying to divide us
Fair enough
Where did i say that?
-----
This account was for entertainment purposes only.
for these gwallas man. Like half the gwallas here in Orlando are Nuyoricans and they on that
almost as hard as them Ricans. Behind close door they ain't cookin' this with us. I don't know how else to say it.
jwonder
Superstar
Umm. I think Black and Hispanic has always been divided. Ricans and most of the island Hispanics want to spit that black shyt when they can benefit off of it.
