Hector Lavoe reflexiona sobre su carrera
September 30th 1946 marked the day a "great among greats" was born, this artist's life was marked by a tragic destiny. Héctor Lavoe's interest in music began in his native Puerto Rico. In search of new opportunities, he traveled to New York with a suitcase full of dreams and the firm goal of landing a job in the music world. Johnny Pacheco happened to hear him perform at one of those night clubs. In Lavoe he discovered a powerful voice and the easiest of manners. The combination of Héctor Lavoe and Willie Colón enriched the world of salsa and set the stage for their collaboration, which lasted seven years. It also gave birth to 10 albums, full of vibrant songs that spoke the language of the street, a type of musical narrative that the public identified with, one that cemented salsa as a genre.
His life was an open book, each page of which documented the tragedy and heartbreak that marked and influenced the rise and fall of his brilliant professional career. Héctor Lavoe died on June 29, 1993, at the age of 46.
HECTOR LAVOE 2
HECTOR LAVOE reflects on " Periodico De Ayer" in 1986 Interview
(El Cantantante De Los Cantantes Habla Sobre Su Exito "Periodico De Ayer")
In 1967, Lavoe joined Willie Colón's band and performed as the band vocalist. With the Willie Colón band, Lavoe recorded several hit songs, including "El Malo" and "Canto a Borinquen". While working with the Willie Colón band, Lavoe became addicted to drugs and began to be late habitually when scheduled to perform with the band. Colón eventually decided to not work with Hector on stage but they still remained good friends and made music in the studio together. Lavoe moved on to become a soloist and formed his own band, where he performed as lead vocalist. As a soloist Lavoe recorded several hits including "El cantante", "Bandolera" and "Periódico de ayer" ("El Cantante" was composed by Ruben Blades, "Bandolera" by Colón and "Periódico" by Tite Curet Alonso.) During this period he was frequently featured as an invited vocalist in the Fania All Stars, and recorded numerous tracks with the band
HECTOR LAVOE REFLECTS ON HIS CAREER in 1986 INTERVIEW
Hector Lavoe reflexiona sobre su carrera en entrevista (1986)
Héctor Juan Pérez Martínez (Ponce, 30 de septiembre de 1946 – Nueva York, 29 de junio de 1993)2 fue un cantante de salsa puertoriqueño, que nació y se crio en Machuelo de Ponce. Su padre le obligaba a ir a la escuela de música Juan Morel Campos a aprender a tocar saxofón (aunque se dice que en realidad estudió Trombón de Vara). Allí, Héctor conoce a Papo Luca y José Flebes. Se mudó a Nueva York cuando tenía dieciséis años. En su primera semana en esta ciudad, estuvo en la orquesta de Roberto García. Durante ese período, Lavoe estuvo en otros grupos, incluida la Orquesta de Nueva York, Kako y su combo.
En 1967, Lavoe se convirtió en vocalista de la Orquesta de Willie Colón, en donde grabó grandes producciones como "El Malo", "The Hustler", "La Gran Fuga", "Cosa Nuestra", entre otros. Mientras pertenecía a esta orquesta, Lavoe se volvió adicto a las drogas, las juergas y a un ritmo de vida basada en los excesos. Luego de 6 años juntos y una enorme serie de éxitos cosechados, Colón decidió no trabajar más con Héctor en el escenario; aunque siguieron siendo buenos amigos y, de hecho, siguió produciendo sus discos en el futuro. Después de este suceso, Lavoe formó su propia orquesta. Como solista grabó canciones como El Cantante, compuesta por Rubén Blades; Bandolera, de Willie Colón y El periódico de ayer, de Tite Curet Alonso. La canción El Cantante le dio el mote o apodo por el que a partir de entonces sería conocido: El Cantante de Cantantes. También desde 1968, fue vocalista de la Fania All Stars.
En 1979, cayó en una profunda depresión y buscó ayuda de un santero que atendió su problema de drogas. Después de su corta rehabilitación, sufrió otra recaída cuando su hijo menor, Héctor Luis, murió a los 18 años de edad de un disparo accidental que le produjo un amigo, en mayo de 1987. Ese mismo año su suegra fue asesinada y su padre fallece.2 Después de estos acontecimientos se le detectó el virus VIH, lo que afectó su estado de ánimo de forma muy notoria a tal punto que en 1988 y tras la suspensión de un concierto en la ciudad de Bayamon que suponía relanzaría su carrera, decidió suicidarse lanzándose desde el balcón del noveno piso del hotel donde se alojaba.2 Lavoe sobrevivió y grabó un último álbum antes de que su estado de salud empeorara, "Héctor Lavoe & Van Lester: The Master and the Protege". A partir de aquí, Lavoe quedó incapacitado para volver a cantar. Transcurrió sus últimos años en Nueva York, donde varios promotores se lucran con él presentándolo en conciertos cuando apenas podía hablar. A pesar de las ventas generadas por sus discos, Lavoe tuvo una condición económica precaria. Murió el 29 de junio de 1993 en el Memorial Hospital de Queens debido a una complicación con el sida,2 , cinco años después de su fallido intento de suicidio. Fue enterrado en el cementerio Saint Raymond de Queens, Nueva York. En 2002 sus restos fueron exhumados por petición de su familia y llevados a Ponce, su ciudad natal. Sus restos permanecen en el Cementerio Civil de Ponce.
Mr Salsa Tribute To Hector Lavoe "Mi Gente"
Hector Lavoe Story
COPYRIGHTED © 2007 BY IZZY SANABRIA
The Hector Lavoe story contains all the elements of a dramatic motion picture.
There is poverty, broken home, limited education, world-wide successful singing career, drug abuse and the tragedies which started with the loss of his mother when
he was a young child, and needed her most, followed by his brothers death from a drug overdose on the streets of New York.
Lavoe is one of the most interesting and complex Latin music performers; a man of basically simple values who has lived a roller coaster life of wondrous career highs and devastating personal tragic lows. Lavoe s intense need for recognition and the motivational factors that drove him are clues to the events that determined his life s path.
Lavoe s burning ambition and quest for recognition was so intense that the swore to let nothing stop him from attaining it. "I want to be known all over the world," is something he often candidly admitted. "Identity to me, is more important than anything else. I have something to prove!
To better understand Lavoe, the artist, the man and his life, we must examine the various aspects of his background (people, things and events) during his early formative years, that influenced his life and helped mold the Hector Lavoe we know today. To do this we have to start at the very beginning.
Hector Lavoe was born on September 30, 1946 to Pachita and Luis Perez in Ponce, Puerto Rico. Hector comes from a musical family that he says were also a bit wacky.
His grandfather Don Juan Martinez sang controversies which often went from vocal conflict to physical confrontations. An uncle that was considered one of Ponce s best Tres players, spent most of his time playing "serenatas" around town and accumulating enemies. His mother Pachita also sang and according to the family and townspeople, sang beautifully. His father Luis supported his wife and eight children by singing and playing guitar with trios and big bands. It was Mr. Perez s influence that spurred six year old Hector to sit by the radio and shout out "jibaro" songs along with his then favorite singer, Chuito El De Bayamon. For a few years, Hector was tutored daily by his father until he was enrolled in the Juan Morell Campos School of Music (Two of his classmates also destined for fame were Papo Lucca and Jose Febles). Hector started out playing the saxophone but soon lost interest because he felt he wasn t good enough. He would have taken more of an interest if he could have only played as good as (child prodigy) Papo Lucca played the piano.
His father sent him off to school against his will and after six months of playing hockey, Hector was expelled. One day his father asked him what lesson he was going to and Hector replied, "the one at 12 noon!" With that reply, as Hector tells it, "Fuuaaacata! He gave me a tremendous whack and said How can you go to a lesson when you were thrown out? So he forced me to go back to school."
By 1960, at the age of 14, Lavoe was earning $18 a night singing with a ten-piece band. Hector felt he wasn t accomplishing anything and dropped out of school. "I was always getting into trouble, so when I was 17, I decided to go to New York to earn a lot of money.
Having made up his mind, Hector enthusiastically announced his plans to his father, but instead of giving him his blessings, Don Luis strongly objected to Hector s plans and desperately tried to discourage him. "New York is not for you, remember what happened to your brother. I absolutely forbid you to go." He also presented his argument in such a way as to make it seem that if Hector insisted on leaving, he obviously didnt love his father, family or Puerto Rico. Despite his father s objections, on May 3,1963, Lavoe boarded a plane to New York to pursue his dream of attaining fame and fortune.
On the jet and for many years after, Lavoe was haunted by the threatening and hurtful last words of his father, "If you go to New York, forget you have a father!" Hector realized that he had to prove himself, so right then and there, he made himself a promise that became his lifes quest and for many years provided him with the motivation needed to succeed. His goal was to earn a lot of money even if it meant working in a factory so that someday he could return to Ponce a rich man. His main purpose was to gain his fathers respect by becoming a successful person that his father would be proud of.
Awaiting Hector s arrival in New York was his sister Priscilla. When she saw his 102 pound, 5ft 8inchs scrawny physique, Priscillas first thought was to feed him but Hector wasn t interested in food. The first thing he wanted to do was see El Barrio, that mecca of New York Puerto Rican culture that he had heard so much about. A look of disappointment soon swept across his face as they drove through the streets of Spanish Harlem. Hector was shocked and greatly disappointed as the reality of garbage strewn streets and six story weather-beaten brick tenement buildings quickly wiped away the preconceived vision she had of fancy Cadillacs, tall marble skyscrapers and tree lined streets. He found his sisters Bryant Avenue apartment in The Bronx to be much better.
A week after arriving in New York, he was visited by Roberto Garcia, a musician and childhood friend who invited him to the rehearsal of a sextet that was being formed. At the rehearsal, the sextet was playing the romantic bolero Tus Ojos, which the vocalist was singing badly. As a good will gesture, Lavoe volunteered to show the vocalist how it was supposed to sound. After hearing Hector sing a few stanzas, the musicians looked at each other realizing that Hector was just what the group needed and they immediately offered him the job as vocalist. The job only paid $20 for three nights work, but it was a start and the first step that put Lavoes career in motion.
Once Lavoe was heard, other jobs with better known groups quickly followed. He sang with Orquesta New York, then spent a year as vocalist with Kako and his All-Stars. He also worked for two weeks with Johnny Pacheco before being introduced to Willie Colon in February 1967. This was to become a historical meeting, which would launch the careers of two of Salsas brightest stars.
No Me Llores Mas - Salsamagazine.com Hall Of Fame Single
Hector Juan Perez was born September 30, 1946 in Ponce, Puerto Rico, one of eight children. Luis Perez who played guitar with local trios and orchestras gave musical instruction to son Hector. Luis later enrolled Hector in the Juan Morel Campos Music School. His father had dreams of Hector becoming a great saxophonist. Although Hector learned the fundamentals of Spanish music, he soon lost interest in the instrument. He felt he did not play well. As a youngster, Hector spent much of his time at the radio listening to and singing along to jibaro (Puerto Rican folk style or country) music. Hector dreamed of becoming a singer. As a youngster, Hector's favorite singers were Chuito El de Bayamon. Odilio Gonzalez, and Daniel Santos whose voices and styles he imitated. Other singers that greatly influenced Hector were fellow Poncenos, Cheo Feliciano and Ismael Rivera, and the clear voiced Ismael Quintana. Unknown to his father, Hector would hang out with local musicians. By the age of 14, Hector was earning money as a singer in a 10-piece band in Puerto Rico. Eighteen dollars a night was good pay in 1960 for a fourteen-year-old to earn doing something he loved. Hector dreamed of singing in New York and gaining fame and fortune. His father was totally against the idea because Hector's older brother had gone to New York and died of a drug overdose. His father questioned Hector's love for him and his beloved Puerto Rico and made it clear that he would no longer consider Hector his son, if he left. Against his father's wishes Hector arrived in New York on May 3, 1963 at the age of 17. He moved in with his sister Priscilla. The first order of business was to see Latin New York. He had an image of the 'big apple' as a splendid spot on the earth. He was disappointed to see the real New York with its run down buildings and garbage-strewn streets. Shortly after his arrival, his boyhood friend, Roberto Garcia now living in New York, invited him to attend a rehearsal of a sextet that was forming. The vocalist was singing Tus Ojos. He wasn't doing a very good job so Hector suggested he try it another way. He sang the tune so the singer could make the necessary adjustments. The band immediately made Hector their lead singer. A local promoter took Hector Perez under his wing. He wanted Hector to become a star. Hector admired Felipe Rodriguez a famous singer of romantic ballads. Rodriguez was nicknamed La Voz (the voice). In that vein, the promoter christened Hector with the stage name Lavoe, a derivative of La Voz. In the 60s, Hector spent much of his time touring the Latin music scene. He was able to meet, mingle with, and befriend those in the business like musicians, singers, composers, arrangers, promoters, club owners, etc. Hector began playing with bands in New York like Kako and his All Stars. He later met and worked for two weeks with the great Dominican bandleader, Johnny Pacheco. Pacheco introduced Hector to a young, up-and-coming bandleader named Willie Colon. Willie was playing Latin jazz and boogaloo. The established musicians of the time considered Willie a kid with a bad sound. Pacheco was getting ready to have Colon record his first albumn for the Fania label. Willie who was looking for a lead singer liked Hector's clear voice, impeccable enunciation and stylistic abilities. In addition, Hector had an enormous talent for improvisation. That introduction led to a very successful musical union--one that was nearly instantaneous. Pacheco created an image for Willie that was one of a bad boy, gangsterish, thug. The image caught on and was embraced by the public. In 1967 Hector and Willie recorded their first album for Fania, El Malo. Willie's band was young; mostly teenagers. They had a new sound and Hector in addition to being a great talent, was very charismatic. Audiences loved him. Hector was comical in his repartee with the audience and within his improvisations. In addition, Hector would mingle with the audience during breaks. He never had a big ego and considered himself just like everyone else. He was entirely approachable and happy to sign autographs. He managed to maintain a connection to his audience and fans at all times. He considered himself a simple jibaro and was proud of that. Ray Sepulveda, a well respected singer currently with RMM (Ralph Mercado Management) recalls an experience to dramatize this point. Ray as a teenager idolized Lavoe. He remembers an outdoor festival in Puerto Rico, (fiesta patronal) at which Lavoe performed. During a break, he noticed Lavoe casually chatting with friends and well wishers. Gathering his courage, he approached Lavoe to express his great admiration for him. He also confided his fondest dream was to become a singer. Lavoe in a very warm and friendly manner encouraged him to not only pursue his dream but to let nothing stop him in his quest. Sepulveda will never forget that encounter. In 1967, Hector met Carmen Castro. By the next year, Carmen was pregnant. He proposed to Carmen and asked her to move to a house in Puerto Rico. She refused. Carmen considered Lavoe a womanizer. On Oct 30, 1968, Jose Alberto Perez was born. On the night of his son's baptism celebration, Nilda Rosado called Lavoe to say she was also pregnant. On Sept. 25, 1969 Hector Jr. was born. Hector eventually married Nilda. Although Carmen projected no malice towards Nilda and her son, the same could not be said of Nilda. She preferred that Hector maintain minimal contact with Carmen and their son. Hector was introduced to drugs at a party. According to his own account there was a bowl of drugs on the table and he indulged along with others at the party. He became enamoured with the drugs (heroine) and was soon addicted. His drug abuse began seeping into his professional career. Hector began demonstrating irresponsible behavior. He would arrive to performances late. His adoring fans were happy so long as he arrived. They adored him and forgave him always. At his worst, he might not show at all. At other times, he might insult his band members or the audience. By 1974, Hector's usage was out of control. The drugs caused his erratic behavior. The Willie Colon/Hector Lavoe orchestra was receiving bad publicity. The integrity of the band was being compromised. Willie tried to help Hector. Hector was weak for drugs and all of Colon's help and support could not produce the desired results or rendering Lavoe drug free. Willie felt he had no alternative and made the heart wrenching decision to disband his orchestra. Hector was crushed. He felt Willie had abandoned him. The public was sorely disappointed to learn of the break up. Promoters around the world were clamoring to book Hector for appearances guaranteed to draw huge audiences. After all, Lavoe was to Salsa what Sinatra was to pop music. He may in fact be better compared to Tony Bennett known as the "singer's singer". The title "El Cantante de los Cantantes" was truly befitting Lavoe. Colon gave Hector the option of keeping the musicians together. With a commitment from Jose Mangual Jr., a percussionist with the band, to keep the orchestra in tact, Hector launched his solo career. Willie Colon who dearly loved Hector despite his shortcomings would produce Hector's first album as a solo artist and many others. Their friendship and love never wavered. Hector's public continued to adore him and forgave his weaknesses. They still wanted to hear Lavoe sing. Hector possessed a talent comprised of many elements including, great voice, clear enunciation, marvelous phrasing, and lyrical interpretation. His quick whit and great sense of humor is evident in his tremendous ability to improvise or sonear. During live performances, he never sang a song the same way twice. One of his signature songs "Mi Gente" has been recorded a number of times. When one listens carefully, they discover lyrics in the soneo are fitting for each occasion. Lavoe was on a constant quest to rid himself of drug usage. In preparation for the Fania All Stars concert in Africa, he quit drugs cold turkey. Africa is one of the roots of Salsa along with Cuba. In Africa, he connected with the religious practice of Santeria. Santeria is the Latin version of the African religion brought by the slaves to their new homes. Their gave their gods direct correlation to the Catholic saints in order make their religion more acceptable. The gods and the corresponding saints are different manifestations of the same spiritual entity. Hector Lavoe Orchestra After the Africa experience, Hector took sometime off and returned to Puerto Rico. While there, he began to use drugs again.By 1975, Hector had 21 recordings under his belt. The same year, his band left him. They were weary of his antics. Once again, Jose Mangual Jr. came to his rescue. He assembled an orchestra in New York. In 1976, Hector accomplished with both Felipe Pirela and Cheo Feliciano did not. He made a hit of a song both men had recorded; De Ti Depende. The album of the same name was a tremendous success. Three other tunes became big hits--Hacha Y Machete, Vamos Reir Un Poco, and Periodico De Ayer. Lavoe was a superstar. He was in demand and was packing the largest soccer stadiums in Latin America. Lavoe always demonstrated a generous spirit. One night after appearing at a concert in Madison Square Garden he was due to perform at the Corso nightclub. On the same bill was Joe Cuba and his band. Cuba's lead singer was nowhere to be found. Hector learned of the situation and told Joe he would sing for him. A similar situation occurred with the lead singer for Bobby Rodriguez y La Compania. Hector responded in the same way. He never felt he was too good to lend a hand and sing someone else's music. Hector-Alfredo de la Fe Three significant events occurred in 1977. In February, Hector called Ruben Blades (now with former partner, Willie Colon) to the stage at the Corso. Ruben accompanying himself on guitar, sang the song El Cantante, and announced he had written it for Hector.This tune would later become one of Lavoe's signature songs. In April, Hector suffered a debilitating nervous breakdown rendering him unable to walk. A number of factors contributed to his infirmity. He lived under a great deal of stress. He was working seven days a week with at least three shows daily. He was experiencing conflict with the record companies that were not compensating him adequately. He had ongoing marital problems and was estranged from his oldest son, Jose. His problems with substance abuse exacerbated the situation. It took Hector five months to recover. He vowed to rebound and delighted the audience at Madison Square Garden in September. In December of that year, Hector released a new album entitled Comedia, on whose cover he appeared dressed like Charlie Chaplin. The ten-minute version of El Cantante with its symphonic arrangement propelled the popularity of the album, which soon went platinum. Hector continued his yo-yo relationship to drugs; kicking the habit only to become re-addicted. He would announce he was going on vacation and disappear. In reality, he was checking himself into drug rehabilitation centers. In 1978, consumed by depression, he began speaking of suicide. He turned to a powerful babalao (high priest of Santeria) for assistance to rid himself of the addiction. The babalao prescribed total isolation. For two months, Lavoe cut all ties to family and friends. He emerged strong, confident, and drug free. Some of Lavoe's music reflects his ties to Santeria, particularly the titles Rompey Saraguey and El Todopoderoso. For a period, he wore only white clothing indicative of his dedication to the religion. Hector's life continued on its roller coaster-like journey of tremendous successes and rock bottom lows. He continued to arrive late. In 1981, Johnny Pacheco wrote a song that spoofed Hector's habit. He titled the song El Rey de la Puntualidad, (the king of punctuality). Hector took it in stride and had fun with the lyrics poking fun at himself during the improvisation portions. This was another big hit for Hector. Hector had more than his share of bad experiences at the hands of unscrupulous promoters and others in the business. Treating musicians badly was commonplace.He could recount numerous examples including not being paid for performances, being held a gunpoint, being given inferior accommodations, being transported in unsafe vehicles and more. Lavoe also contended with a series of personal tragedies. 1987 was a particularly trying year. A fire completely destroyed his home forcing him and his wife to jump to safety. Shortly thereafter, his mother was brutally murdered outside her home in Puerto Rico. On May 7th, Hector Jr, was accidentally shot to death by his friend. The series of events nearly destroyed Lavoe. In 1988, Hector reemerged with the albumn titled Hector Strikes Back, which would be nominated for a Grammy Award. That same year, as a result of intravenous drug use, Hector was diagnosed with AIDS. On June 28, 1988 Lavoe was contracted to appear in Puerto Rico at an outdoor concert. Nearby, a fiesta patronal was being held. Thus, the paid concert had poor attendance. The promoters cancelled the concert immediately. The audience that had paid to see Hector began chanting his name. Hector escorted his orchestra to the stage saying he came to sing for his people and sing for them he would. As the concert began, the promoters disconnected power to the stage. This action humiliated Hector. It may have served as the straw that broke the camel's back. That night Hector was overcome by a surge of emotions. Later that night Hector went over the balcony of his ninth floor hotel balcony. Controversy surrounds the night; some insisting he was pushed and others claiming he jumped. He landed on an air conditioning unit, severley mangled. He would never be the same after this incident. The adoring fans still insisted on him performing. In the summer of 1989, he appeared at a concert. His mere presence would evoke a standing ovation. This was the audience's way of transmitting their undying love and devotion to him. He was in a wheel chair but in good spirits as he sang another of his signature songs Mi Gente. At the Meadowlands in September of 1990 the Fania All Stars performed. The last number of the performance was to come from Lavoe. Hector, brought to stage in a wheel chair managed to walk to center stage with the aid of his fellow artists. None of the musicians had realized in what a weak condition he was. The band began the introduction to Mi Gente. Hector did not come in on cue. When he did manage to begin, it was with an incredibly weak voice and lacking in the style for which he had become famous. His fellow cantantes tried to carry the tune for him to get him on the right track. The attempt was futile. He did not have the strength to perform. The musicians on stage were overcome with grief to witness their stricken comrade in such a sad state. The audience was in a state of shock and saddened beyond belief at what they had witnessed. The euphoria during the concert had degenerated into pain and sorrow. The concert came to an abrupt end. Hector's las hurrah came in 1992 at a New York club called Las Vegas. There were throngs of people on the street waiting to get in. Radio personality, Polito Vega made the introductions to the beyond capacity crowd. The audience went wild. Hector delivered the goods. In April of 93, while in the hospital for treatment of AIDS, Jose Mangual Jr. would visit bearing exciting news. He had intended to speak of a wonderful proposal by a South American promoter that wanted to contract Hector with his original band for a number of performances. It was a generous offer. Upon seeing Hector, Mangual put that idea out of his mind. He realized Hector was dying. On June 29, 1993, Hector Lavoe, El Cantante de los Cantantes lost his battle with AIDS. The Salsa world mourned his death. Outside Saint Cecilia's church on East 106 Street, thousands of fans gathered and serenaded Lavoe's spirit with some of his most memorable hits. A multitude of people walked in procession to the cemetery only to be greeted by hundreds already there. Hector Lavoe was truly a legend in his own time. He has been a great inspiration to many of today's young singers. To this day, there are still very few who can match his ability as a sonero. He set a standard to which others may aspire. Hector's music is timeless and classic. It lives on and continues to gain popularity. His spirit lives within each of us whom he touched through his great talent and art. His spirit is as alive today as he was when he inhabited the earth. Thank you Hector, for the joy you brought and continue to bring to us. Our love for you has not diminished. You are as real to us in death as you were in life.
Mr Salsa Presents HECTOR LAVOE with La New Yorker MI CHINA ME BOTA 1965
En el año de 1965 a la edad de 19 años HECTOR LAVOE graba su primer tema en N. Y. "MI CHINA ME BOTO" con la orquesta NEW YORKER del Pianista Rusell Cohen, tema que esta contenido en el sencillo "Esta de bala" en 45 r.p.m. Sello SMC, Gabriel Oller original de Arsenio Rodríguez con arreglos de Alfredito Valdez Jr. Esta es un joya musical ya que este tema fue muy poco difundido.
De Izzy Sanabria: Siempre estamos buscando maneras de mejorar nuestros informes de artistas latinos en la revista salsamagazine.com. Hemos estado revisando los miembros de nuestro grupo en facebook durante los últimos meses. Mis editores han seleccionado miembros para presentar en la revista a partir de mañana. Es un paso más que estamos tomando para ofrecer la voz de la segunda mayoría en los Estados Unidos. https://www.facebook.com/groups/salsamagazine/
From Izzy Sanabria: We are always looking for ways to improve our reporting on Latino Artists in the magazine. We have been reviewing the members in our magazine group on facebook for the last several months. My editors have selected members to feature in the magazine starting tomorrow. It is the extra step we are taking to feature the voice of the second majority in the United States. https://www.facebook.com/groups/salsamagazine/