Florida’s Boricuas Claim Their Salsa Area – NotiCel – The Truth As It Is – Puerto Rican News – NOTICEL
They focus their strategies on online marketing.
In the 1970s, New York (USA) was the center of the emergence and development of the phenomenon known as “salsa”, thanks in large part to the community of Puerto Ricans residing in that state who were responsible for translation and popularization. tunes around the world.
Since the 1930s, but especially in the 1950s, the influx of Puerto Rican immigrants has been an almost constant destination in northern New York, particularly the city of the same name, where they have managed to enter the musical environment and then shine. Salsa called “Bum” in the seventies.
But in the past 30 years, the immigration trend of Puerto Ricans has changed course to make Florida the state of choice in the United States, particularly what is known as Central Florida, where Orlando, St. Petersburg, and Tampa are the main cities.
And where there are Puerto Ricans there is music, especially salsa. But there, Puerto Ricans trying to stay active in salsa music spend a lot of work introducing themselves, mainly due to a lack of radio support from state stations.
“There are a lot of performers in Florida… I would tell you that at least 15 or 20 of them can score now, but because of the lack of radio coverage here in Florida, they are not taking any risks. The artists are not equally supported,” Singer Edwin “El Calvito” Reyes told NotiCel.
“It seems we need to sponsor other interpreters who are already established to listen to us. There are groups like the Fire Orchestra that have been sponsored by great artists like the Galé Group. I have also been supported by people like Tito Neves and many others. Thanks to these people, they appreciate the work we do.” We’re where we are because these big names have recommended our work. For example, if an important person comes in, they can tell you, “I’m going, but I want Calvito Reyes to open my show,” the singer added.
But according to the original Trujillo Alto translator, what to do with recordings and marketing is “to pocket records”. Of course, this is if the orchestra or the soloist wants to make a new proposal.
“Yes, because there are thousands of orchestras. But these groups simply play what others say and that’s it. But groups that constantly introduce themselves and give original proposals and materials, I can mention Orquesta Fuego, Edwin Lebrón, the legend Chamaco Rivera and this servant. ” There is also Weto Rodriguez, who scores, but doesn’t show much.”
Read also: ‘Calvito’ Reyes: It’s full of army and salsa
Marcos Hernandez, director of Orquesta Fuego, agrees with Reyes. “It is true that there are many orchestras. Not many people are recording because it is difficult and expensive and there are no companies to support it. One has to pay. We are fortunate to have sponsors who help us.”
“In Orlando there are brave musicians and talented singers,” Hernandez asked, “but if there were no places to play, how would they stand out?” , who said he decided to add “show” elements to his shows such as eye-catching uniforms. And dancers often. “I buy uniforms for musicians,” he said.
Hernandez said that groups or artists who want to stand out in music today must know how to manipulate social networks to promote their products, as well as hire good promoters to present their songs on the radio.
Read also: Orquesta Fuego manages to force himself into tropical music
However, another hitch is the one that comes from time immemorial, as mentioned by veteran singer Erwin “Weto” Rodriguez. “They don’t want to pay what the orchestras deserve. I think I deserve what I ask, but if they don’t want to pay me, I’d better stay at home.”
Rodriguez, who has recorded five productions in the past decade, said the age factor affects some salsa artists in Florida. “I’m old and I know I’m not a ‘new people,’ but we have the experience,” he said.
“When they call me, I have several music directors who can put together an orchestra for this presentation. That’s how I work now,” he admitted.
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Salsa also has a good standing in the south
In the south, Miami, Hialeah, and Fort Lauderdale are the major cities in which large Latino communities, including Puerto Ricans, are concentrated. There is also salsa that stands out not only for Puerto Ricans but also for the Cuban community that made Miami their home many years ago.
Melina Almodovar, a Puerto Rican singer who has been developing her career in Miami for years, knows that the work is there for that established orchestra or interpreter.
“It has to be established. It’s another thing in Miami, and here you also have to appeal to Cubans. But Puerto Ricans and Cubans help each other and that’s excellent. It took me many years to achieve this, about seven or eight years to establish myself as a singer. Salsa is a smaller environment It’s an urban environment, but it can be done. It can’t be compared to the millions that reggaeton players earn, but we’re not starving.”
“But people want to dance, they want to go out, and for me there’s always been a lot of work because I’m a soloist. And it has a lot to do with the artist. That’s why you have to keep creating, keep working. I’ve done shows online in the event of a pandemic. I’ve been able to make up Time wasted by Friday night shows. I managed to add nearly 200,000 followers. Before the pandemic, I was so busy that I didn’t focus on networking like I do now. But that was also what helped Calvito (Reyes).” said Almodovar, who was Also a singer for the Tito Puente Jr. Orchestra in recent years.
For the Puerto Rican artist, she said, the pandemic has not affected her much on a professional level. “Since 2013, I’ve set up an event production business. That’s why I’ve been able to hold it a little better than other musicians with this pandemic. It wasn’t easy, but I see a great opportunity to do events again,” referring to the Miami Beach Salsa Festival to be held on the 7 November this year.
It also produces the Hollywood Salsa Festival, which was not held in 2020 and 2021.
Read also: Melina Almodovar and Tito Puente Jr. are rediscovering themselves in this pandemic
He then highlights that social networks and various digital platforms for music distribution are the main support for the promotion of music business today. This would make up for the lack of support from traditional radio, which focuses on trendy genres that can generate high profits.
But creativity and content in introducing new musical performances are also key to success and are understood by those who wish to highlight and leave their legacy.
“People are thirsty for action, although they are still very cautious because of the epidemic. But in this type you have to have new proposals, new arrangements. I think that the public must be brought from the known to the unknown and back to the known. This way we will achieve the success that we want,” he stressed Calvito Reyes.
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