It's been
called the "Latin invasion,"
the constellation of pop stars
with roots in Puerto Rico,
Mexico and elsewhere who have
arrived like messengers from a
tropical galaxy, to conquer
the States.
Ricky
Martin. Enrique Iglesias.
Jennifer Lopez. Marc Anthony,
who performs Saturday at the
First Union Center. Shakira.
Paulina Rubio. Each embodies a
different type of heat. Each
rides a faintly exotic rhythm
tweaked to appeal to Anglo
ears.
Every
time a star is born, there's
celebration in the Latino
entertainment industry, which
accounted for $642.6 million
in U.S. recorded-music
shipments last year, up 6
percent from 2000. It's seen
as further proof of creeping
changes in the U.S. cultural
appetite, confirmation that
the power of the country's
32.8 million Hispanic
residents can no longer be
denied.
Yet those
who have devoted their lives
to Latin music - from
Portuguese fado to Brazilian
bossa nova to age-old Cuban
son, all on stage next weekend
at the Kimmel Center's "Fiesta
Latina" - can't help but
cringe.
"I love
Shakira, she's beautiful,"
legendary New York salsa and
Latin-jazz pianist Eddie
Palmieri says, referring to
the Colombian star, whose
English-language debut was
released in November. "But the
tragedy is that people in this
country think she is
Latin music.
"The fact
is, what she's doing is very
limited, rhythmically,
compared to what else there
is. People who get excited by
her music, they should prepare
themselves, because they're
going to get blown away when
they hear the real thing."
If, that
is, they do hear the real
thing.
Though
the recent Latino pop boom
would seem to have sparked
widespread interest in
Hispanic culture, many veteran
musicians accuse the industry
of promulgating the millennial
equivalent of "Babalu." The
music's emphasis on gloss, its
goal of assimilating by baldly
embracing American pop tropes,
has obscured the energy and
the regional distinctions that
enrich the broad range of
styles characterized as
"Latin."
Some
groan that Latin pop has
perpetuated the notion,
entrenched since at least the
mambo craze of the '50s, that
the music coming from the
Afro-Latin diaspora is nothing
more than mindless dance
music.
At the
very moment that Latin music
has arrived in the mainstream,
some of its most important
musical attributes - its
rhythmic intricacy, staggering
array of splinter styles, and
juxtaposition of exacting
precision against wild,
flowing inspiration - are
being slighted by the
Latin-pop marketing machine.
"What's
happening now is, when [the
labels] get one thing that
works, they want everything
else to sound like that," says
Albita Rodriguez, the Cuban
singer now living in Miami,
who will play Saturday in
Verizon Hall.
Hyped as
a salsa siren when she arrived
a decade ago, the former
Emilio Estefan protege - who
performs under her first name
- received the major-label
push on several records,
didn't break, and recently
released Hecho a Mano,
a small-label Unplugged-style
back-to-basics son collection
whose title is translated as
"handmade."
The
labels have rigid notions of
what will appeal to Latin or
crossover buyers, she says.
"They don't care if it's a
vulgar copy. They're scared of
the diversity that's out
there... . A lot of that, they
don't know how to sell."
Albita,
who says she left pop to grow
musically, believes that the
industry will eventually
realize that Latin music's
diversity is its strength.
It's the very thing that
attracts many Anglos fed up
with the rote postures of pop.
Just when
the musically adventurous tire
of Bebel Gilberto and the
other Brazilian
electro-acoustic hybrids, a
new rhythmic style from the
African communities of Peru or
the clubs of Monterrey,
Mexico, (typified by the
currently hot electro-Latin
band Kinky) comes along to
expand the horizon a bit
further. Where Latin pop
parades uniformly pretty (and
"Americanized") sex symbols,
the rest of Latin music is a
bustle of styles, contentious
philosophies, and highly
individual dance pulses
colliding in unexpected ways.
"The
beauty of what's going on now
is that Latin music is no
longer based on one sound or
one rhythm," says Tomas
Cookman, an artist manager and
cofounder of the Latin
Alternative Music Conference
to be held in New York next
month. "It's not like we're
all out here selling the
'Macarena.' It's all over the
place. When you look beyond
the pop stars, what you see
now is a thriving bazaar."
The wares
in that bazaar are influencing
pop in unexpected ways.
Non-Latin acts are taking a
mix-and-match approach to
Latin styles that's similar to
the collage mentality of
hip-hop. "I Can't Stop," the
most compelling song on Will
Smith's new Born to Reign,
is built on a surging Enrique
Iglesias-style gallop.
Also
transcending geographical and
linguistic barriers are
romantic balladeers and
songwriters who have upended
longstanding Brazilian forms.
Artists who incorporate
Afro-Cuban religious chants or
electronica's undulating
loops. Singers who can melt
ice with the slightest
whisper, and others revered
for their razor-sharp timing.
There are
the wise septuagenarians of
the Buena Vista Social Club
and the anarchist teens of
rock en español bands.
Latin music's beats stretch
from Cuban pianist Chucho
Valdes' agitated displays of
jazz virtuosity to torturously
slow songs of longing
performed by Misia, the fado
singer who plays next Sunday
at the Perelman Theater.
Latin's
themes venture into the same
territory explored in
"serious" singer-songwriter
pop. "Plastico," from the 1978
Rubén Blades/Willie Colón
classic Siembra, is as
trenchant a commentary on
materialism as any in pop. Its
arrangements - developed by
producers who work both Latin
and Anglo projects - may sound
streamlined, but they're
really a collection of
elaborately choreographed
interlocking parts, each
contributing to an unstoppable
locomotion, articulating a
different facet of the
syncopated clave rhythm that
is the heartbeat of much Latin
music.
"Latin
music has as many, if not
more, genres than American pop
music," says Bruno del Granado,
head of Miami's Maverick
Musica, the Latin branch of
Madonna's Maverick Records.
"Even
those who are working on the
pop side aren't just proud of
their roots, they're
knowledgeable. They can talk
to you about Radiohead, and
they can talk about Beny Moré
[the pioneering Cuban singer
of the '50s]. They're citizens
of the world, not just
bilingual, but bicultural,"
del Granado says.
The
problem is that the Anglo
audience isn't correspondingly
fluent, many contend. A
profound cultural disconnect
keeps Latin music's creative
explosion mostly underground
in North America, where Anglo
ears hear salsa, calypso and
samba as the same basic
limbo-line-at-the-resort fare.
They are unable - or, perhaps,
unwilling - to get beyond its
utility in order to discover
the music's distinctions and
differences.
"What
people outside of the Latin
world don't understand is
that, in Cuba, and Puerto
Rico, and all over the place,
the popular music is also the
high culture," says Dita
Sullivan, who manages the
forward-looking Cuban singer
and songwriter Juan-Carlos
Formell.
"You
dance to it, yes. But it's
also regarded as art music.
There isn't this middlebrow
American prejudice that says
everything popular is low.
There's respect. It's loved,
and cherished, and celebrated
as an expression of something
vital to the life of the
people."
Will that
indifference ever go away in
the United States?
Philadelphia producer Aaron
Levinson - whose next project,
Un Gran Dia En El Barrio,
by the New York all-star band
Spanish Harlem Orchestra, will
be released in September -
believes it can. He's noticed
that, when Latin music is
approached with an open mind,
the conversion experience can
be profound.
"People
are curious about it now,"
Levinson says. "It's sort of
all around us, and the people
who are paying attention know
how powerful it can be. One of
the heaviest [non-Latino]
house DJs in New York put
Un Gran Dia on his top 20.
He's taking these pure salsa
vocals and spinning them in a
deep house context. We didn't
seek that out: The record's
not even out yet. He's finding
us."
A triumph
like that sends out ripples.
"It's what I call the Velvet
Underground effect," Levinson
continues, referring to the
'60s rock band that was
enormously influential without
ever experiencing commercial
success.
"You may
only sell 10,000 copies of a
record, but those people who
bought it are like zombie
converts. Their world has been
changed; they can't stop
talking about it. And they
come back for more."
Contact Tom Moon at
215-854-4965 or
tmoon@phillynews.com.
© 2001 inquirer
and wire service sources. All
Rights Reserved http://www.philly.com
NBC purchases Hispanic
broadcaster.
NEW
YORK, Oct. 11 - NBC announced
Thursday that it is buying
Telemundo Communications Group
Inc., the No. 2
Spanish-language broadcaster
in the United States, for
about $2 billion in cash and
stock.
THE DEAL WOULD give NBC a
strong foothold in the
burgeoning arena of Hispanic
media, which has attracted the
attention of major media
conglomerates due to the
rapidly growing Hispanic
population.
Hispanic media has been expanding even as other
media businesses have slumped
due to the poor advertising
climate, which was worsened by
the Sept. 11 terrorist
attacks. (MSNBC is a
Microsoft-NBC joint venture.)
NBC chairman Bob Wright said the Hispanic market
"accounts for a significant
and growing share of the
nation's economy and we are
eager to draw on Telemundo's
expertise to better serve this
important audience."
NBC is paying $1.98 billion for the Hialeah,
Fla.-based Telemundo in a mix
of half cash and half stock in
NBC's corporate parent,
General Electric Co. NBC would
also assume about $700 million
in debt.
Sony Corp. currently owns about 40 percent of
the closely held Telemundo,
while Liberty Media, a company
controlled by cable pioneer
John Malone, has a 35 percent
stake. The rest is held by
other investors.
In an interview with CNBC, the business news
channel owned by NBC, Wright
acknowledged that before
accounting for cost savings,
the terms of deal would be
"very expensive."
But he added that the companies expected
numerous benefits as they
combined ad sales teams,
swapped programs from NBC to
use on Telemundo, and made
other cost savings. He said he
expected Telemundo to
contribute up to $600 million
in revenues to NBC within two
years.
GE has denied frequent rumors that it wants to
sell the network, and it has
charged NBC's management to
grow the company.
NBC is the only major network not owned by a
larger media empire; ABC is
owned by Walt Disney Co.,
Viacom Inc. owns CBS and UPN;
Rupert Murdoch's News Corp.
owns Fox; and AOL Time Warner
Inc. owns WB.
Earlier Thursday, GE reported that NBC's
revenues had tumbled 45
percent in the third quarter.
Like other broadcasters, NBC
has been hit by a revenue
shortfall as advertisers
pulled back in the wake of the
terrorist attacks.
Telemundo's reach is behind that of leading
Hispanic broadcaster Univision
Communications Inc., which is
based in Los Angeles. But
Univision has been responding
to the competitive threat from
Telemundo and other rivals
with plans to launch a second
Spanish-language network,
Telefutura, next year.
NBC is believed to have bested a rival bid for
Telemundo from Viacom, which
in addition to CBS also owns
MTV, the Paramount studio,
Blockbuster and numerous radio
stations. Viacom had already
expanded into niche
broadcasting with the purchase
of BET, a cable network aimed
at black viewers.
The deal is not expected to face major
regulatory hurdles. Even after
combining the 10 full-power
television stations owned by
Telemundo with the 13 stations
it already owns, NBC's
national audience reach would
remain under 30 percent, well
under the 35 percent cap
currently permitted by the
government.
In addition to the NBC broadcast network, NBC
also owns CNBC, the business
news cable channel, a
half-interest in news channel
MSNBC along with Microsoft
Corp., as well as a minority
stake in Paxson Communications
Corp., owner of the
family-friendly PAX broadcast
network.
NBC plans to keep the current management of
Telemundo in place, including
chief executive Jim McNamara,
who will report to NBC
president Andrew Lack, as well
as Telemundo's chief operating
officer Alan Sokol.
Shares of GE were up $1.36 to $39.27 in trading
on the New York Stock
Exchange.
Latin Recording Academy News - August 20, 2001 |
(The following is the official statement from Latin Recording Academy President/CEO Michael Greene on the Latin GRAMMY Awards' move to Los Angeles from Miami. Issued by the Recording Academy, August 20, 2001.) "Due to serious concerns for the safety and dignity of our 10,000 guests, nominees, performers and sponsors from across the globe, and the threat of disruption during the telecast itself, the Latin Academy, along with CBS and Cossette Productions, has been forced to make a very difficult and unfortunate decision — to move the 2nd Annual Latin GRAMMY Awards show from Miami to the Great Western Forum in Los Angeles on September 11. For months we've been working with the City of Miami, along with our partners from the AmericanAirlines Arena — specifically Eric Woolworth, Bill Senn, Alex Diaz, Eric Bresler and the rest of the staff — as well as Mayor Alex Penelas, Jorge Más Santos and our South Florida Host Committee, on a variety of programs and strategic issues. Two months ago, the Academy, its partners and the City of Miami reached an agreement establishing the security perimeter around the Arena that was needed to ensure everyone's safety. Last week, that approved safety zone was abruptly changed by officials from the City of Miami. To further compound this problem, we then learned that more than 100 Cuban-American groups now would be allowed to demonstrate in a high-traffic area for GRAMMY activities, potentially putting our guests at serious risk. Further, the Academy was made aware that protestors had secured tickets to the show and were organizing a disruption to the live telecast itself. Our obligations are to ensure the safety of the guests, artists, sponsors and media who will attend the event, as well as to maintain the production integrity of the live Latin GRAMMY telecast. In a final effort to keep the show in South Florida, we tried to relocate the event to the National Arena in Broward County, but today the Florida Highway Patrol and the Broward County Sheriff's Department said they could not guarantee our guests' safety. The Academy understands that some people in Miami hold strong and heartfelt views about the inclusion of Cuban National nominees resulting from the Latin GRAMMY voting process. And while we support everyone's right to express individual views, our mission is to celebrate excellence in all recorded Latin music, regardless of who produces it. The safety issues and reliability of delivering a live international telecast were the determining factors. We will begin work immediately to try and resolve these issues and bring the Latin GRAMMYs to Miami in the near future. Our heartfelt thanks go out to Mayor Alex Penelas, Jorge Más Santos, the folks at the American Airlines Arena and the members of the South Florida Host Committee for their diligence and Herculean efforts to help keep the show in Miami. I want to especially commend Jorge Más Santos and Mayor Alex Penelas who have been unfairly criticized. Their efforts have been selfless and, I believe, represent a noble attempt to build bridges of understanding, not to mention bring more than $35 million of Latin GRAMMY economic benefit home to Miami. They have my respect and humble thanks. Our staff will be working closely with members, invited guests, performers, artists and sponsors to accommodate this unfortunate, but necessary, transition. We will have a new schedule of activities that support this year's show in a few days. The 2nd Annual Latin GRAMMY Awards will be broadcast on CBS, September 11, as scheduled." Michael Greene, President/CEO, the Recording Academy, and Latin Recording Academy |
|
by Bob Warner
Daily News Staff Writer
- Monday March 12, 2001
Francis Vargas, a young
developer in the city's
burgeoning Hispanic community,
remembers growing up in the
1980s in North Philadelphia
and thinking of other
Philadelphia neighborhoods as
suburbia.
"Our neighborhood, around 7th
and Cambria, was all Latino,
mostly Puerto Rican. I was
Costa Rican," Vargas recalled.
"Back then, north of Hunting
Park was where the nice houses
were. Juniata, that was a big,
huge suburb. Even Kensington."
Vargas is now in his late 20s.
Three years ago, he moved to
Juniata Park, where longtime
white residents have been
joined by large numbers of
Latinos.
"You see Hispanics coming in
and some whites leaving. .
.There's a percentage of
whites who don't mind it and
another percentage who can't
leave for financial reasons, a
lot of elderly people who
don't have any option."
The results of the 2000 U.S.
census, made public at the end
of last week, confirm with
numbers what Vargas knows from
a lifetime in the
neighborhoods: large swaths of
the city, once rather
homogeneous racial enclaves,
are becoming significantly
more diverse.
For the first time since
American Indians held sway in
the woods of eastern
Pennsylvania in the 17th
century, whites now make up
less than half the city's
population. Non-white
minorities add up to 55
percent of the city's
residents.
Overall, Philadelphia lost 4
percent of its population in
the 1990s. Officially, it
dropped from 1,585,877 people
in the Census Bureau's 1990
headcount to 1,517,550 people
counted on April 1.
Surprisingly, the drop was
less than half what the Census
Bureau had been projecting in
year-to-year estimates
throughout the 1990s. As of
mid-1999, the federal
government had estimated the
city had 1,417,000 residents,
down a whopping 10 percent
from 1990.
Now it's proven - as former
Mayor Ed Rendell and other
city officials contended all
along - that those yearly
estimates were way off target.
But underneath the city's
modest overall decline are
significant demographic
shifts:
White residents continued a
mass exodus from Philadelphia.
Overall, the white population
dropped nearly 20 percent,
from 848,586 to 683,267 over
10 years.
Each of the four minority
racial groups recognized by
the Census Bureau grew in
Philadelphia during the 1990s
- including African-Americans,
whose numbers had dropped the
previous decade. The number of
blacks climbed from 631,996 in
1990 to 655,824 in 2000, a 3.8
percent increase.
The city's Asian community
soared by 57 percent in the
1990s, from 43,522 to 68,383
(including 729 people from
Hawaii or other Pacific
islands, counted this year as
a separate racial group). Part
of the increase came from the
city's established Chinese
community, whose voices led
last year's outcry against
putting a stadium near
Chinatown. But most of it came
from fast-growing communities
of Koreans, Cambodians and
Vietnamese, authorities
believe - though census data
on national origin will not be
available until later this
year.
The number of people
identifying themselves as
Latino or Hispanic jumped 45
percent, from 89,193 in 1990
to 128,928 in 2000.
Concentrated east of Broad
Street, running from North
Philadelphia into the lower
Northeast, the Hispanic
community is already a major
cultural and political
influence. (The Census Bureau
does not treat Hispanic
ancestry as a race; people
could identify themselves as
Hispanic and then white, black
or any other race.)
Smaller racial groups also
continued to grow. The number
identifying themselves as
American Indian increased 18
percent, to 4,073. An
additional 72,429 identified
themselves as belonging to
other, unspecified races, and
33,574 said they were a
combination of two or more
races, a choice provided for
the first time this year on
census questionnaires.
The number of minorities also
grew sharply outside the city,
though the suburbs remained
predominantly white. At the
end of the 1990s, Bucks County
was 92 percent white,
Montgomery County 86 percent
white and Chester County 89
percent white.
Delaware County's overall
population increased just 1
percent, but the number of
blacks climbed 30 percent and
the number of Asians by 82
percent. By 2000, nearly one
of every six people living in
Delaware County was
African-American and one out
of 30 was Asian.
Inside Philadelphia, the
growth in the number of
Hispanics is already reflected
dozens of ways - from
multilingual programs in the
schools to a network of social
service agencies and a growing
variety of restaurants
offering myriad
interpretations of Latin
American cuisine.
Hispanic political clout has
been growing as well. By some
accounts, John Street's strong
performance among Hispanic
voters in the wards east of
Broad Street provided the
margin that got him elected
mayor in 1999.
The census itself may enhance
Hispanic power. This year, the
state Legislature will be
using the new census data to
draw new boundaries for
congressional and legislative
districts, and City Council
will be mapping new boundaries
for 10 Council districts.
Councilman-at-large Angel
Ortiz, the third-biggest
vote-getter among the citywide
Council candidates in 1999,
said the concentration of
Hispanics east of Broad Street
could be heavy enough to give
Hispanic voters a shot at
electing a district Council
member, depending on how the
boundaries are drawn. There's
also a chance for another
Hispanic seat in the state
House, and "strong influence"
on a state Senate seat, Ortiz
said.
It was Ortiz's wife, Lydia
Hernandez-Velez, who headed
the local census outreach
campaign last year, trying to
maximize the Philadelphia
headcount among all residents,
regardless of ethnicity.
"It was like a campaign," said
Hernandez-Velez, an
administrator at United Way.
When her group saw that early
census response rates were low
in some neighborhoods, it
sought ways to boost the
number of responses.
" There was not a group or a
person we contacted who did
not understand immediately how
important it was and do what
they could do to help."
A generation ago, almost all
of the city's Latino
population traced its roots to
Puerto Rico or Cuba,
Hernandez-Velez said.
But the strong growth in the
1990s, here and throughout the
nation, was more diverse.
Hernandez-Velez said the
current Hispanic population
includes major contingents
from Central and South
America, joined by Dominicans
and other Caribbean natives,
plus a number of Mexicans who
came to the Philadelphia area
as migrant laborers and found
jobs in the city's hotel
expansion.
Foreign immigration appears to
be one of the factors that the
Census Bureau struggled with
in the 1990s, when the bureau
underestimated growth
throughout the country -
especially in urban areas such
as Philadelphia.
The bureau's own demographers
believe they missed hundreds
of thousands of immigrants,
particularly those who entered
the country illegally or
overstayed the time periods
specified in their visas.
Another major factor in the
Census Bureau's mistaken past
estimates was an extremely
poor census count in 1990,
which missed tens of thousands
of people.
Staff Writer Ramona Smith
contributed to this report.
Send e-mail to
warnerb@phillynews.com
Friday
March 9, 2001. Julio Cesar Marrero
a victim of hit-run driver
 |
Julio Cesar
Marrero (above)was
killed
Tuesday by
a motorist
on
Roosevelt
Boulevard
|
by Al Hunter Jr. and Nicole
Weisensee Egan
Daily News Staff Writers
Music was his life.
Nearly everybody who knew
Julio Cesar Marrero will tell
you that. His family, fellow
musicians. Even those who
didn't personally know Marrero
quickly felt his passion
through the energy that
erupted from his dance group,
Cesar and the Latin Playboys,
every Thursday night at the
Five Spot in Old City.
But shortly before 10 p.m.
Tuesday, a hit-and-run driver
barrelling west on Roosevelt
Boulevard - and possibly
running a red light - struck
Marrero as he started to cross
from the north side of the
Boulevard at 4th Street.
The impact knocked the
46-year-old musician over the
top of the vehicle and back
three car lengths, police
said.
Marrero landed face down in
the far right lane. He was
taken to Albert Einstein
Medical Center, where he died
about 7 yesterday morning.
Police have a vague
description of the car - "a
dark colored, '90s-type
vehicle" - and are asking
anyone with information about
a vehicle in an accident with
unexplained damage to call
them at 215-685-0069.
Meanwhile, a fund-raiser is
set for 10 tonight at The Five
Spot, a club on Bank Street
near Market, to offset funeral
costs. Arrangements were
expected to be completed
today.
Marrero sang, played piano and
other keyboards (which he used
to play bass parts with his
left hand). He was a composer
and arranger.
He had a talent for filling
instrumental voids. Short a
musician? No problem for
Cesar. "He was able to make
the band sound like nobody was
missing," said Maria Storch,
who managed the group for two
years.
Marrero, of Ashdale Street
near 3rd, in the city's Olney
section, was married for 25
years, the father of five
children (ranging in age from
8 to 22) and spiritual father
to untold others in
Philadelphia's Latin music
community.
"Everybody knew him," said
Papo Mercado, booking agent
with AMLA, a Latin musicians
organization in Philadelphia.
Marrero was one of the
pioneers for the group, and
worked closely with its
educational programs. "This is
a big loss on our music
scene," Mercado said.
Percussionist Pablo Batista, a
member of the nine-piece Latin
Playboys, said the band had
been working the weekly gig at
the Five Spot for 41/2 years,
playing salsa, merengue and
rumba.
The Playboys are a "hard-core"
salsa band that turned
Thursday nights at the Five
Spot into a weekly event.
"He was very hardworking and
ethical," Batista said of
Marrero. The group usually did
three sets lasting 45 minutes
to an hour each.
"Cesar and the Latin Playboys
gave Philadelphia an
opportunity to dance, to
really feel Latin music as
authentically as you could
experience it right there in
Center City," Batista said.
Marrero has been credited with
helping bring Latin music into
the city's mainstream, playing
at places like Tony Clark's,
the Rock Lobster and KatManDu
before the music became
trendy.
Most of his music was
original, and Marrero had a
way of infusing it with a
tempo that could make even
people with two left feet get
up and dance, Storch said.
"He took Lionel Richie's song
'Hello' and put it to a salsa
beat," she said in awe.
Marrero was a native of Puerto
Rico who came to Philadelphia
in 1974 with a group called
Orquesta La Paz.
Around 1977, the group had a
Top 10 Latin record, "Para
Comerte a Besos." Marrero
recorded three albums,
according to a family member,
and started the Latin Playboys
in 1996. He had done some work
for an airline, but gave it up
just to pursue music, Storch
said.
Tuesday night, Marrero had
walked to a friend's house at
3rd and Bristol to listen to
some music, a family member
said.
Capt. Ted Sideras, commander
of the Accident Investigations
Division, said it was
difficult to solve a
hit-and-run involving a
pedestrian because often
there's no debris from the car
that could be used to track it
down.
Marrero's goal was to make
people happy with his music,
Storch said, "and make you
dance."
And the Latin Playboys will
try to continue without Cesar,
said Batista, who two years
ago lost another band leader
he worked for - Grover
Washington Jr.
"We're going to keep the music
going," Batisa said.
And that seems to be only
right in Marrero's memory. For
music was his life.
A dream is shattered, but the
music goes on
Friends and family remember
bandleader Julio Cesar
Marrero.
By
Monica Rhor
INQUIRER STAFF WRITER
For the last four years,
Thursday nights at the Five
Spot, an Old City dance club,
belonged to Cesar and the
Latin Playboys.
Julio Cesar Marrero led a
nine-piece band that played
salsa, merengues and rumbas
sizzling enough to woo even
the most reluctant listener
onto the crowded dance floor.
For Marrero, the Five Spot gig
was the culmination of a
lifelong dream that first
brought him from Caguas,
Puerto Rico, to Philadelphia
in 1974 - when he was an
18-year-old with nothing but a
rock-solid faith in his own
musical talent. The dream
ended Tuesday night, when he
was fatally injured by a
hit-and-run driver.
"Music was his life, and he
wanted everyone to enjoy his
music," said his son Julio
Cesar Marrero Jr., 22. "At the
Five Spot, he could see
everyone dancing and having a
good time. Asian. Caucasian.
Black. That was what he
wanted."
On Tuesday, just before 10
p.m., a car heading south on
Roosevelt Boulevard struck the
46-year-old bandleader as he
was crossing the outer lanes
of the boulevard at Fourth
Street. The car - a
light-brown or cream-colored
mid-1990s Toyota or Nissan
Maxima - kept going and turned
left onto Fifth Street, police
said.
Marrero was thrown several
feet. He was taken to Albert
Einstein Medical Center, where
he died of multiple injuries
about 7 a.m. Wednesday.
Yesterday, Marrero's family,
friends and bandmates talked
about the void his death will
leave.
Two tribute concerts, doubling
as benefits to help the family
with funeral expenses and
other costs, were quickly
scheduled. The first took
place last night at the Five
Spot. A second was planned for
Sunday at the Felton Supper
Club on Rising Sun Avenue in
Feltonville.
"He was an inspiration to me,
an inspiration to all of us,"
said his son, the oldest of
five children, of whom the
youngest is 7. "He always made
us laugh. He made us grateful
for what we had and inspired
all of us to do well."
As a child, Marrero taught
himself the piano and dreamed
of becoming a musician.
In 1974, Marrero came here to
pursue that dream. He arrived
in a city where he knew no
one, with no money, but
immediately threw himself into
the music scene, his son said.
Within three years, Marrero
had formed the band Orquesta
La Paz, scored a hit Latin
record, "Para Comerte a
Besos," and had gotten
married - to Annette Quiles,
one of his fans.
He had lived in the city's
Olney section for the last 16
years. "He was such an
important person in this
community," said Foto
Rodriguez, who, along with
Marrero, was a founding member
of AMLA, a North Philadelphia
organization that promotes
Latino music.
Not only did he play piano,
but Marrero also sang, wrote
and arranged his own music. In
addition to Cesar and the
Latin Playboys, which he put
together five years ago,
Marrero played with several
other local salsa bands.
Marrero also taught children
about traditional Puerto Rican
music such as bomba and
plena as part of AMLA's
Roots of Puerto Rico program.
"He was very dedicated to his
community and to the
children," said Rodriguez, who
met Marrero more than 25 years
ago.
Pablo Batista, a percussionist
with the band, said Marrero's
passion for music and his
stamina lit the same kind of
fire in other band members,
creating an ensemble that
performed like an engine at
full steam.
"He knew only one speed. And
that was hard and fast,"
Batista said. "That was his
style."
Batista says the band plans to
continue playing at the Five
Spot and other mainstream
clubs. And it will continue to
be called Cesar and the Latin
Playboys.
"I think he would have wanted
it that way. For him, it was
all about the music," Batista
said. "He would have wanted
for it to go on."
Friday, September 15, 2000
Officer's kin join Puerto
Rican Parade
by
Dana DiFilippo
Daily News Staff Writer
Noemi
Ortiz should have been at her
sister's North Philadelphia
home yesterday, sharing laughs
and good times with her 11
brothers and sisters.
The
gathering - held yearly after
Philadelphia's annual Puerto
Rican Day Parade - is a
tradition for the close knit
family.
Instead, she and other Ortiz
siblings marched somberly at
the front of the parade in
tribute to her brother, Jose
M. Ortiz, the Philadelphia
police officer who died last
week after a squad car
accidentally hit him as he ran
after a stolen-van suspect.
Yesterday, as upbeat Latino
music blared and parade goers
danced to celebrate their
heritage, the Ortiz family
silently led 18 stone-faced
police officers representing
the Spanish-American Law
Enforcement Association.
Parade goers quieted to eye a
black-swathed photo of Ortiz
and observed a moment of
silence in his memory.
"Anybody who my brother knew,
he was their joy," Noemi Ortiz
said after the parade. "He was
supposed to be here today.
With his strength, we made it
through the parade. I know
this is where he would like us
to be. We would like to thank
the city, the police, for all
their thoughts and prayers."
Officer Al Sanchez, SALEA
president, agreed: "It's a
very somber day. But as soon
as we started marching, we all
received this rush of
excitement because we knew
that Jose was with us. . .Jose
donated his organs, and today
he donated his spirit to us."
As the family and police
officers passed, the festive
atmosphere returned. But many
parade goers paused in their
revelry to remember the
officer.
"I lost a son too. My son
would have been 22 this year.
I identify a lot [with the
Ortiz family] because he was a
young person like my son, and
sometimes lives are lost
because of stupid things that
happen," said Vivian Nieves of
North Philadelphia.
Nieves' son, Angel Cotto, died
in 1996 in a drive-by shooting
after he threw an egg at a car
on Mischief Night.
"Today is a real sad day,"
agreed Jorge Gonzalez of North
Philadelphia. "Everyone should
be smiling and laughing and
enjoying themselves, but it's
a real sad moment for
everybody when somebody who
protects the citizens dies.
It's a bad feeling."
But parade goers did their
best to overcome their bad
feelings.
Plastic palm trees and the
muggy air evoked island life.
There were beauty queens on
big trucks, deafening airhorns
and whistles, Puerto Rican
flags galore, skirts in
tropical colors, straw hats,
dancers swinging to thumping
music and men with microphones
urging watchers to baile,
baile (dance, dance).
There was plenty of political
expression, as well. Some
people carried signs
proclaiming, "Puertoriquenos
para Gore/Lieberman 2000," and
a float passed by dedicated to
peace in Vieques ("Democracies
don't have colonies; Empires
do.")
Tomas Quinones, 41, of North
Philly, expressed his
enthusiasm on his body. He
wore socks with Puerto Rican
flags on them, a red, white
and blue T-shirt and hat and
beaded earrings shaped like
Puerto Rican flags.
"This is my blood. I want to
see my people," he said,
waving an 8-foot Puerto Rican
flag. "I feel like I'm in
Puerto Rico."
Send
e-mail to
difilid@phillynews.com
Pride was shining through
The 38th Puerto Rican Day
Parade celebrated culture and
heritage - and a loved one
lost.
By
Angela Couloumbis - INQUIRER
STAFF WRITER
For
Gregory Borges, it was about
being with his "beautiful
people."
For Carlos Santiago Jr., it
was about proving he could
overcome obstacles.
And for Maribel Ortiz, sister
of Philadelphia Police Officer
Jose M. Ortiz, who died last
week, it was about saying
goodbye to a younger brother.
Whatever their reasons,
thousands of people from
across the Philadelphia region
flocked to the Benjamin
Franklin Parkway yesterday for
the 38th annual Puerto Rican
Day Parade, held every year to
honor the heritage, culture
and traditions of Puerto Rico
- as well as the everyday
feats, both small and large,
of Puerto Ricans everywhere.
And though there were serious
moments - such as the time
several dozen police officers
turned toward Ortiz's family
and saluted their fallen
comrade - the parade retained
the festive feel of so many
years past.
Dozens of revelers, many
draped with the island's red,
white and blue flag, shook
their hips to salsa, waved
banners and cheered at the top
of their lungs as the colorful
procession moved its way down
John F. Kennedy Boulevard and
over to 16th Street, before
turning onto the Parkway.
Others lounged on the grass,
undeterred by the overcast
skies and threat of rain.
"We survived [Hurricane] Hugo,
so I'm pretty sure we can get
through this," said parade
organizer George Perez, who
was born in Puerto Rico and
who has lived in Philadelphia
since 1950. "And anyway, this
parade is about unity. It is
to let people know there is a
large presence of Hispanics
here in the Philadelphia
area."
Yesterday's event left little
doubt of that. Organizers said
that roughly 110 different
groups - or 3,000 people -
made up the parade procession
alone.
Among them were several dozen
police officers, many members
of the Spanish American Law
Enforcement Association, who
marched with Jose Ortiz's
family and friends, including
his three sisters, and his
partner, Officer Ron Gardner,
who carried a portrait of
Ortiz draped in black cloth.
Ortiz, a member of the police
force for 31/2 years, was
critically injured last week
after being struck by a patrol
car driven by a fellow
officer. He died Thursday
after being taken off life
support.
"I believe he is watching us
today," Maribel Ortiz said
yesterday, adding that her
brother was to have marched in
the parade.
"This is his parade," added
Noemi Ortiz, Jose Ortiz's
younger sister, choking back
tears. "He wanted us to be
here. And we made it through
because he guided us. He was
our guardian angel."
Gardner, 30, said that he
found it difficult to march,
but that he also felt he "had
to do it because [Ortiz] was
like a little brother to me."
"He was always there for me,"
Gardner said, "and today was
my opportunity to do right by
him."
All said Jose Ortiz would have
wanted the parade to remain a
festive event.
And along different points of
the procession, it was just
that. Borges, 37, from
Reading, Pa., said he made the
trek to Philadelphia because
he wanted to capture the
spirit of partying with his
"beautiful people."
"Look at this," he said,
surveying the crowd. "We're
everywhere. We're in high
offices, in high-rises and in
Beverly Hills. We've come a
long way."
Santiago, 22, of Vineland,
said he couldn't agree more.
He said the parade gave him
the feeling that he could
"surpass obstacles," or
overcome negative stereotypes
that may exist about his
culture.
"This shows how important we
are," said Santiago, proudly
pointing to a tattoo on his
arm that read 'Live and Die
Puerto Rican.' "We're not just
anyone. We can give so many
different things - our music,
our culture, our tradition. I
want people to see that. Look
at us now."
Angela
Couloumbis' e-mail address is
acouloumbis@phillynews.com
Santana & Mana win big at
Latin Grammy's
by
Tamara Conniff
The Hollywood Reporter
Carlos
Santana and Mexican rock band
Mana took home the prestigious
record of the year award for
"Corazon Espinado." Santana,
Mana and Mexican artist Luis
Miguel tied with three wins
each during the inaugural
Latin Grammy Awards held
Wednesday night at Staples
Center in Los Angeles.
The awards went to a wide
spectrum of genres and
artists, with Juan Luis
Guerra, Fito Paez, Emilio
Estefan Jr. and Shakira all
taking two awards.
Santana and Mana also were
honored with the best rock
performance by a duo or group
for "Corazon Espinado." Carlos
Santana said in Spanish while
accepting the award, "This is
for all the people of Africa
and all the women of all the
countries." Of his Grammy
wins, he said, "This is an
invitation to the rest of the
human race."
Mana also won best pop
performance by a duo or group
for "Se Me Olvido Otra Vez,"
beating out Ketama, Jennifer
Lopez & Marc Anthony, So Pra
Contrariar & Gloria Estefan
and Andreas Vollenweider &
Milton Nascimento during the
pre-telecast. Also during the
pre-telecast, Santana's smash
"Supernatural," which swept
the Grammy Awards in February,
nabbed a Latin Grammy for pop
instrumental performance for
the track "El Farol" featuring
Mana.
Luis Miguel, who was not in
attendance, received the
coveted album of the year
honor and the pop album of the
year award for "Amarte Es un
Placer." He also won the best
male pop vocal performance
award for "Tu Mirada" during
the pre-telecast.
Emilio Estefan Jr. and former
actor Carlos Vives, who led
the nominees with six mentions
each, fell short of
expectations. Estefan Jr. won
producer of the year and the
music video award for
directing Gloria Estefan's "No
Me Dejes de Querer" during the
pre-telecast.
"This one is special," Estefan
Jr. said backstage. "To win a
Latin Grammy for me - it comes
all the way from my heart;
it's a big accomplishment."
Vives, who was nominated for
record of the year, went home
empty-handed.
Shakira, who has been pegged
as the next crossover
sensation with her upcoming
English-language album, picked
up Latin Grammy's for female
pop vocal performance and
female rock vocal performance
for her hit songs "Ojos Asi"
and "Octavo Dia,"
respectively. In the pop
category, Shakira beat out
Christina Aguilera, Zizi
Possi, Mercedes Sosa and Jaci
Velasquez.
Shakira dedicated her award to
her native Colombia. "Never
forget how to smile," she
said. "Para ti Colombia!"
The song of the year award
went to Marc Anthony's "Dimelo
(I Need to Know)" during the
pre-telecast. Anthony, one of
the top nominees, was unable
to attend the ceremony because
of complications with his
wife's pregnancy. Songwriters
Robert Blades and Angie
Chirino were on hand to accept
the award.
"[The song] was done very
quickly under pressure,"
Blades said backstage. "I'm
amazed that it went this far."
The Latin community came out
in droves for the inaugural
event. The awards telecast
opened with a high-energy
tribute honoring the late Tito
Puente that featured Ricky
Martin, Celia Cruz and
Estefan. The evening's
highlighted performances
included Santana & Mana, 'N
Sync & Son by Four, Shakira,
Christina Aguilera, Djavan,
Alejandro Fernandez, Estefan
with Miami Sound Machine and
Carlos Vives.
About 32 of the 40 Latin
Grammy's were handed out
during the pre-telecast. Top
categories were presented
during the telecast, which
aired on CBS from 9 to 11 p.m.
The ceremony was co-hosted by
Estefan, Lopez, Jimmy Smits
and Andy Garcia.
"We Latin's not only make
great music - we look good
doing it," Smits said during
the opening.
Sporting bright, blue-colored
hair, Cruz danced when she won
the salsa performance award
for "Celia Cruz and Friends: A
Night of Salsa." The veteran
beat out Oscar D'Leon, Los Van
Van, Gilberto Santa Rosa and
Son by Four.
The traditional tropical
performance went to Puente for
"Mambo Birdland." Accepting
the award on his behalf were
his children, Tito Puente Jr.
and Audrey Puente. "I was in
the mixing booth with him
during the album," a
teary-eyed Audrey Puente said.
"[My father] said when he was
done, he hoped he would win a
Grammy because he didn't know
if he could top this album."
Presenters included Antonio
Banderas, Penelope Cruz, Oscar
De La Hoya, Placido Domingo,
Hector Elizondo, Jose
Feliciano, Melanie Griffith,
Guerra, Saul Hernandez, Cheech
Marin, Valeria Mazza, Paez,
Leah Remini, Robi Rosa,
Rosario, Jon Secada and Jaci
Velasquez.
The ceremony reached more than
100 countries. The Latin
Grammy Awards are planned to
be an annual event. © 2000
Philadelphia Newspapers Inc.
La música latina sigue
aumentando en popularidad
(El
Hispano, October 12, 2000)
EFE —
Impulsada en gran parte por
las ventas de discos
compactos, la música latina
consiguió durante el primer
semestre del año su mayor
participación en el mercado de
EE.UU., informó la Asociación
de la Industria Discográfica
Americana (RIAA, en inglés).
El segmento latino aumentó a
un 5.2 por ciento su valor de
cotización durante el primer
semestre de 2000, con un valor
de casi 325 millones de
dólares, en comparación con el
4.9 por ciento que ocupaba en
1999, informó RIAA en un
comunicado.
RIAA, una asociación cuyos
miembros fabrican o
distribuyen aproximadamente el
90 por ciento de todas las
grabaciones musicales
legítimas en EE.UU., define a
la música latina como aquel
producto que contiene 51 por
ciento o más en idioma
español.
La industria de la música
latina, indicó RIAA, disfrutó
de un crecimiento del 11 por
ciento desde mediados de 1999,
mientras que las cifras de
envíos netos de discos
compactos aumentaron en un
tres por ciento.
“La influencia de la música
latina continúa siendo
apreciada en todos los
aspectos de la industria del
entretenimiento,” afirmó
Hilary Rosen, ejecutiva
principal de RIAA.
Los “cassettes” mantienen
todavía una amplia popularidad
entre los hispanos,
representando casi una cuarta
parte del total de los envíos
de música latina, es decir,
tres veces más de la
proporción de la música en
general en EE.UU.
Monday, August 14, 2000
Salsaing in the rain at Latino
festival
By
Angela Couloumbis
INQUIRER STAFF WRITER
On Friday night, organizer
Javier Suarez said, he was
near tears after listening to
the weatherman.
But Mother Nature cut him a
break yesterday, and he
couldn't help but smile as he
watched the faithful flock by
the thousands to the Benjamin
Franklin Parkway for Suarez's
annual Festival de las
Americas, one of the city's
more popular fiestas.
Beyond ethnic pride,
yesterday's festival was about
music - and not just any music
but the swaying, sashaying
rhythms of salsa and merengue,
served up by some of the
hottest Latin-music bands.
Despite their having had to
wear rain slickers or bulky
clothing, many in attendance
shook their hips and clapped
their hands throughout the
afternoon to the sounds of
about a half-dozen bands from
Puerto Rico, Colombia, the
Dominican Republic, and, yes,
Nueva York.
Some danced on coolers, some
barefoot on the grass, and
some, like Terry Gilmore, on
in-line skates. Gilmore drew a
small crowd of admirers as he
spun around in a dizzying
whirl and never missed a beat.
"I really like Latin music,"
said the 48-year-old
Philadelphia videographer,
adding that he frequently
street-dances on skates in
different parts of the city.
"It's challenging," he said,
"because of the rhythms, but
it's also a great workout. You
get all the toxins from the
9-to-5 out."
For those who didn't feel like
shaking their bon-bon, a
seemingly endless line of
street vendors and volunteers
awaited, hawking everything
from Caribbean food to Latin
music to information on how to
obtain affordable health care.
Still, the music ended up
stealing the show - hardly a
surprise, given the
headliners. Suarez, who said
he had wanted to bring in some
of the genre's more popular
groups for this year's
festival, started off the show
with the Colombian band Grupo
Niche, whose four male singers
made the Backstreet Boys look
positively adolescent.
"I love them," said Susana Gil
of the Northeast, clasping her
hands in anticipation.
"They're so good."
"Even if it rains, I'm staying
here, right where I am," said
Gisela Mendez, 25, as she
danced on the grass.
Jeanny Arroyo, 29, echoed the
sentiment. She and her family
had come a bit more prepared,
having set up a canopy on the
grass and crowded onto lawn
chairs beneath it.
Arroyo vowed to keep on
dancing even if the skies were
to open up and unleash a
torrent of rain.
"We're sticking it out, no
matter what happens," the
visitor from Vineland said.
Others knew exactly how she
felt.
Herman Ramos, 28, of the
Northeast, put it this way:
"I'm not going anywhere. It's
not every day that you see
people together like this.
It's a multicultural thing.
It's for everyone to enjoy."
Angela Couloumbis' e-mail
address is
acouloumbis@phillynews.com
© 2000 Philadelphia Newspapers
Inc.