# A Time and a Place: Mambo!



## Strange Magic (Sep 14, 2015)

In the latter half of the 1950s and into the early 1960s, the Palladium ballroom in New York was ground zero for an explosion of interest in Cuban-derived and pioneered dance music and the dancing: the Mambo, Cha Cha Cha, Merengue. The music became widely favored among many communities--Latinos of course, but also Italians, African Americans, and much of the young New York Jewish community. There arose a group of bands supplying the music: Al Castellanos and his orchestra, Machito, Joe Cuba, Pete Terrace, the La Playa Sextet, many others. Several NYC DJs broadcast this music on FM stations in the city--I regularly listened to Latin-obsessed Jewish DJ Dick "Ricardo" Sugar on station WEVD (the initials stand for Eugene V. Debs, a father of the American Socialist party) and grooved to the music. It was a real moment, like the later disco explosion, for intergroup interaction among disparate populations. Casebearer's pioneering post exploring Venezuelan music triggered this post. One thing that struck me comparing the Venezuelan to the Cuban musics was just how powerful and dynamic the Cuban/Afro-Cuban influence has been--it has been an overwhelming force in popular music that overshadows most other musics in the area, the Reggae of Jamaica being an exception.

But here is an example of the music of that time and place: the La Playa Sextet with _Dry Coconuts_...


----------



## Strange Magic (Sep 14, 2015)

Machito, and _Si Si, No No_:


----------



## Strange Magic (Sep 14, 2015)

Al Castellanos, and _The Speak Up Mambo_:


----------



## Strange Magic (Sep 14, 2015)

I've bumped this thread because during this period of uncertainty it's nice to again hear inherently buoyant, cheerful music. Disco, and, as here, Latin-flavored songs, are genres that never fail to elevate my spirits. Much of that euphoria generated by Latin music comes from the rhythm; quite a bit from the fantastic horn outbursts that often erupt out of the intricately-woven backgrounds. So here are some more selections, several of which I have previously linked to in other threads:

We begin with two longtime standards composed by Mexican genius Alberto Domínguez; the first is Frenesi, sung here by Natalie Cole: 




Next, Perfidia, last heard on my Tainted Love thread, here sung by Vikki Carr, born Florencia Bisenta de Casillas Martínez Cardona in El Paso of Mexican parents: 




Then an Afro-Cuban classic, Sun Sun Babae, with Tito Rodriguez and his Orchestra:





Finally, Sergio Mendes and Brasil 66, with a great version of Burt Bacharach's wonderful The Look of Love--very Latin! 




Try to maintain a frown and to keep your feet still!


----------



## Duncan (Feb 8, 2019)

On behalf of Canada allow me to present from St. John, the New Brunswick Youth Orchestra - ya can't get more authentic than Cuban music from the Maritimes - Not bad for a country with only about 22,000 Cubans, eh?


----------



## Strange Magic (Sep 14, 2015)

I can't wait to hear the contributions from Winnipeg and Saskatoon!


----------



## Duncan (Feb 8, 2019)

*Xavier Cugat* (1 January 1900 - 27 October 1990) was a Spanish-Cuban and American musician and bandleader who spent his formative years in Havana, Cuba. A trained violinist and arranger, he was a leading figure in the spread of Latin music. In New York City he was the leader of the resident orchestra at the Waldorf-Astoria before and after World War II.

In 1943 "Brazil" was Cugat's most successful chart hit. It spent seven weeks at No. 2 on the Billboard magazine National Best Selling Retail Records chart behind Harry James's song "I've Heard That Song Before".


----------



## Duncan (Feb 8, 2019)

*Ernesto Antonio "Tito" Puente *(April 20, 1923 - May 31, 2000) was an American musician, songwriter and record producer. The son of Ernest and Felicia Puente, native Puerto Ricans living in New York City's Spanish Harlem, Puente is often credited as "The Musical Pope", "El Rey de los Timbales" (The King of the Timbales) and "The King of Latin Music". He is best known for dance-oriented mambo and Latin jazz compositions that endured over a 50-year career.

This version by Santana is probably the most familiar -


----------



## Duncan (Feb 8, 2019)

*Dámaso Pérez Prado* (December 11, 1916 - September 14, 1989) was a Cuban bandleader, pianist and composer who popularized the mambo in the late 1940s. He frequently made brief appearances in films, primarily of the rumberas genre. The success of his orchestra and hits such as "Mambo No. 5" earned him the nickname "King of the Mambo".









*Mambo Number 8*






Strange but true - Mambo Number 10 is known as the "Great Lost Mambo" as Prado never finished it... He was superstitious...very superstitious... almost as crazy superstitious as your average French-Canadian... Because of the "Curse of the Ninth" and Mahler's incredible streak of bad luck (no one was fooled by calling it "Das Lied von der Erde") Perez decided that it was best not to take any chances so he stopped at 9... It didn't help that his wife thought that 9 sounded a lot like 8 which sounded a lot like 7 and that he might have gone to the well one too many times with these numbered mambos... Prado later began his "Named Mambos"... "The London Mambos"... "The Paris Mambos"... "The Paramus Mambos"... They weren't as successful as the "Numbered Mambos" but he lived until he was 76 which is 26 years more than Mahler had...


----------



## Duncan (Feb 8, 2019)

At the height of the mambo movement in 1955, *Pérez Prado* hit the American charts at number one for 10 weeks with a cha-cha-chá version of "Cherry Pink and Apple Blossom White".

This is the original version and you can hear the rhythm pattern which inspired the cover -









*1951 - Jimmy Dorsey and His Orchestra with vocal chorus by Pat O'Connor and Sandy Evans*


----------



## Strange Magic (Sep 14, 2015)

This is the version of Brazil I grew up with. Jimmy Dorsey, Bob Eberly, and Helen O'Connell were big favorites in our household during the war years and thereafter. Great songs! I always loved that uptempo second half of Brazil when O'Connell takes the vocal....






Regarding Perez "Prez" Prado, for reasons of personal taste I suppose, Dick "Ricardo" Sugar, the WEVD DJ I referenced, held Prado in low esteem as a Latin musician, and never played his songs. He felt Prado was too commercial, appealing too much to a top-40 audience with songs like Cherry Pink and Apple Blossom White, and hinted that the "real" Latin music fraternity felt the same way--Tito Puente being put forward as the epitome of Latin authenticity.


----------



## Strange Magic (Sep 14, 2015)

More Brazilian excitement: 




Pink Martini pulls out most, if not all, the stops, with singer Storm Large creating a Large Storm in my libido as she leaps about.


----------



## Duncan (Feb 8, 2019)

Strange Magic said:


> Regarding Perez "Prez" Prado, for reasons of personal taste I suppose, Dick "Ricardo" Sugar, the WEVD DJ I referenced, held Prado in low esteem as a Latin musician, and never played his songs. He felt Prado was too commercial, appealing too much to a top-40 audience with songs like Cherry Pink and Apple Blossom White, and hinted that the "real" Latin music fraternity felt the same way--Tito Puente being put forward as the epitome of Latin authenticity.


I can understand that attitude towards the music whilst not necessarily agreeing with the sentiment - "Why would you want to listen to *that* when you could hear *this*?" but there needs to be a transition - a bridge - which gradually links the stand-alone genre to a hyphenated mainstream sub-genre. One needs to be "here" before being able to travel "there". I generally don't put much stock in any profession's assessment of one of their own - professional jealously inevitably plays a factor in their judgement and the bias is often readily apparent.

In many ways, Dick "Ricardo" Sugar (in multiple guises) is alive and well on this forum and many of your fiercest battles have been in defense of being tolerant and open-minded for that which is popular against those who champion obscurity as if it were a virtue in and of itself. You wear the label "lowest common denominator" with pride (justly so and much to my envy) despite finding yourself outnumbered in every instance - but you persevere despite the relentlessness of the attacks and the forum is the better for it.

The "Legacy" section of Prado's wiki page reads -

"Although he did not create the genre-Orestes López and his brother Cachao did in 1937-Pérez Prado has been recognized as a key figure in the popularization of mambo and Cuban dance music in general across the world in the 1950s. His success came from his adaptation of the fast mambo rhythm to the American-style big bands of the 1940s and away from the quieter Cuban charanga.

He also worked with a variety of musicians who would go on to have successful careers. In 1946, he worked with guaracha singer Orlando Guerra "Cascarita", who became one of the leading exponents of the genre. In Mexico, he helped launch the career of Beny Moré in 1949, with hits such as "Anabacoa". In America, he worked with West-Coast trumpeters such as Maynard Ferguson, Pete Candoli and Ollie Mitchell (featured on "Flight of the Bumble Bee"), trombonist-vocalist Ray Vasquez, and a variety of percussionists, including Armando Peraza, Mongo Santamaría and Alex Acuña.

In 1999, Prado was posthumously inducted into the International Latin Music Hall of Fame."


----------



## Duncan (Feb 8, 2019)

*El Gran Combo de Puerto Rico*, commonly known as *El Gran Combo*, is a Puerto Rican salsa orchestra based in San Juan, Puerto Rico. Celebrating its 50th anniversary in 2012, it is often considered Puerto Rico's most successful musical group. The group received the moniker La Universidad de la Salsa (The University of Salsa) in Colombia, due to the sheer number of famous salsa musicians and singers who developed their careers with it, who started with the group (particularly Andy Montañez), or who were occasionally backed up by the band and La India.


----------



## Duncan (Feb 8, 2019)

*Malo* (English: "Bad") is a musical group known for its blend of Latino, Rock, Jazz and Blues. The San Francisco-based ensemble was led by, Richard Bean, Arcelio Garcia and Jorge Santana, the brother of Latin-rock guitarist Carlos Santana.


----------



## Duncan (Feb 8, 2019)

*El Chicano* is an American brown-eyed soul group from Los Angeles, California, whose style incorporates various modern music genres including rock, funk, soul, blues, jazz, and salsa. The group's name is from Chicano, a term for United States citizens of typically Mexican descent.


----------



## Duncan (Feb 8, 2019)

*Azteca* was a Latin rock band formed in 1972 by Coke Escovedo and his brother Pete Escovedo, who had just finished stints with Latin rock pioneering band Santana. Azteca was the first large-scale attempt to combine multiple musical elements in the context of a Latin orchestra setting, and featured horns, woodwinds, multiple keyboards, three vocalists, guitars, drums, and multiple Latin percussionists.

Onstage, the band consisted of between 15 and 25 members, and toured with acts including Stevie Wonder. Other notable Azteca alumni included vocalists Wendy Haas and Errol Knowles, guitarist Neal Schon, trumpeters Tom Harrell and Eddie Henderson, bassist Paul Jackson, drummers Lenny White and John H. Brinck Jr., and percussionist Victor Pantoja.

The group was also a musical starting point for Latin percussionist Sheila E. (the daughter of Pete Escovedo), who appeared with the band as a teenager. Two albums were released on Columbia Records, the self-titled Azteca (1972) and Pyramid of the Moon (1973), before the band split up.


----------



## Duncan (Feb 8, 2019)

*Miami Sound Machine* is an American band of Latin-influenced music that had featured the vocals of Cuban-born recording artist Gloria Estefan (née Fajardo). Established in 1975 by Emilio Estefan Jr., the band was originally known as the Miami Latin Boys before becoming the Miami Sound Machine in 1977.


----------



## Duncan (Feb 8, 2019)

This is a tune which would initially appear to be an unlikely candidate for an appearance within this thread but the Latin-influenced rhythm is readily apparent -






*Delores LaVern Baker* (November 11, 1929 - March 10, 1997) was an American rhythm-and-blues singer who had several hit records on the pop chart in the 1950s and early 1960s. Her most successful records were "Tweedle Dee" (1955), "Jim Dandy" (1956), and "I Cried a Tear" (1958).

Magic may need to give some thought to changing the thread name to -

A Time and A Place: Mambo, Salsa y mas! - :lol:


----------



## Strange Magic (Sep 14, 2015)

Duncan, so many tasty selections! Many thanks! The Latin ingredient literally spices up any other genre it encounters. The LaVern Baker classic reminded me of another great song, the doo-*** classic by the Royaltones, _Latin Love_:


----------



## Duncan (Feb 8, 2019)

Strange Magic said:


> Duncan, so many tasty selections! Many thanks! The Latin ingredient literally spices up any other genre it encounters. The LaVern Baker classic reminded me of another great song, the doo-*** classic by the Royaltones, _Latin Love_:


You're welcome and my thanks to you for trusting your instincts when you made the decision to revive a long dormant thread at the exact moment when it was needed the most.

What joyous exhuberant music! - It was _what_ I needed to hear _when_ I needed to hear it and it's a delight to explore the varied pathways of Latin music - a genre whose existence seems to have stopped south of the 49th parallel as it is one of almost complete unfamiliarity to me but most definitely is one worth exploring further.

================================================== =========






*Buena Vista Social Club* is an ensemble of Cuban musicians established in 1996 to revive the music of pre-revolutionary Cuba. The project was organized by World Circuit executive Nick Gold, produced by American guitarist Ry Cooder and directed by Juan de Marcos González.

They named the group after the homonymous members' club in the Buenavista quarter of Havana, a popular music venue in the 1940s. To showcase the popular styles of the time, such as son, bolero and danzón, they recruited a dozen veteran musicians, many of whom had been retired for many years.

The group's eponymous album was recorded in March 1996 and released in September 1997, quickly becoming an international success, which prompted the ensemble to perform with a full line-up in Amsterdam and New York in 1998.

German director Wim Wenders captured the performance on film for a documentary-also called Buena Vista Social Club-that included interviews with the musicians conducted in Havana. Wenders' film was released in June 1999 to critical acclaim, receiving an Academy Award nomination for Best Documentary feature and winning numerous accolades including Best Documentary at the European Film Awards. This was followed up by a second documentary Buena Vista Social Club: Adios in 2017.


----------



## Duncan (Feb 8, 2019)

*Gloria Estefan* September 1, 1957) is a Cuban-American singer, songwriter, actress and businesswoman. A contralto, she started her career as the lead singer in the group "Miami Latin Boys", which later became known as Miami Sound Machine.


----------



## Duncan (Feb 8, 2019)

"Tea for Two" is a song composed by Vincent Youmans with lyrics by Irving Caesar and written in 1924. It was introduced by Louise Groody and John Barker in the Broadway musical No, No, Nanette. "Tea for Two" was Youmans' biggest hit.

September 1958: Tommy Dorsey's rendition reaches number seven on the US Billboard chart and stays there for twenty weeks.

With the legendary bandleader having died in late 1956, Warren Covington was now heading the official Tommy Dorsey band and received label credit as conductor on this million-selling cha-cha arrangement of the 1920s standard.


----------



## Duncan (Feb 8, 2019)

*Úrsula Hilaria Celia de la Caridad Cruz Alfonso* (October 21, 1925 - July 16, 2003), known as *Celia Cruz*, was a Cuban singer and one of the most popular Latin artists of the 20th century.

Cruz rose to fame in Cuba during the 1950s as a singer of guarachas, earning the nickname "La Guarachera de Cuba". In the following decades, she became known internationally as the "Queen of Salsa" or "The Queen of Latin Music" due to her contributions to Latin music in the United States.

"*Guantanamera*" (Spanish: "from Guantánamo, feminine" indicating a woman from Guantánamo) is perhaps the best known Cuban song and that country's most noted patriotic song, especially when using a poem by the Cuban poet José Martí for the lyrics.

The official writing credits have been given to Joseíto Fernández, who first popularized the song on radio as early as 1929 (although it is unclear when the first release as a record occurred). In 1966, a version by American vocal group the Sandpipers, based on an arrangement by the Weavers from their May 1963 Carnegie Hall Reunion concert, became an international hit.









*The Sandpipers - "Guantanamera" *






*The Sandpipers* were an American easy listening trio who carved a niche in 1960s folk rock with their vocals and innovative arrangements of international ballads and pop standards. They are best remembered for their cover version of "Guantanamera", which became a transatlantic Top 10 hit in 1966.

Singing in English, Spanish, French, Italian, Portuguese, and Tagalog, the Sandpipers had seven separate album entries in the Billboard 200 from 1966-1970, and over a dozen charted singles.


----------



## Strange Magic (Sep 14, 2015)

Returning again to the Palladium Ballroom and the non-stop Latin dance scene there, here are three other artists that one heard regularly on Dick "Ricardo" Sugar's WEVD Afro-Cuban radio hour.....

First, Pete Terrace, with Yo No Se:





Then Joe Cuba gives us Que Son Uno:





Finally, Joe Loco with The Baïon:





There is a certain crispness to the music of the Mambo-Cha Cha Cha era; the staccato eruption of horns at times, and general sharpness of attack, that quite appeals to me as the heart of the Afro-Cuban genre as expressed during that period.


----------



## Duncan (Feb 8, 2019)




----------



## Strange Magic (Sep 14, 2015)

Bravo Duncan! The Palladium Comes Alive!


----------



## Duncan (Feb 8, 2019)

*Bartolomé Maximiliano Moré *(24 August 1919 - 19 February 1963), better known as *Benny Moré*, was a Cuban singer, bandleader and songwriter.

Due to his fluid tenor voice and his great expressiveness, he was known variously as _El Bárbaro del Ritmo_ and _El Sonero Mayor._

Moré was a master of the _soneo_, the art of vocal improvisation in Cuban _son_, and many of his tunes developed this way. He often took part in _controversias_ (vocal duels) with other singers like Cheo Marquetti and Joseíto Fernández. Apart from _son cubano_, Moré was a popular singer of _guarachas_ and _boleros_.

Moré started his career with the _Conjunto Matamoros_ in the 1940s and after a tour in Mexico he decided to stay in the country.

In the late 1940s, he sang _guaracha-mambos_ with Pérez Prado, achieving great success. Moré returned to Cuba in 1952 and worked with Bebo Valdés and Ernesto Duarte.

In 1953, he formed the Banda Gigante, which became one of the leading Cuban big bands of the 1950s.

*Benny Moré - Bonito y Sabroso *






*Benny Moré Y Su Banda Gigante- "Cómo fue"*






*Benny Moré Y Su Banda Gigante - Que Bueno Baila Usted*


----------



## Duncan (Feb 8, 2019)

*Cheo Marquetti*

*José Marcelino Díaz Marquetti* (April 26, 1909 - March 29, 1967), better known as Cheo Marquetti, was a renowned Cuban _son_ vocalist and songwriter.

In an effort to achieve wider recognition he left Cuba for Mexico in the mid forties. Only mildly successful, he returned in 1953. Back in Havana he joined _Orquesta Sensació_n, led by Rolando Valdés (to briefly replace the much more famous _sonero_ Abelardo Barroso). This engagement was followed by temporary stints at a group whose fame survives today, _Chappottín y sus Estrellas_, whose members at the peak of their success and fame were Félix Chappottín, Miguelito Cuní, René Álvarez, Lilí Martínez and Gina Martín, as well as Marquetti. Between 1955 and 1957 he had his own _conjunto_, _Los Salseros._

*Cheo Marquetti - "Que No Muera El Son" - *






*Cheo Marquetti - "Caramelo A Kilo"*






*Cheo Marquetti - "Yo Bailo Con La Mas Fea" -*


----------



## Duncan (Feb 8, 2019)

*Linda Ronstadt - "Canciones de Mi Padre"*

*"La Charreada" -*






*"Los Laureles" -*






*"Por Un Amor" -*






*Canciones De Mi Padre* (Spanish for "Songs of My Father", or "My Father's Songs") is American singer/songwriter/producer Linda Ronstadt's first album of Mexican traditional Mariachi music.

The album was released in late 1987 and immediately became a global smash hit. At 2½ million US sales, it stands as the biggest selling non-English language album in American record history. This album has been RIAA certified Double-Platinum (for over 2 million US copies sold) and also won Ronstadt the Grammy Award for Best Mexican/Mexican-American Album at the 31st Grammy Awards.


----------



## Strange Magic (Sep 14, 2015)

A tragic loss: Selena Quintanilla. Here is _No Quiero Saber_......






Interesting in that neither Ronstadt nor Selena had Spanish as their native tongue, but rather learned it along the way as a necessity to accomplish their musical goals. Natalie Cole also knew no Spanish, but learned to pronounce it well enough for her Spanish-language album, which was her last.


----------



## Duncan (Feb 8, 2019)

_Amor Verdadero - 0:00

Alto Songo - 6:39

Habana Del Este - 13:25

A Toda Cuba Le Gusta - 20:04

Fiesta De La Rumba - 25:53

Los Sitio' Asere - 31:46

Pío Mentiroso - 37:06

María Caracoles - 41:43

Clasiqueando con Rubén - 46:31

Elube Changó - 51:44_

*Afro-Cuban All Stars* is a Cuban band led by Juan de Marcos González (formerly tres player for Sierra Maestra). Their music is a mix of all the styles of Cuban music, including _bolero, chachachá, salsa, son montuno, timba, guajira, danzón, rumba and abakua._

They are known internationally for their 1997 album _A Toda Cuba le Gusta_, which was recorded at the Buena Vista Social Club sessions.


----------



## ldiat (Jan 27, 2016)




----------



## Duncan (Feb 8, 2019)

ldiat said:


>


*King África* are an Argentine dance music project which rose to prominence with the single "La Bomba", a cover version of the song by the Bolivian group Azul Azul.

*Azul Azul* was a pop-rock-dance group formed in Santa Cruz de la Sierra, Bolivia in early 1990s. Azul Azul had their major breakthrough in 1995 with a song called El Huevo (Spanish for "The Egg").

The original Azul Azul version of "La Bomba" -






Azul Azul - Mamá No Quiero Comer Más Huevo (Vídeo Oficial)






Far be it from me, as a Canadian who venerates the concept of "diplomacy", to stereotype the residents of not just one but two sovereign nations, but it appears that "subtlety" is not a characteristic held in much esteem by either Argentinians or Bolivians... :lol:

Note: neither of these two versions of "La Bomba" have anything to do with the song that is playing in your head right now which is actually "La Bamba" with an "a" not "La Bomba" with an "o"...

See below...


----------



## Duncan (Feb 8, 2019)

"*La Bamba*" is a Mexican folk song, originally from the state of Veracruz, best known from a 1958 adaptation by Ritchie Valens, a top 40 hit in the U.S. charts and one of early rock and roll's best-known songs.

"La Bamba" is a classic example of the _son jarocho_ musical style, which originated in the Mexican state of Veracruz and combines Spanish, indigenous, and African musical elements. The song is typically played on one or two _Arpa jarochas_ (harps) along with guitar relatives the _jarana jarocha_ and the _requinto jarocho_.

This is an example of the "traditional" version by_ Mariachi Los Caballeros_ with a rather lovely_ arpa jarochas_ intro to the tune -






This is the version made popular by Ritchie Valens -






And the remake made by _Los Lobos_ for the 1987 bio-pic "La Bamba" -


----------



## Duncan (Feb 8, 2019)

*Cachao*

*Israel López Valdés "Cachao"

Master Sessions Volume 1*

*Israel López Valdés* (September 14, 1918 - March 22, 2008), better known as *Cachao*, was a Cuban double bassist and composer. Cachao is widely known as the co-creator of the mambo and a master of the descarga (improvised jam sessions). Throughout his career he also performed and recorded in a variety of music styles ranging from classical music to salsa. An exile in the United States since the 1960's, he only achieved international fame following a career revival in the 1990's.

Born into a family of musicians in Havana, Cachao and his older brother Orestes were the driving force behind one of Cuba's most prolific _charangas_, _Arcaño y sus Maravillas_. As members of the _Maravillas_, Cachao and Orestes pioneered a new form of ballroom music derived from the _danzón_, the _danzón-mambo_, which subsequently developed into an international genre, _mambo_.

In the 1950s, Cachao became famous for popularizing improvised jam sessions known as _descargas_. He emigrated to Spain in 1961, and moved to the United States in 1963, starting a career as a session and live musician for a variety of bands in New York during the rise of boogaloo, and later, salsa.

In the 1970s, Cachao fell into obscurity after moving to Las Vegas and later Miami, releasing albums sporadically as a leader. In the 1990s, he was re-discovered by actor Andy García, who brought him back to the forefront of the Latin music scene with the release of a documentary and several albums. Before his death in 2008, Cachao had earned a star on the Hollywood Walk of Fame and several Grammy Awards. He is ranked number 24 on Bass Player magazine's list of "The 100 Greatest Bass Players of All Time".

*Link to complete album - 
*

https://www.youtube.com/playlist?list=PLvxWibFr0wiKKjts-eAF-2TSJGJ-p4lWj


----------



## ldiat (Jan 27, 2016)

Duncan said:


> *King África* are an Argentine dance music project which rose to prominence with the single "La Bomba", a cover version of the song by the Bolivian group Azul Azul.
> 
> *Azul Azul* was a pop-rock-dance group formed in Santa Cruz de la Sierra, Bolivia in early 1990s. Azul Azul had their major breakthrough in 1995 with a song called El Huevo (Spanish for "The Egg").
> 
> ...


i have viewed the original before. i like the little stick figure dancing on the king:lol:


----------



## Duncan (Feb 8, 2019)

Duncan said:


> Far be it from me, as a Canadian who venerates the concept of "diplomacy", to stereotype the residents of not just one but two sovereign nations, but *it appears that* *"subtlety" is not a characteristic held in much esteem by either Argentinians or Bolivians...* :lol:


On second thought... "*subtlety*" as a characteristic can be *greatly overrated...*






*Jennifer Lopez - Amor, Amor, Amor (Official Video) ft. Wisin*






*Jennifer Lopez - El Anillo (Official Video)*


----------



## Duncan (Feb 8, 2019)

A "History of Mambo" wouldn't be complete without mentioning an important sub-genre -

"Attractive Dominican Women Wearing Lingerie And Having A Pillow-fight" -


----------



## Duncan (Feb 8, 2019)

*Rubén González - Introducing - 1997*

La Engañadora - 0:00

Cumbanchero - 2:34

Tres Lindas Cubanas - 7:09

Melodía Del Rio - 12:31

Mandinga - 17:14

Simony - 25:42

Almendra - 28:15

Tumbao - 38:08

Como Siento Yo - 43:20

*Rubén González Fontanills* (May 26, 1919 - December 8, 2003) was a Cuban pianist. Together with Lilí Martínez and Peruchín he is said to have "forged the style of modern Cuban piano playing in the 1940's".

Between the 1940's and his retirement in the 1980's, he played with Cuba's most successful acts, including Paulina Álvarez, Arsenio Rodríguez, Orquesta América del 55, Orquesta Riverside and Enrique Jorrín. In the 1990's, he came out of retirement to play in the revival ensembles Afro-Cuban All Stars and Buena Vista Social Club, also recording solo material and performing live until 2002.


----------



## Duncan (Feb 8, 2019)

*PALO!*

PALO! was nominated for a Grammy and a Latin Grammy for their album PALO! Live. They perform their own style of Cuban music they call "Afro-Cuban Funk".


----------



## Duncan (Feb 8, 2019)

*Emily Marie Consuelo Estefan* (born December 5, 1994) is an American music artist. She is the daughter of producer Emilio Estefan and the Cuban singer Gloria Estefan.


----------

