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Vacation!

• I will be on vacation from August 18th until September 2nd. Please note that I will not have access to my emails and I will reply to your emails as soon as I return. I will be In South Beach Florida for 5 days and then aboard a ship for 7 days. I will post and share my vacationpictures when I return!! I'll see you in September for the Fall session!!

Bachata Song List!

• Many of you joined the Bachata workshop or will be joining our two week Bachata class in August and have asked for a Bachata song list to practice your new steps. Here is a list of my favorite Bachata songs. They are all available for download from iTunes:

1. Te Regalo el Mar by Frank Reyes

2. Me Voy by El Torito Hector Acosta

3. Necesito un Amor by Andy Andy

4. En Busqueda by El Gringo de la Bachata

5. Cuanto Daria by Giordano Morel

6. No Es Una Novela by Monchy & Alexandra

7. Mi Corazoncito by Aventura

8. Amor Desperciado by Frank Reyes

9. Tue Eres Ajena by Frank Reyes

10. Cariñito de mi Vida by Luis Segura

11. Dame una Razon by Luis Varcas

12. Hoja en Blanco by Monchy & Alexandra

13. Los Infieles by Aventura

14. Vale la Pena by Yoskar Sarante

15. Si Tu Estuvieras by Los Toros Band

16. Cuando Volveras by Aventura

Fall 2008 Session

DAY	CLASS	TIME	PRICE	LOCATION	START
Tuesday	Salsa 1 - Beginner (with Hollie &/or Orlando)	7:00 - 8:00 pm	$80 for 9 weeks*	BURBANK McCambridge Rec Ctr.  1515 N. Glenoaks Blvd. Burbank, CA 91501 (818) 238-5378	Sept 16 - Nov 11
	Salsa 2A - Advanced Beginner (prerequisite: Salsa 1) (with Hollie &/or Orlando)	8:15 - 9:30 pm	$80 for 9 weeks* * Add $5 for Non Burbank Residents
Wednesday	Salsa 4 -  Advanced Intermediate By Invitation Only (with Hollie &/or Orlando)	8:30- 10:00 pm	$67.50 for three classes or $140 combined with S3  ($135 if pre-paid by 9/2)	BURBANK Garri Dance Studio   1719 W. Verdugo Ave. Burbank, CA 91506 (818) 846-4390	Sept  17th Oct 15th Nov 5th
Thursday	Salsa 2B - Beg Intermediate (prerequisite: Salsa 1, 2A ) (with Hollie &/or Orlando)	7:30 - 8:30 pm	$95 for 9 weeks (or $90 if pre-paid by 9/2) or $15 per class	BURBANK Garri Dance Studio   1719 W. Verdugo Ave. Burbank, CA 91506 (818) 846-4390	Sept 18 - Nov 13
	Salsa 3 - Intermediate (prerequisite: Salsa 1, 2A - 2B) (with Orlando)	8:30 - 9:30 pm	$118 for 9 weeks (or $113 if pre-paid by 9/2) or $15 per class (price includes 2-half hour practice sessions)		Sept 18 - Nov 13

* Non Burbank residents add $5.

100 Great Salsa Songs

(In no particular order)

1.  Estan Quemando La Caña by Yuri Buenaventura

2.  African Salsa by Pepe Fall

3.  Campanero 2004 by Son  Boricua

4.  El Cuarto de Tula by Miami's Band

5.  San Lazaro by Albita

6.  La Vida es un Carnaval by Celia Cruz

7.  Malagueña Salerosa by Eddie Palmeri

8.  La Cartera by Machado

9.  Valio la Pena by Marc Anthony

10. Salsa Rai by Yuri Buenaventura

11. Descarga Total by Maraca

12. El Negro Bembon by Son Boricua

13. El Pito by Sonora Carruseles

14. El Yo Yo by Wayne Gorbea y Salsa Picante

15. El Solitario by Donaldo Flores

16. Fuego a la Jicotea by Orquesta Tabaco y Ron

17. La Bomba Soy Yo by Los Van Van

18. Lloraras by Oscar De Leon

19. Que Se Sepa by Roberto Roena

20. 10.Ran Kan Kan (Short Version) by Tito Puente

21. El Platanal de Bartolo by Cubanismo

22. Fajardo Te Hace Cumbanchar by Estrellas De Envidia

23. Yo Soy by Yuri Buenaventura

24. Usted Abuso by Son Boricua

25. No by Willie Colón

26. Montuno Street by Azabeche

27. Vamonos Pal Monte by Son Boricua

28. Una Aventura by Grupo Niche

29. Tengo Ganas by Victor Manuel

30. Macho Perez by Hector Tricoche

31. Si Te Dijeron by Gilberto Santa Rosa

32. Que Bueno Baila Usted by Ibrahim Ferrer

33. La Caña by Adalberto Santiago

34. La Paella by Jose Alberto “El Canario”

35. Mambo Yo Yo by Ricardo Lemvo

36. I Love Salsa by N’Klave

37. Havanaguila by Melcochita

38. Mambo of the Times by Frankie Morales

39. Ojos Chinos by El Gran Combo de Puerto Rico

40. Trucutu by Los Soneros del Barrio

41. Mi Tierra by Gloria Estefan

42. Enamorao by Grupo Caneo

43. Desnudate Mujer by Frankie Ruiz

44. Tema De Presentacion by Felix Valoy Jr.

45. Culebra by Grupo Niche

46. A Corazon Abierto by Hector Tricoche

47. Nicolas by Ismael Miranda

48. Vete y Pregona by Jose Alberto “El Canario”

49. Coco by Wayne Gorbea's Salsa Picante

50. Son Flamenco by Los del Caney

51. Soneando Con Un Sonero by Felix Valoy Jr.

52. Cachondea by Fruko y sus Tesos

53. Kuku-Cha Kucha by Hansel y Raul

54. Viva La Salsa by Victor Hugo

55. Baila Rumbero by Vitin Aviles

56. Lechon Lechon by Victor Manuel

57. Gracias por la Musica by Willy Chirino

58. Le Gusta Que la Vean by Tito Nieves

59. El Alacran by Sonora Carruseles

60. Avisale A Mi Contrario by Roberto Roena

61. No Llores by Gloria Estefan

62. La Continuación. María Teresa y Danilo (Parte 2) by Hansel Y Raul

63. Los Carteros by Orquesta Sublime

64. La Historia De Maria by Melcochita

65. El Bodeguero by William Rubalcaba

66. Senor Juez by Orquesta Aragon

67. Cama y Mesa by La Palabra

68. La Muela by Rene Herrera

69. Chacha la Vie by Kaoma

70. I Need to Know by Marc Anthony

71. Caballito by Malkriados

72. El Ombliguito by Merengue Fever

73. El Rompecintura by Merengue All-Stars

74. Me Voy by El Torito

75. Maniculintanteo by Willy Chirino

76. Abusadora by Merengue All-Stars

77. No es una Novela by Monchy & Alexandra

78. Suavemente by Elvis Crespo

79. La Dueña del Swing by Merengue All-Stars

80. La Vaca by Grupo Nidido

81. El Negro Bembon/ Maquinalandera by King Bongo

82. Sabroso Bacalao by Alonso Echeverria

83. Tumba la caña Jibarito by La Sonora Ponceña

84. La Loteria by King Bongo

85. La Pollera Colorada by La Sonora Ponceña

86. Tu Me Deseperas by Adalberto Santiago

87. Salsaton by Andy Montañés

88. Chango by Angel Melendez & The 911 Mambo Orchestra

89. Las Mujeres en la Fiesta by Frankie Morales

90. El Avión de la Salsa by Jimmy Bosch

91. El Paso de Encarnación by Cubanismo

92. La Salsa Nunca se Acaba by The Susie Hansen Latin Band

93. Me Vuelvo un Ocho by Puerto Rican Power Orchestra

94. Mi Violin Charanguero by Alfredo de la Fe & Enrique Alvarez

95. Pachanga Con la Playa by Fruko y sus Tesos

96. Quítate La Mascara by Ray Barreto

97. Quimbara by Celia Cruz & Johnny Pacheco

98. Levantate Bailador by King Bongo

99. La Guerra De Los Callados by Joe Arroyo

100.   Mama Guela  by Spanish Harlem Orchestra

• Please support the hard working musicians that  keep our feet moving by buying their Cd's or download the songs from iTunes or any other legal online service!!

Dance Tip Of The Week 

• Arms- In closed position, leader should offer support to his partner by keeping his right elbow raised as his partner rests her left arm on it. Both leader and follower should keep even pressure with their kissing hands (his left to her right) to make sure that the proper frame is maintained. The leader should be doing all the leading of the kissing hands as he does his basic steps. Do not pump arm (leader's left arm, follower's right arm) up and down excessively and draw attention to them. Feel the music and move accordingly. In open position make sure that the elbows are bent slightly on both dancers and leader should still provide some support to his partner. Make sure even pressure is applied from both dancers to maintain the proper frame and keep from getting the “Spaghetti Arm” look.  Always keep elbows from falling behind your torso. Keeping even pressure should take care of that problem. Remember to keep your elbows bent during back breaks to provide the “Spring Back Effect” and not the jerking motion that you get when your arms follow the lead and then your body follows. It should all happen at once. Remember to keep the frame and not collapse it when doing spot turns by keeping even pressure and leaning back and facing your partner.

LAST WEEK'S TIP

• Dance Shoes- Beginner Salsa dancers have many important things on their minds when they start out dancing than to worry about their shoes. Just remembering the steps, timing and technique can be overwhelming. I tell my students to wear shoes that slide well and have some sort of heel to keep their weight forward. I also warn the ladies that slip in shoes are not suitable for dancing since your toes are constantly trying to grip your shoe to keep from sliding out of them. Once you decide that Salsa dancing is for you and you want to continue dancing, then you should look into buying “Dance Shoes.” Dance shoes have a special sole made of a suede type material called “Chrome Leather” which allows for ease of movement with just the right amount of traction. The heels on the ladies shoes are much stronger and allow for the dancer to put her weight on the heel without them breaking off. Dance shoes are also very thin on the soles to allow the dancer to feel the floor almost as if dancing barefooted. Unlike your street shoes, where you want to have a little extra room for your toes, dance shoes fit like a glove. Just as a golf player needs the right clubs and a tennis player needs the right racket (And shoes for both). You as a dancer should have the proper equipment to make your dancing more elegant and your turns smoother.  Next time you are out on the dance floor, look at the feet of the dancers doing all the fancy spins and see if they are not wearing their dance shoes.

 Salsa Clubs

The Borderline

99 Rolling Oaks Drive
Thousand Oaks, CA 91362
(Off the 101 Freeway / Moorpark Exit) 805) 382-0631

El Floridita Restaurant

1253 N. Vine St., Hollywood (corner of Vine & Fountain) - (323) 871-8612
Cuban Cuisine, Live Music, Dancing 

The Granada

17 S. First Street, Alhambra, CA (626) 284-7262. Under 21 Welcome!

La Bodeguita de Pico

5047 W Pico Blvd., Los Angeles, CA 90019 (323)937-2822. Under 21 Welcome!

King-King

6555 Hollywood Blvd., Hollywood, Ca 90028 (323) 960-5765

King King Hollywood
Mama Juana's

3707 Cahuenga Blvd. Studio City (818) 505-8636

The Mayan

1038 S. Hill St, Los Angeles, - (213) 746-4287
Live Band, DJs, (House, Techno, Hip-Hop Music, too)
Strict dress code always enforced.

The Rumba Room

1000 Universal City Walk, Suite 208, Universal City, (818) 622-1222
live bands on Fridays and Saturdays.

The Sportsmen's Lodge

4234 Coldwater Canyon, Studio City
All ages. $15 cover with free class at 8:30 P.M.

Call them first to confirm!!

Steven's Steakhouse

5332 Steven's Place, City of Commerce - (213) 723-9856
Live Band & Food buffet $5 on Sun, Wed, Thur, Fri; $10 on Sat
Tuesdays and Sundays Free, DJs.   Under 21 Welcome!

Zambumba 

10717 Venice Blvd.  Palms (310) 841-6525

These are just a few of the many places to dance Salsa in L.A. Please call the venues before planning a trip since the schedules are always subject to change.

More  interesting articles about Salsa from the web.

The History of Salsa

By: Martin Morales

The History of what is called... [Salsa] Salsa was the result of a musical evolution of various types of Latin rhythms. It began in New York in the 30's taking influences along the way from different Latin music styles and afro jazz. Because of the social and political pressures and restraints enforced in Cuba and Puerto Rico, many people emigrated and fled into exile to New York and various other cities of the U.S.A. It was these Caribbean’s who grew up in the Spanish Harlem of New York that cooked up this special recipe together with other musicians in the Caribbean.

 

A couple of visionaries saw the opportunity to popularize this contagious music. The orchestra leader, Johnny Pacheco, and the film director Jerry Masucci founded a small record label called Fania and organized a concert in the Autumn of 1973 which was to have an incredible impact on the history of Latin music. After several invited groups had performed, the announcer at the Yankee Stadium in New York began running down the list of stars which were to be named THE FANIA ALL STARS. This incredible line-up did not even finish their first song before most of the 40,000 crowd launched themselves onto the pitch to get closer to stars like Victor Paz, Willie Colon, Ray Barreto, Bobby Valentin, Larry Harlow, Hector Lavoe and Cheo Feliciano.

 

The concert was stopped and the controversy surrounding the events that occurred gave Jerry Masucci the chance to make a film to promote Salsa. The film "Salsa", edited from the film footage of the concert and incorporating images taken from the archives of Hollywood where famous scenes and people were shown dancing and singing supposedly Salsa rhythms, appealed to the American consumer society because it interpreted salsa as another "Made in the USA" product.

 

'Fania' was the main contributor to the boom of what was called the "Latin sound of New York" in which many other already well established artists such as Tito Puente and Celia Cruz had been part of. Johnny Pacheco and Jerry Masucci had produced an exportable good which toured the world creating an opening for Latin music where ever they were. Some of the music was original but some was stolen from Cuban artists; something which could be done because of the blockade with Cuba.

 

From 1992 the Fania All Stars recorded various albums, many of them from concerts in which their music was a mixture of jazz and Afro-Caribbean rhythms, but in 1974 Jerry Masucci wanted to create something new. In this year they recorded the album "Latin soul rock", a commercial project which tried to mix Latin music and the various other styles with the greatest international popularity. What saved the album from being a flop was a song by Cheo Feliciano called "El Raton" or "the mouse", the first real success of the Salsa boom.

 

Because of its commercial aim and financial success, Fania was accused of being a traitor and the boom began to die down. Fortunately this did not happen to the other Salsa which was being produced on the Caribbean streets of New York.

 

Salsa has been through some years of instability. The 70's witnessed the Salsa boom but in the 80's the "romantic" and "erotic" Salsa became popular, generally with simple lyrics and poor orchestral arrangements. The people responsible for this movement were Lalo Rodriguez, Eddie Santiago and Gilberto Santa Rosa among others.

 

The 'Salsa Romantica' movement irritated the Salseros, but interested a new audience and their records sold well across the world. Another phenomenon was the speedy rise in popularity of the King of Merengue, Juan Luis Guerra, who through his concerts and records has created great appeal among the youth of today.

 

 Now, in the 1990's, it can be said that music is reaching the youth of the Americas and other countries across the world, but only because of its diversification in styles, from the traditional Son Cubano and Mambo of the 30's to the New York Salsa of the 70's and 80's. We now have "Salsa Rap", "Techno Merengue" and "Merengue Rap".

 

A look at the origin of Salsa

By: Jaime Andrés Pretell

It is not only Cuban; nevertheless we must give credit to Cuba for the origin and ancestry of creation. It is here where Contra-Danze (Country Dance) of England/France, later called Danzón, which was brought by the French who fled from Haiti, begins to mix itself with Rhumbas of African origin (Guaguanco, Colombia, Yambú). Add Són of the Cuban people, which was a mixture of the Spanish troubadour (Sonero) and the African drumbeats and flavora and a partner dance flowered to the beat of the clave.

This syncretism also occurred in smaller degrees and with variations in other countries like the Dominican Republic, Colombia, Puerto Rico, among others. Bands of these countries took their music to Mexico City in the era of the famous films of that country (Perez Prado, most famous...). Shortly after, a similar movement to New York occurred. In these two cities, more promotion and syncretism occurred and more commercial music was generated because there was more investment. New York created the term "Salsa", but it did not create the dance. The term became popular as nickname to refer to a variety of different music, from several countries of Hispanic influence: Rhumba, Són Montuno, Guaracha, Mambo, Cha cha cha, Danzón, Són, Guguanco, Cubop, Guajira, Charanga, Cumbia, Plena, Bomba, Festejo, Merengue, among others. Many of these have maintained their individuality and many were mixed creating "Salsa".

If you are listening to today's Salsa, you are going to find the base of són, and you are going to hear Cumbia, and you are going to hear Guaracha. You will also hear some old Merengue, built-in the rhythm of different songs. You will hear many of the old styles somewhere within the modern beats. Salsa varies from site to site. In New York, for example, new instrumentalization and extra percussion were added to some Colombian songs so that New Yorkers - that dance mambo "on the two" - can feel comfortable dancing to the rhythm and beat of the song, because the original arrangement is not one they easily recognize. This is called "finishing," to enter the local market. This "finish" does not occur because the Colombian does not play Salsa, but it does not play to the rhythm of the Puerto Rican/Post-Cuban Salsa. I say Post-Cuban, because the music of Cuba has evolved towards another new and equally flavorful sound.

Then, as a tree, Salsa has many roots and many branches, but one trunk that unites us all. The important thing is that Salsa is played throughout the Hispanic world and has received influences of many places within it. It is of all of us and it is a sample of our flexibility and evolution. If you think that a single place can take the credit for the existence of Salsa, you are wrong. And if you think that one style of dance is better, imagine that the best dancer of a style, without his partner, goes to dance with whomever he can find, in a club where a different style predominates. He wouldn't look as good as the locals. Each dancer is accustomed to dance his/her own style. None is better, only different. ¡¡¡Viva la variedad, ¡¡¡Viva la Salsa!!!