News

Information:

• 2010 Cruise!!

  Join my family and I and many of your Salsa classmates on an extended fieldtrip to Mexico. I have been on 10 cruises and this is a great way to explore these Mexican ports in the luxury of a beautiful floating city.

  7 Days aboard Carnival’s Splendor to the Mexican Riviera. Ports include Mazatlan, Puerto Vallarta & Cabo San Lucas.

  Carnival Splendor Cruise Ship

  August 29th thru September 5th, 2010.

  Departs from Long Beach so no airfare to worry about.

  Approximate prices are below, but do change daily.

  Inside Cabin- $578.99 per person including taxes & fees.

  Ocean View Cabin- $678.99 per person including taxes & fees.

  Balcony Cabin- $798.99 per person including taxes & fees.

  Sample prices above are double occupancy. Additional travelers in the same cabin are at a much lower fare. Nancy our travel agent can give you the latest prices and options if you call her.

  Includes all your food and entertainment for 7 days. Tips, excursions, spa & alcoholic beverages are not included. Iced tea & lemonade are free, but sodas must be purchased. 

  The twelve cabins I had reserved with the $25 deposit due by December 2, 2009 are all booked. You can still book a cabin and join us anytime, but a $250 per person deposit is due at booking with the final payment due on June 15th. You can also make monthly credit card payments once you pay the deposit if that makes it easier. Call Nancy and let her know you want to book under our Salsa Dance Group.

  The travel agent handling our group booking is Nancy Schroeder at Ladera/ Aurora Travel  www.ladera-travel.com/ and can be reached at 310 798-7800. She can answer all your questions regarding cancellation policies and travel document requirements.

Dance Tip Of The Week 

• Multiple Turns- This tip is for the follower, but will address the leader's part in leading multiple turns. Recently I was dancing with a couple of partners that had recently learned to execute double turns and as I was leading them into a single turn they decided to double the turns themselves. This is not only back leading your partner, but dangerous in a crowded dance floor and one or both of the dancers could be physically hurt. Followers; DO NOT LEAD your own turns!!! Your partner (leader) will decide when he/she feels comfortable and it's safe to lead you into a multiple turn. The leader must lead the multiple turn precisely on the  beat or you will loose the timing of the rhythm. Remember that whether you are leading a double or triple turn you have only count 5-6-7 to lead it and for your partner to execute it.  Make sure your partner is capable of doing multiple turns before you decide to lead one on the dance floor. The follower should just relax and pay attention to the lead and not anticipate the turn (turns) and not only the turns, but the whole dance will look smoother. Remember that there is more to Salsa dancing than multiple turns.

LAST WEEK'S TIP

• Listen to Music- This tip is for both the leader and follower, but should be taken even more seriously by the leader since he/she is in charge of starting and staying on the beat. One of the most important things for the beginner/intermediate Salsa dancer is to listen to allot of Salsa music. In L.A. style Salsa dancing we start our steps on beat one and recognizing that beat on a variety of Salsa songs without having to stop and listen will make your dancing smoother and more pleasurable. Some Salsa music has a very strong beat (Most Cuban, Puerto Rican and Old School) that is very easy to pick up, but some of the newer “Romantic Salsa” songs have a weaker beat and must be listened to a bit more closely to recognize the beat. In some songs the musicians actually change the structure of the beat in the middle of a song and all of a sudden you find yourself dancing on beat five instead of beat one. The normal pattern of a 4/4 rhythm is 1-2-3-4-5-6-7-8, but some times it will go 1-2-3-4, 1-2-3-4-5-6-7-8. You have to have a sharp ear to catch that change and adjust immediately to it so you won’t be off beat. Buy or record a good Salsa CD with a variety of Salsa songs and slip it into the car CD player. When you are stuck in traffic, instead of getting frustrated just start counting 1-2-3 hold 5-6-7 hold. The time will go by much quicker and you will help your dancing tremendously.

Winter 2010 Salsa Session Schedule

DAY	CLASS	TIME	PRICE	LOCATION	START
Monday	Private Lessons  Only	5:00 P.M.	$50 per Hour or $65 with my assistant as your partner/	My Studio
Tuesday	Salsa 1 - Beginner (with Orlando & Nicole)	7:00 - 8:00 pm	cancelled	BURBANK Ovrom Comm Ctr  601 S. San Fernando Rd. Burbank, CA 91502 (818) 238-5435	Jan 5 - Feb 23
	Salsa 2A - Advanced Beginner (prerequisite: Salsa 1) (with Orlando & Nicole)	8:15 - 9:30 pm	$72 for 8 weeks* * Add $5 for Non Burbank Residents
Wednesday	Salsa 2B - Advanced Beginner (prerequisite: Salsa 1& 2A) (with Orlando & Nicole)	7:30 - 8:30 pm	$95 for 9 weeks (or $90 if pre-paid by 9/8/09) or $15 per class	BURBANK Garri Dance Studio 3715 W. Magnolia Ave. Burbank, CA 91506 (818) 846-4390	Jan 6 - Mar 3
	Salsa 3 - Intermediate (prerequisite: Salsa 1, 2A & 2B) (with Orlando & Nicole) See Note Below!	8:30 - 9:30 pm	$118 for 9 weeks (or $113 if pre-paid by 9/8/09) or $15 per class (price includes 2-half hour practice sessions)
Thursday	Private Lessons  Only		$50 per Hour or $65 with my assistant as your partner/	My Studio

Salsa 3 is by Hollie's Invitation ONLY and we have very limited space.

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

Bachata Song List!

• Many of you joined the Bachata workshops or my two 6 week Latin Sampler classes 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

17. Culpable by Daniel Moncion

18. Gotas de Pena by Alex Bueno

19. Naci de Nuevo by Kiko Rodriguez

20. Nuestro Amor by Alex Bueno

21. Que Ironía by Andy Andy

22. Que Solo en la Pobresa by Kiko Rodriguez

23. Regalame una Noche by Prody Pena

24. Simplemente te Amo by Alex Bueno

24. Te Necesito by Abril y Servando

25. Ven Tu by Domenic Marte

• 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!!

 Salsa Clubs

The Borderline

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

Conga room

800 W. Olympic Blvd., Los Angeles, $25 cover charge!!!

El Floridita Restaurant

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

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

Mambo's Cafe

1701 Victory blvd., Glendale

Free! Sunday at 2:00 P.M.

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.

Olivia

245 E. Olive Ave., Burbank, CA 91502
818-556-5299

www.oliviarestaurant.net

The Rumba Room

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

Sportsmen's Lodge

12825 Ventura Blvd. (& Coldwater Canyon)

Studio City, 818-755-5000

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!

Vive Lounge

61 N. Raymond Ave., Pasadena, 626-583-8483

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!!!