Él se cubría de oro anunciando la llegada de los chicos y chicas de la escuela de fama, a realizar una parada en su nombrada "Gira Fama 2008" en el polideportivo de nuestra pequeña localidad. Junto a esto, anunciaba la llegada de otros como un tal Miguel Bosé, El Barrio o La Quinta Estación, que hablando de estaciones, ya podía haberse bajado en otra estación él y nos habríamos quitado un peso de encima, pero en fin, sigamos.

Junto a todos estos multitudinarios conciertos, que sin duda alguna harían hablar de Sant Joan, el señor innombrable, se daba el gustazo de publicar la llegada del que sin duda iba a revolucionar ya el panorama musical en San Juan, anunciaba la llegada de El Canto Del Loco a nuestro polideportivo.

Con todos estos conciertos, el señor alcalde no ha hecho mas que hacerse de notar entre el resto, sin llegar a darse cuenta de una pequeña cosa, que en un mes tenemos cuatro conciertos del mas alto nivel, que a todos estos conciertos, van los niños jóvenes, que a los niños jóvenes les dan el dinero de la entrada sus padres, y que los sueldos de los padres de hoy en día no dan para ir a cuatro conciertos en un mes (estaríamos hablando de 120€ aprox. ya que cada concierto esta sobre los 30€) y mucho menos si hablamos de un mes de agosto, donde los gasto se multiplican por dos y encima es fiesta.

Pues bien, esto ya se ha hecho de notar, no hemos tardado nada en comprobar la reacción del pueblo y de la gente, y no nos ha hecho falta ni esperar al mes de agosto. Como anteriormente decíamos, "Fama ¡a bailar!" el pasado viernes 18 de julio de 2008, hizo una parada en su gira para ofrecerle al pueblo de San Juan su espectáculo, pues bien, aun quedando casi un mes para la llegada masiva de conciertos, el gran espectáculo de Fama estaba totalmente vacío.

De saber don Edmundo que las cosas iban a ser así, no creo que hubiese traído ni a un payaso para bailar o cantar.

En fin, con todo esto solo queremos hacer saber de la monumental cantidad de dinero que se está dedicando a gastar nuestro queridísimo alcalde, una cantidad de dinero, que a la larga no va a ser más que un dinero malgastado, porque este dinero, no va a traer beneficios, ni mucho menos otra cosas. Lo del concierto de Fama, no es mas que un comienzo a lo que esperamos en las próximas fechas.

Muy bien Don Edmundo, ha hecho de San Juan un conciertazo, un conciertazo de risas entre el resto de ayuntamientos de alrededores. Como la juventud diría en estos casos, “es usted un crack”, un crack perdido y que por desgracia nosotros hemos encontrado para que arruine totalmente nuestro pueblo.

Estos "socialistos" se han propuesto arruinar nuestro pueblo.

El Barrio and Beyond
Destination: El Barrio. Free Walking Tours
Saturday, July 5, 3:00 pm – 5:00 pm

Tour meets each Saturday at the southeast corner of Fifth Avenue and 104th Street. Guides from Big Onion Walking Tours lead excursions highlighting the thriving scene of Latino arts, culture and cuisine native to El Barrio. This program has been developed for El Museo del Barrio and the East Harlem Board of Tourism through grants from the Deutsche Bank Americas Foundation and the Rockefeller Brothers Fund.

Admission: Free. For more information visit www.eastharlemtourism.org

Eddie Palmieri is maybe the one of the most controversial characters in the world of Salsa and Latin Jazz. And this is the point, is it Salsa or Latin Jazz? Is it something else or a bit of both?  Personally, I wouldn't categorize him this way.  To me, he and his bands (he directed various bands throughout his long carreer) are just bands to make you dance and swing.  He even managed to mix John Sebastian Bach and Bata Drums...in the same track. Here's the story...

Eduardo Palmieri, 15 December 1936, South Bronx, New York, USA, of Puerto Rican parentage.
The pioneer of contemporary Salsa, pianist, bandleader, composer, arranger, producer, Palmieri began playing the piano at the age of eight. Eddie also played timbales, and wanted to specialize in the instrument, but changed his mind after several gigs with his uncle's group. Some will say his mother didn't want him to play drums but piano, something more sophisticated according to her.

Within the framework of Latin music, Palmieri initiated a unique approach to the genre characterized by free improvisation and experimentation.  While attending Public School Number 52 in the Bronx, 14-year-old Palmieri formed a group with timbales player Orlando MarÌn, which included vocalist/percussionist Joe Quijano (who is himself worth a complete article).

Eddie left in 1955 to turn professional as a member of Johnny SeguÌ's orchestra, and the group became the Orlando MarÌn Conjunto.  However, his over-zealousness resulted in his dismissal. 'The club said I broke the piano, hitting the keys too hard.  SeguÌ told me, either you go or the band goes, so see you later'.  He then replaced brother Charlie as pianist with the band of ex- Tito Puente lead singer, Vicentico Valdès, before joining Tito RodrÌguez 's big band from 1958-60.  Eddie had great respect for RodrÌguez: 'He was just an incredible artist, a great vocalist . . . He was the most wonderful person you could imagine, except when he got on the bandstand. Then he became like a Jekyll and Hyde. That's the way he had to be - because of the excellence he demanded.  He was sadistic - no emotion, no nothing' (quoted by John Ortiz).

In the liner notes to Eddie's first album, Charlie Palmieri describes his brother as a 'nut' for leaving the financial security of RodrÌguez's successful band.  Palmieri subsequently played weddings, funerals and local dances before forming La Perfecta in 1961.  The line-up included Johnny Pacheco and Barry Rogers (trombonist/arranger).

Palmieri and Rogers developed a two trombone and flute frontline for Conjunto La Perfecta, which Charlie dubbed a 'trombonga' referring to the term "charanga" using violines instead of trombones.  They became one of Latin New York's busiest bands and signed with Al Santiago 's Alegre label, who produced their debut Eddie Palmieri And His Conjunto La Perfecta in 1962.
In addition to Rogers, other key founder members of La Perfecta on the album were: Ismael 'Pat' Quintana (lead vocals), Manny Oquendo (timbales, see Conjunto Libre ) and George Castro (flute).
In 1963, Brazilian trombonist Jose Rodrigues joined La Perfecta; he became a regular Palmieri accompanist into the 80s and a busy session musician.

Eddie and the band released a further two volumes on Alegre before switching to Tico Records in 1964 for Echando Pa'lante (Straight Ahead).  La Perfecta's seminal mid-60s trombanga line-up included  Rogers and Rodrigues (trombones), Castro (flute), Oquendo (timbales/bongo), Tommy Lôpez (conga), Dave PÈrez (bass), Palmieri (piano), Quintana (vocals).

Pèrez was an ex-member of Johnny Pacheco's charanga and later worked with Ray Barretto and TÌpica 73.  Eddie released a further five albums with La Perfecta, including two with latin jazz vibraphonist Cal Tjader, before the band fell apart in 1968.
Referring to some personnel issues, 'I just wasn't taking care of business- problems with money, cancelling gigs. Just getting there was all I could manage - just get there and bring some money home to eat. That's about what it came down to.' However, the band's legacy of recorded work provides ample testimony of what a brilliant, ferociously swinging outfit they were.

In 1966, Eddie participated in the Tico All-Stars' descargas recorded at New York's Village Gate and guested on the Fania All-Stars' debut album in 1968.  After the break-up of La Perfecta, Palmieri used a variety of front-line instrumentation on his albums.  The first, Champagne in 1968, featured the trumpet of Alfredo 'Chocolate' Armenteros and Rogers on trombone, together with bassist Israel Cachao' Lopez.  It contained boogaloo material, the R&B/latin fusion style that was in vogue at the time.  Palmieri later described boogaloo as embarrassing, and blamed its emergence on what he perceived as a decline in Latin music's creativity, caused by the isolation of Cuba from the USA.

Palmieri took up the issue of economic and social injustice in the USA on 1969's Justicia.  He was joined on this album by young timbales player Nicky Marrero, who became a regular accompanist until the mid-70s.  Marrero later joined the Fania All-Stars and TÌpica 73, and worked extensively as a session musician.

Eddie & Charlie Palmieri . OYE LO QUE TE CONVIENE -GUAGUANCO

Ismael, "Pat" Quintana Vocals, Eddie Resto bass, Larry Moses trompet, Nicky Marrero bell, Charlie Santiago congas, Charlie Cotto timbales, Larry Purcell sax, Charlie and Eddie Palmieri pianos, Jose Rodrigues trombone, Victor Paz trompet.

Cuban Justo Betancourt sang in the chorus on Justicia and Eddie's next release Superimposition (1969), which contained a whole side of experimental instrumentals.  Bassist Andy Gonzalez, a member of Ray Barretto's band at the time, performed on this album; he eventually joined Palmieri's band in 1971, then split in 1974 to co-found Conjunto Libre with Manny Oquendo.  Eddie added the saxophone of Ronnie Cuber to his horn section on Vamonos Pa'l Monte in c.1971.  Brother Charlie was invited to play organ on this album and Eddie's other 1971 recordings, which were issued between 1971 and 1974.  These included Eddie's latin and R&B fusion experiments with the black group Harlem River Drive, and concerts at Sing Sing prison and the University of Puerto Rico.  Palmieri signed with ex-bandleader Harvey Averne's Coco Records, and debuted on the label with 1973's Sentido.

Quintana left to pursue a solo career and was replaced by 16-year-old Lalo Rodriguez on Sun Of Latin Music in 1974.  In 1976, the album won the first ever Grammy Award in the newly created Latin record category. His next Coco release, 1976's Unfinished Masterpiece, which he did not want issued, took him back to Grammy land. Young Cuban violinist Alfredo de la Fé appeared on both albums.  Eddie's subsequent five new releases between 1978-87 all received Grammy nominations.

After a break from recording due to contractual wrangles, Eddie made Lucumi Macumba Voodoo for the major record company Epic in 1978, which took the African-derived religions of Cuba, Brazil and Haiti as its theme.  The record flopped both in and outside the Latin market.  Palmieri later expressed disappointment about his experience with the label.  He also regretted unwittingly joining the Fania Records empire.

La Verdad/The Truth won him a fifth Grammy Award, and featured late 80s/early 90s hit-maker Tony Vega on lead vocals.  1981's Eddie Palmieri was Barry Rogers' last appearance on record with Eddie - he played all trombone parts and solos - and marked the one-off return of Ismael Quintana, who sang lead on two tracks.  Eddie relocated to Puerto Rico in 1983, but lack of regular work due to rejection by many promoters and musicians, caused him to return to New York in frustration.  He made his only UK appearance to date in 1986. Palmieri signed with another major company, Capitol Records, for the disappointing Sueño in 1989. It contained four remakes of previous hits and featured jazz-fusion alto-saxophonist David Sanborn.

For the record only, Palmieri has been touring throughout Europe this Spring. He has been accompanied by his son and grandson: a family business.  Although some dates have been cancelled to the disappointment of most of us, the tour proved to be a great success.  Eddie is today's most energic pianist in the world of Latin Music and still rocking !!!!!

A soon to be evicted UWS bar by the name of Yogi's will be relocating farther north and, um, well east. The New York City Bartenders and Patrons blog reports that in about 3 weeks, the owners of the UWS bar will be opening a new location in El Barrio by the name of The Duck. The exact location: 112th Street and Second Avenue.

Photo: Coyote Ugly cast

1. La Lomita Del Barrio, 209 East 116th Street, 212/289.8138

2. Michelle Deli & Grocery, 215 East 116th Street, 212/828.9097

3. Cart run by two ladies off the corner of 116th and Second Avenue

4. Taco Mix, 234 East 116th Street, 212/831.8147

Visit: Writing with my Mouth Full to read her reviews.

A musician friend who used to work in St Louis has a large (again, by New York standards) studio apartment in Astoria. It's a clean building on a quiet street but it is just one block from the 30th Street stop of the N/W trains. And it's close to the most amazing variety of restaurants, ethnic groceries and fun, funky shops. Her boyfriend is moving into town so they are going to move into a bigger space in the same unit. Since she knew I was looking, she showed me the apartment and offered to talk to her landlord for me. This morning, as she dropped off a deposit for the new place, she left him a handwritten note recommending me as the next tenant. It must have been a glowing review because he called her back and told her that I should call. Several hours later I was in his office filling out an application to rent the place sans realtor's fee! (Hallelujah!) If I want to commit to it, I need to bring my security deposit in the next day or two.

It's a decent price for the area, not cheap but the watchword for this apartment is convenience! It's 20 minutes to work and will be easy for shopping, eating, laundry and all the other essentials. And it's a good place to get used to the change of lifestyle and pace. Though it's not as much space as I would like, with a little imagination you can make it livable. (Though I'm sorry to report that visiting friends will not have much privacy!)

The second option came from a craigslist post that I responded to last Thursday. It is a 2-bedroom on the Upper East Side at 118th and Pleasant Street in "El Barrio" (also known as Spanish Harlem). It is four subway stops and a 6-block walk from work. The neighborhood is in transition but there is a local laundry, a grocery, and some other mom and pop stores are scattered within a few blocks. The apartment is on a dead end cobblestone street and is in a lovely building. A woman was reading a book on the front steps across the street, there was a old, large tree which gave character, and there were children playing in the area. It had a good feel. Nearby were several community gardens (the whole green space movement really took root in this part of Harlem in the 70's) and also a casita, which is a little house where people can hang out and socialize. The apartment was lovingly and thoughtfully rehabbed and at about 700 square feet it is enormous for Manhattan. There is a rooftop deck with great views in most directions. It is more expensive than the studio but not so significantly that it would be out of reach. And it is large enough to comfortably house two people, so I could find a roommate and make things even more affordable.

But the joy of the day was talking to some of the neighbors in the area, especially a cheery woman (who turned out to be a Roman Catholic nun) who has lived in the neighborhood with a fellow sister for the past 25 years. We simply smiled at each other on the street, said hello and started talking! She told me that she feels safe and connected to others on the block and around her. She spoke about connections with other religious women in the community and a monthly liturgy. She has served as a pastoral musician. Her order's Mother House is in (you guessed it...) St. Louis and she attended Maryville College (before it became a university). She mentioned that she attends St. Francis Xavier Church in the East Village which welcomes everyone to worship and service, including gays and lesbians. God couldn't have put a more wonderful person in my path. In a city of 8 million people I am still amazed that we connected like we did. I shouldn't be amazed, really...this is God's doing not mine.

Of course, renting the apartment is not going to be as easy as I would like. While I was there, a couple with a child viewed the apartment for the second time and they really like it. Even though I expressed a strong interest to the agent (and earnest money!), the landlord will have the final choice. The realtor did mention the possibility of another renovated unit in the building, which would be ideal. But at this point, it is in God's hands and I think that the situation is best left there.

Whether or not this second apartment works out, I am sure that either place holds the potential for deep connection to God and to others. One of the things I loved about my house in St. Louis was that it was, ultimately, not just a house - it was sacrament: a common thing that pointed me toward something deeper and more wonderful than I could imagine. And in some beautiful way, it kept me connected to the wonder and wildness that is God. I think the same can be true of the next place I live, if I open the eyes of my heart to find it.

Tonight I'm thankful for the goodness and generosity of friends and strangers. Thank you, Lisa and Sister Jan! It is an opportunity to marvel at the way that God has been in and through this whole, sometimes frustrating, apartment search. And I am also heartened that there is a place in this city that I will soon call home.

East 120th Street Homes [Official website]

Via: Curbed

When I first started to research about the street drink called "Nutcracker", I was also told of other drinks sold on the streets of Washington Heights and El Barrio called "Elmos", "Cookie Monsters", and "Finding Nemos".

A few days ago, I found what may be The Mighty Nutcracker's biggest foe. "Dog Water".

Now, eventhough Dog Water is based on, and basically another version of Nutcracker, peep what the "creator" has to say.

"Dog Water™ was started in SPRING of 2001. While walking around the hood, I kept hearing about a drink called a Nutcracker. I was curious and wanted to know more. So, I spent a considerable amount of time talking to people and learning about mixed drinks. I also remembered what a big liquor company once told me about the making, blending and mixing of different types of liquors. As an entrepreneur, I understood the effort and risk of venturing into new territory. However, I decided to put my own spin on it. It took a lot of time, effort and other resources during the initial phase to mix, test, and sample until a premium beverage was arrived at. Dog Water™ was worth the plunge into uncharted waters. Try one today and enjoy one of the industry’s finest new mixed drink sensations."

^^ Those sound like fighting words to me...

Anyway, we have seen that the "hood" is all-encompassing and there is room to coexist with the original. Both have been around over 7 years and are still kicking.

While Dog Water may not have the total appeal of the Nutcracker, they do seem to have a fanbase.

Where my dogs at?

Peep the flix below.

^^ Fatboy might just be drinking a lemon iced tea in that wonton soup cup, but he looks happy as hell. As do the people with the dog waters.

Nutcrackers and Dog Water.

Can it be that it was all so simple then?

Link

"The world is changing," says Willie Colón, a protean figure in the salsa scene and the trombonist and composer behind of some of Fania's most prodigious artists, including Lavoe, Celia Cruz, and Panamanian Renaissance man Ruben Blades. More in Village Voice

Henry « Pucho » Brown ?

Sans savoir qui en est l'interprète, tous les amateurs de Latin Jazz ont déjà entendu un titre d'Henry "Pucho" Brown. A l'heure actuelle où l'on parle beaucoup des nombreuses figures du Latin Jazz, on pense notamment à Tito Puente, Cal Tjader, Willy Bobo, etc... Il n'est cependant pas superflu de rappeller qui est "Pucho". Il me paraît plus qu'utile de réparer cette injustice flagrante.

Contrairement à la consonance de son nom, Henry Brown n'est pas « latino » mais afro-américain. Il naît dans le Bronx en 1938. Il grandit et va à l'école au sein de la communauté latino de l'époque. Fasciné par les rythmes cubains et les mambos de l'époque qu'il entend tout autour de lui, dès l'âge de 15 ans, il s'achète ses premières timbales. C'est l'époque des morceaux tels que « Anabacoa » du pianiste dominicain Frank Damiron et « Timbalero Numero Uno » de Tito Puente. En 1955, il est engagé comme timbalero dans le groupe de Joe Panama où il décroche son premier contrat professionnel. Malheureusement, le groupe de Joe Panama se sépare en 1959.

Cet événement qui aurait pu être interprété comme un échec, va servir de déclencheur pour la carrière de « Pucho ». C'est l'époque folle du Mambo, du Salsoul et du Jazz, le tout se mélangeant pour former des styles typiques de l'époque (Boogaloo, Shing-a-Ling,...). Il monte alors son propre groupe et sort chez Epic son premier morceau : « Darin's Mambo ». Le disque ne fut pas un succès commercial. « Pucho » n'a jamais eu son pareil pour dénicher des musiciens hors pairs. Ils les déniche et les engage. Au fil du temps, certains de ses musiciens le quitteront pour rejoindre d'autres beaucoup plus en vue. Ses propres musiciens s'en iront notamment rejoindre  Willy Bobo ; Chick Corea le quittera pour  aller chez Mongo Santamaria. A noter que Barry Rogers, bien connu pour ses collaborations avec Eddie Palmieri, fera également partie de ses musiciens.  Mais toutes ces déconvenues n'ont jamais découragé « Pucho ». 

Entre 1966 et 1970, il sera au top de son art et sortira une demi-douzaine d'albums chez Prestige. Jamais purement Latin Jazz ni Jazz. Ce sont des albums de Funk Soul et de New York Latin Jazz. Certains le considèrent comme un pionier du Latin Boogaloo. C'est l'époque également où il sortira des covers d'Herbie Hancock, des Temptations, etc... le tout formant un ensemble Latin Funk toujours consistant. Pour preuve, les percussions latines, les congas, les timbales et bongos ont toujours formé la ligne directrice de tous ses albums.

Début des années 70, son groupe se sépare et « Pucho » s'en va jouer du piano sur les hauteurs de Catskills, New York. Il jouera du piano dans les lounges et autours des piscines des hôtels du coin jusque dans les années 1990. C'est l'époque où les DJ londoniens lanceront la vague « acid jazz ». Ils dépoussièrent les morceaux de « Pucho » et ça marche du tonerre. Contacté et invité à venir jouer en Angleterre en 1995, une partie de ces albums resortent sur le label ACE.  C'est alors que sort son premier album depuis de longues années, « Rip A Dip » et en 2000 "How'm I Doin ?", pied de nez à ses détracteurs à qui il demande : "Vous voulez savoir comment je me porte ?". Et bien écoutez le fabuleux morceau « Vietnam Mambo » et vous deviendrez très vite un de ses fans.

Dernier album en date « The Hideout » en a encore surpris beaucoup d'entre nous. Une superbe reprise de « Abaniquito » (Tito Puente) retravaillée à la sauce « Pucho » , où « Pucho » se lâche complètement aux timbales. Et encore plus surprenant, une reprise Latin Funk de « Superstition » de Stevie Wonder et un morceau très personnel, « Para Mongo »...

Bref, une personne qui est restée très modeste mais dont les apports à la musique latine en général et à la salsa ne sauraient rester sous silence.

Voici une discographie non exhaustive

Tough
Saffron Soul
1967 Shuckin' and Jivin'
1968 Big Stick
Heat !
1969 Dateline
1970 Jungle Fire
1971 Yaina
1972 Super Freak
1994 Jungle Strut
1995 Rip A Dip
1997 Groovin' High
1999 Caliente Con Soul
2000 How'm I doin' ? - Cannonball
2004 The Hideout - Prestige

'“I am in total shock,” said Raquel Chang-Rodríguez, a professor of Spanish-American literature at CUNY’s Graduate Center and City College. “We live in a city that is supposed to be the capital of the Hispanic world in the U.S. and we lack two of our main Spanish-language bookstores. What can we do?”'

For others (especially stores that fell into the same niche as the two stores mentioned above), the closing of these stores would help to increase their popularity and therefore their sales. In the same article, one owner stated the following:

'“Now I can’t refer people to Lectorum anymore,” says César González, the owner of Librería Caliope, on Dyckman St. in the heart of Washington Heights. “It means more business, but so much work.”'

So even though west 14th St. in lower Manhattan lost a bit of its history, others gained some publicity and were able to benefit. However, with the rise of the internet, what would come of these other stores? Many stores have seen their sales plumit as the internet has taken more and more momentum. This may be the number one reason why bookstores geared toward specific people (such as spanish bookstores) have become highly endangered. An article from the New York Times noted the following in regards to the internet's affect on bookstores, specifically spanish bookstores.

"In a city — and a country — that has seen dozens of bookstores close in the face of online competition and dwindling customer traffic, the demise of Lectorum comes as a particular blow to the Hispanic literary community in New York." 

On the flip-side, the internet may help to bring back spanish bookstores. Once, when we were limited to buying spanish books from stores such as Librería Lectorum or from going to a Spanish country, we are now able to go online, search for any book that we want and buy it. No longer do we need to search bookstore after bookstore in search of our favorite author or to find rare books. Even book clubs and outreach clubs have benifitted from the internet. One might even say that the internet has helped organizations such as Editorial Campana to be where they are today. True that the internet has helped Editorial Campana's publicity. Our books are  available at Amazon and Barnes and Noble since there is no physical store for Editorial Campana. With prices the way they are today, affording rent for a store that may or may not sell a lot of books is a gamble that nobody wants to fund. The internet has allowed stores, where by other means, there would be no access.

This all would seem to point us in the direction that soon there will only be online stores and physical stores will be a thing of the past. The comes La Casa Azul, which just recently celebrated the launch of its website. So just like Barnes and Noble, La Casa Azul has a physical building and an online store. But better than many popular bookstores, La Casa Azul is geared toward books from and for the latino community. There are other stores out there such as, Librería Caliope, Librería Continental, Barco de Papel, Cemí Underground, Librería Cuarzo, and Librería Donatina.

Yet the fact remains that if you go to Barnes and Noble or Boarders, how much of a selection do they have on hispanic literature and how easlily can you find a rare book or an author that is not as popular a Gabriel Garcia Marquez (author of 100 years of solitude)? In fact if you go to any major bookstore, there is no "real" section for spanish books, the ones available have been incorparted into the shelves with similar books. A different article in the New York Times noted that,

"Chain bookstores carry few Hispanic titles. There are no important best-seller lists."

What the internet is allowing chain bookstores to do is look as though they have a huge spanish library without having to give up their physical shelves. This makes it seem, to the consumer, that when you go to the online bookstore, you can find many titles that would be otherwise difficult to buy. At the same time, the internet is allowing stores such as La Casa Azul, to prove that even though the internet is enough, a physical store helps to reinforce what hispanics pride themselves on- community. These stores allow for book readings, places to meet, networking with real people, and an actual place people can relate to. These are the stores that we need and the internet should not replace them nor should larger and more popular bookstores take advantage of the internet to promote themselves as something they are not. 

Me gusta la Feria, muchos lo sabéis, así que mirad (escuchad) lo que he encontrado:

· La Húngara MALA, MALITA, MALA

· El Barrio TRUCOS

· El Barrio ORGULLO

· Fondo Flamenco ESCUCHAME MUJER

· David Peña Dorante OROBROY (Sintonía de Toros para Todos)

Download PACK_FERIA

"Inspired by Frida Kahlo's house, La Casa Azul Bookstore is a place of knowledge, art, creativity and culture. Our mission is to provide the community with contemporary bilingual literature, featuring works by Latino authors."

This looks a great place for writers/publishers of bilingual books. Check out their myspace page. While your at myspace also check out their latino section as well as Editorial Campana.

Atención amantes del revuelto de gramajo:

Luego de 26 años, 3 meses y 3 días de vida pude enterarme de la verdadera receta del revuelto de gramajo, uno de mis platos preferidos.

Fué en Rioja, restaurant español, en Av. Belgrano, entre Tacuarí y Bernardo de Irigoyen. Primer almuerzo como vecinos del barrio, luego de la mudanza, nos hicimos una escapada, y pedimos un gramajo para compartir, baveuse, como se debe.

De golpe vino el mozo, ví el plato, y exclamé: ¡Tiene pavita!

Asique de ahora en más, deje atrás todos esos años de alabar al gramajo del Palacio de la Papa Frita o de Ligure: reclame sus derechos, exija un gramajo auténtico. Basta de farsas: papa, jamón, huevo y PAVITA.

Les seguiré comentando mis nuevos descubrimientos. Esto de vivir en zona sur me está abriendo los ojos.

El musical "Cruce de vías" tendrá lugar los días 14, 15 (a las 21 horas) y 16 de marzo (a las 19 horas) en el escenario del auditorio de la Feria de Muestras de Valladolid. El espectáculo, dirigido por Darío Regattieri y cuya productora es Eventísimo, contará con 29 números musicales, con canciones de los últimos 40 años, donde participarán hasta más de una veintena de artistas durante las casi tres horas que dura el musical.

"Cruce de vías" cuenta la historia de un joven que decide dar un cambio radical a su vida tras conocer en un chat a una chica. Sin embargo, antes de que tenga lugar el encuentro, al protagonista le sucederán una serie de circunstancias que cambiarán su futuro. Todo esto se contará a través de tres finales totalmente distintos y con una puesta en escena notable y un gran espectáculo multimedia.

Las entradas costarán entre 18 y 35 euros y podrán adquirirse en ticktackticket.com y en el teléfono 902101390. Pero, además, el nortecastilla.es ha sorteado 20 entradas para acudir al espectáculo a aquellas cinco fotos y aquellos cinco vídeos que se mandaran y que recibieran el mayor apoyo de los usuarios. aunque aún no se ha dado el nombre de los ganadores pueden ver los vídeos y las fotos en la página. Para ver las fotos y los vídeos pinchar aquí.

El Barrio y Tamara, agotados.

Mañana, viernes 14 de marzo, El Barrio ofrecerá un concierto en el Polideportivo Pisuerga de Valladolid a las 22 horas donde presentará su nuevo disco "La voz del silencio". Los que aún no hayan adquirido las entradas no tendrán posibilidad de ir al concierto, debido a que ya se han agotado las entradas.

Asimismo ocurre con el concierto que tiene lugar esta noche de la cantante Tamara en el Casino de Castilla y León a las 22 horas, donde también presentará su reciente disco llamado "Perfecto". El concierto está organizado por Cadena Dial, la cual entregaba invitaciones a sus oyentes y que se encuentran ya agotadas.