Dear TOsalsa! African-Canadians

The Feedback....

March 4, 2003 --

Dear Mechy (and other readers of TOsalsa),

I'm writing in response to your request for comment from African-Canadians/Americans. I have to admit that, though obviously sincere, I found your comments in several aspects rather disturbing.

First of all, I dislike the idea that anyone who is not of at least partial African descent is automatically disqualified to comment on your stance. I mean, REALLY! Consider the inverse situation; if someone tried to exclude you from a discussion on the grounds that your race/cultural heritage rendered you unfit for so much as simple participation, I'm sure the fur would fly. (Must admit my surprise at the passivity of TOsalsa readers on this point.)

Secondly, I'm not sure what to make of your opinion (for such it is) that Cuba is "the most African Latin country". On which criteria do you base that statement? And how do you define "African"?

Third, I have a deep-seated personal problem (of which I am quite aware, thanks) with statements such as "African Canadians or African Americans (who) dance LA or New York style salsa, they are betraying a part of their African heritage". As an African-American (lest we forget: most so-called "African"-Americans are of pretty mixed descent-- my ancestors include, among other things, Welshmen and Native Americans), I have had to contend most of my life with comments that certain activities and/or behaviors are not "black". The originators of such comments have come from all walks of life, and all segments of the color spectrum. Now, I can't speak for anyone else, but I categorically refuse to let anyone else's narrow notion of what constitutes appropriate "black" or "African-whatever" behavior limit or define what appeals to me, regiment how I live, or dictate how I dance. I'm pretty sure that people like the late Alvin Ailey, one of the great choreographers of the last century, would be (he certainly caught enough flak for it) considered traitors to their African heritage by those like you because he worked in an arena that is still thought of as (almost) exclusively European, namely ballett. As his example and his tremendous legacy show, we all stand only to win when we dance eachother´s dances, when we cross, blur, and (hopefully) erase the lines, when we each use what we know of ourselves as a basis for all the interesting things that we could know of eachother.

I can appreciate your honesty in expressing your thoughts, but I can't share your opinions. I can, however, pose a different question in return: why is Cuban-style salsa practically non-existent at salsa festivals and congresses? I am a dancer of both Cuban- and LA-styles, and I find it not only odd, but pretty sad that there are so few Cuban-style dancers included in these events, at least where I live. Why is that so? Or is that a local problem? Or is that perception fully unfounded on my part? It'd interest me to know what others think.

I apologize for taking so long to say my say...thanks for the forum! Sandy

March 6, 2003 -- response #1 to Sandy

As an American, you probably you have little interest of cultures and countries outside your own. For example, most of your congressmen don't have passports. I will use information from your own CIA. The CIA fact book puts the population of Cuba from African descent at 62%. Most believe this is a undercount, and it is around 70%. Perhaps the Dominican Republic or Brazil are around the same. But when it comes to Salsa, it is Africaness from Cuba has had the most influence. Perhaps it is the fact most of the Cubans in the United States are white that throws you off. 85% of the Cubans in Miami describe themselves as white in a recent survey. I could go on and no about the African influences in salsa music that have come through Cuba. But I think this would be beyond you because you seem to know every little about Cuban music and dance and the New York salsa people would certainly disagree. But here was one thing everybody can agree on, Cuban salsa is more influenced by African dance and music. Cuban salsa has more African percussion and steps from more from African influenced dances like rumba (columbia) are incoporated into Cuban salsa dancing. Cuban popular music is often called AFRO-Cuban music. Although far from perfect and equal, Cubans of African heritage and their music have far higher status and are valued much more than any other Latin country. Why do you think so many prominent Africa Americans like congressmen, Jessie Jackson and Alice Walker take interest in Cuba? -- Mechy

March 7, 2003 --

Oh, poor, dear Mechy, As an 32 year old American who has spent twelve non-consecutive years of her life in the United States, I think I can rightfully claim to have an "interest" in cultures outside of the one I was born into. By the way, its pretty pathetic to make a plea for solidarity with your viewpoints on the basis that we (people of partial African descent) are all part of some spiritual- or blood-brotherhood, and then to attack me because I disagree with points you tried to make, and to base your attack on such flimsy grounds, i.e. my country of birth.

Apparently you are incapable of having the discussion that you yourself seemed to deem of some importance (important enough to write emails about, anyway.). If you want to talk about African-Americans who have taken an interest in things outside of their own bellybuttons (and you seem to), then I'd like to mention Katherine Dunham, who was not only a pioneer of what has come to be known as "ethnic" dance and for whom a system of movement is named, but who's political and social engagement for the people of Haiti (she lived there; her personal experiences influenced her politics) led not only to her appointment as Ambassador to Haiti in the 1970's, but to a 20-day hunger strike in 1991 (she was 72) due to the US government´s refusal to grant political asylum to Haitians who were victims of political persecution. I think it's interesting, though, that you have such respect for the Rev. Jackson and Alice Walker, both of whom have not had the opportunity to live in the Cuba of which they purportedly dream. You ask why Jackson and Walker "and many other prominent African-Americans" take such a keen interest in Cuba; part of the reason is that they believe, mistakenly, that skin color is not an issue for Cubans, a generalized assumption that you yourself have served to disprove. (By the way, it's pretty odd for me to see that you so revere Jesse Jackson--the man can't seem to go a day without having some racist slip-of-the-lip where Jewish people are concerned).

So, enough history for now. What I'd like to say to you could take some time, because I'm afraid that I'll have to explain everything twice to make sure I'm not, once again, misunderstood.

First of all, in your initial letter you didn't mention one word, not a single syllable, that had to do with opening a debate about the African-ness of Cuban music. In my response to you, I did not mention, in any way, shape, or form the African-ness, or lack thereof, of Cuban music or dance. I asked you to define what you mean with your use of the word "African". That there are direct connections between Cuban music and certain musical forms which were (and are) present in several West African countries is something that even I, silly American that I be, have got a grip on.

Let me tell you something: I discovered Cuban music because I love certain types of African music (and with "African" I mean originating on that continent). Isn't it wonderful how knowledge and love of one thing can help one to love and acknowledge another? That, Mechy, is one of the points I tried to make and which you failed to take. In your first letter, you said that you considered Afro-Cubans who dance L.A.-style salsa to be traitors to their African heritage. I disagreed, and quite eloquently, if I do say so myself (and I do!). The thought appalls me that I should be constrained in what I do or like because someone else might consider me a race traitor for doing and liking those things. What I tried to do, in addition, was to challenge you to think about your own prejudices. Which you apparently did, in a way. Do you know what Germans call what you tried to do to me? Ami-bashing. You know why they've coined a term for it? Because the act itself is so ubiquitous that it's pretty laughable. If you're half the great mind you would like to be, I won't need to explain to you what that means.

Finally, I hoped to point out to you what a disservice you do yourself and everyone else when you preach exclusion, or the exclusivity of any group's part in the creation of anything. Nothing, let me repeat NOTHING happens in a vacuum; we all influence one another, whether we're happy about that or not. The very least we can do is to acknowldge it.

One more thing; there's a phrase in German of which I'm very fond (the first one I learned, actually). It goes like this: "Erlaubt ist was gefaellt". That means, quite literally, "What pleases (you), is allowed". It's something you should maybe think about the next time you feel the need to down or insult someone because of what appeals to them.

In anticipation of an intellectually BLINDING response, Sandy

March 7, 2003 -- Check yourself!

Mechy, you nut! Quoting the CIA is a sure way to make Americans laugh. (note to CIA if you're reading this: you guys are doing a great job!) Your comment on Americans not being interested in other countries or cultures, less funny. But then again, what can you expect from someone who calls his own brothers and sisters betrayers over how they dance?

I didnt really want to answer dribble, but lets say that you are correct, Cuban Salsa is the most African. Its still Salsa. not rumba or columbia. So by your own logic dancing it is a betrayal, but a smaller betrayal. Thats like saying "She's only a little preagnant"

Been to Cuba lately? I have. (note to CIA: I didn't spend any money, I swear!). Its WAY EASIER to find Cuban salsa in New York than in La Habana. Big on hip-hop over there these days. My Advice to you Mechy- Get off the net and on a plane -- Eddie

March 9, 2003

Eddie, ya got me giggling all over the place! Thanks for bringing to a point what I, with all my blathering, probably didn't manage to get across...
;-) Sandy

March 28, 2003 -- a response to Sandy - African-Cuban Part 1

Perhaps I should have used the word traitor. I used to get people angry and get the conversation going.

I am sure that you, Sandy, the people you mentioned and some other people in the United States are very interested in other cultures and countries. I don't know you personally. So, I am talking in generalities and the culture you are living in. More importantly the culture that produced LA style dancing.

Of course, you deny this because most people don't like it when people criticize your country. But I think it is important not only because it is true, but some many in the salsa world feel they have to follow salsa dancing trends in the United States not Latin America.

The United States is becoming more and more culturally isolated. Young people in the United States know very very little about countries outside their own borders. There is a show in Canada where a Canadian guy goes to United States and asks some basic questions about Canada. Almost every American he asks can't even answer the simplest questions. Or just watch when Jay Leno goes out on the street and asks, "What country is the Great Wall of China in?" You can say that every country has stupid people. But I don't think these are stupid people. If you ask them the most inane questions of American pop culture, they will give the most sophisticated answer. But it is the culture they live in

Poll after poll. Study after study shows that Americans don't know much about the world outside their borders. Americans study the least foreign languages, watch the least amount of foreign films. Most American congressmen don't have passports. President Bush when he went to Brazil was surpised that Brazil had some many black people.

I heard of an American girl visiting Wales who insisted on calling Welsh people English. It didn't matter to her that they didn't like being called English. She said that was the way she was taught in school and it was too late to change. Or I met a guy from Texas who complained of having to learn Spanish in school. He said if English was good enough for Jesus, it was good enough for him.

I am sure there are ignorant people in every country. But Americans seem so proud of their ignorance. They treat people other people from other countries as "want to" Americans. They see every other country as a failed or imperfect version of the United States. Americans can't accept culture on its own terms. They have to use a kind of culture shorthand to describe foreigness. Taco Bell is Mexican food, people who speak Spanish are Spanish people, LA style dancing is salsa dancing. -- Mechy

April 4 , 2003 -- Second Part to Sandy

I doubt very much that the African-American population is as mixed as you state. Well, to most Brazilian, Cubans or even South Africans, this seems a bit laughable. I mean if they were so mixed they would stop being African-Americans. They would be African-Scottish-Irish American or whatever. I think that goes back a popular racist idea in the US that if you have a drop of African blood in you, you are concerned black. Historically blacks and whites did not mix as they did in other countries like Brazil or Cuba. Historically there hasn't existed a so called "colored" or "mulatto" or racially mixed group. Americans who have one parent who is white and the other parent black identify themselves as 100% percent African American. They say American society views them as black so they deny their Europeaness. What a society !!

I don't have a problem with an African American who loves ballet, Russian literature or Shiastu for that matter. I think everybody has their particular taste to a certain extent. You as an American, stress individual choice. But you should know societal and cultural factors influence individual choice, perhaps subconsciously.

Let's say, the roots of ballet came from African. And Alvin Ailey only sought European teachers and ignored African teachers. What if he joined an European ballet company and he went out of his way to avoid the perfect good African ballet company across the street. I mean it's okay to perform for the European ballet company, but why does he ignore African ballet? I would say he has deep personal issues about his race.

Let's say, there is an African American kid who loves hip-hop. He wants to learn how to dance. So, he goes to the only white hip hop teacher in the city at the same time ignoring the many black hip-hop instructors in town. At the same, he only listens to white hip artists and occassionally makes disparaging remarks about black hip hop dancers and their music. He is also working on a paper in college that states hip-hop originally came from the poor whites in West Virginia.

Or what about the African American man who ONLY wants to date white women? Is it just his personal taste? Or does he have deep personal issues about his own race. I would choose the latter.

April 4 , 2003 -- Part 3 to Sandy's letter

Sandy, I doubt that you know how to dance Cuban style salsa. You said yourself that there are few Cuban style teachers in the United States with the possible exception of Miami. Many people think they know Cuban style dancing, but very few are qualified to teach it. It's not because it is difficult to teach, but the economic embargo cut off a lot of cultural exchanges between the US and Cuba. Most regular Americans cannot go to the Cuba. And I have stated before even after the Cuban revolution, salsa dancing or casino evolved and changed. Most Cubans in Miami were white and middle class and most tried to distance themselves from popular Cuban music at the beginning.

This vacum allowed people in the United States to create their own styles of dancing. I am all for change and innovation. But most innovators have knowledge of what happened before and have mastered it. The people who were dancing with Fania in the 1970's knew what the music was about. They lived in an era of great music and they connected to the culture. I greatly respect New York style dancing.

But LA style dancing is an artificial invention. It is not even a style. As Vladimir has pointed before, LA style is Casino constrained with harder spins and dips. It is not really something new. There is no great era of Salsa music in LA unless you think Lady and Careless Whisper are landmarks in Salsa music. Most people in LA live in popular culture. LA style salsa is like the McDonald's of salsa dancing. Most of the teachers of LA salsa are not very Latin or learned salsa in spite of their Latiness. Most Latin people in LA are chicanos. Salsa is not a part of popular culture in Mexico. Where is the Mexico style salsa? Where are the great Mexican bands? Josie Neglia is Italian Canadian. The Vasquez brothers are from Guadalajara, Mexico. Not exactly a salsa hotbed. They learned how to dance salsa in LA, not a Latin country. Don't get me wrong. You don't have to Cuban or Latin to dance well. But you have to know the music and you have to know the history of the dance. You innovate in the context of what happened before. Anybody from any culture can learn. Learning Spanish wouldn't hurt either.

So, LA style dancers, most who have never seen real Cuban style dancing, look to Ballroom dancers and swing for inspiration. They look for inspiration in popular culture. Like dance routines based on the Matrix and Mission Impossible. They can't look for inspiration in the music because the music sucks. They can't travel to Cuba. Salsa dancing in Puerto Rico is so colonized by American culture that you can't find the authentic thing. A whole culture and economic structure of salsa congresses and salsa teachers developed in the United States.

That's why, you can't find real Cuban salsa teachers in any of the salsa congresses. They just won't invite Cubans. They won't invite them because of the economic embargo. And they won't invite them because Cubans would ruin everything. The dancers and bands would be so much better that everything would pale in comparison. It is very hard for LA and New York salsa dancers to learn Casino. They would have to forget everything they thought they knew about salsa dancing. They would have to start like beginners in Casino and look like beginners. They would lose students. That's why, Sandy. -- Mechy

April 4 , 2003 -- Mechy and Sandy

I like your analysis of American culture although I wouldn't call African American traitors if they dance LA style salsa.

American is built on non-culture. Not matter where you come from, you are mixed into a melting pot. Supposedly you just become an American. In Canada, we have the mosaic where supposedly you can keep your culture but also be a Canadian at the same time. In part of this lies the genius of the United States. It didn't matter where you were from in the Old World (Europe) or which class you are from. In the United States, you had to learn English, forget about your own culture and be American. If there were enough of you, you could make the soup in the American melting pot more Latin or more Chinese, after all, the United States is a democracy.

Because there were so many people from different cultures, popular culture had to be light and popular, devoid of any real content or anything that might offend others. Americans were always suspicious of men of culture. For example, there are few intellectuals who participate in normal popular culture, unlike Europe.Americans hate intellectuals because they are snobby and are not regular Joes like you and me. Your average American doesn't know much about art, geography or history. Contrast this Italy. In Italy, you can talk to street cleaners about Renaissance art.

I lived in LA and even attended the Mayan dance contest.
LA style salsa is like this. LA salsa is more American friendly. You can't speak Spanish? That's ok, most of contestants in the contest can't speak it well either (including the Latin people). Are you afraid to dance with Latin people who have danced salsa all their lives? That's ok, most Latin people learned to dance in LA too. Can't tell a salsa from a chachacha or merengue. That's okay, apparently in LA the Matrix (the movie) is salsa too. Most LA salseros have no idea of the history of salsa music or dance.

I like the analogy of LA salsa dancing and fast food. LA style salsa is filling, tastes while you consuming it, but makes you feel gulity after and is an utterly forgettable experience. It looks good for people who have no idea of salsa dancing. I am sure your aunt Mabel would appreciate more the flips, dips and spins of LA style dancing than the subtle nuances of son or casino dancing. LA looks good if you turn off the music (which many couples do in the Mayan contest) because for them it gets in the way.

For Sandy,
Maybe a reason Cuban salsa dancing is not popular is because of the Africaness of it. Cuban style salsa has more African precussion and more influence from African dancing. Willie Colon or one of his disciples commented that New York style dancing was light years away from the butt shaking of Cuban salsa dancing. I was offended by this remark because this butt shaking is the influence of African dancing in Cuban salsa dancing. People complain Cuban style salsa dancing is too rough. But I think Americans have their own ideas of what is classy dancing. But what looks classy for them looks stiff, artificial and choreographed for me.

April 5 , 2003 -- African-Canadian discussion

Hi Mechy,
I'll start off by saying that I am not of African descent and, by your earlier statements, am supposed to stay out of this discussion. But what the hell ... unjust "rules" like that deserve to be ignored.

You may be wondering why the non-Cuban participants in these discussions seem to get frustrated. Well, I think it is because you and they are talking about 2 different things. They are trying to discuss salsa as one dance form (among many) and as an art form or pastime, pure and simple. I really sense that you, and the other Cubans, are taking about salsa (or son ... or Casino) as an extension of your culture, history and ethnicity of which you are (justly) very proud and are seeking to defend. Even in the letters from non-Cubans who prefer Cuban style, it is often unclear as to whether they were drawn to casino because of the dance and music or because of the culture surrounding it (spontaneous dancing, friends meeting and hugging and kissing in the clubs, all ages dancing etc.)which they were exposed to on trips to Cuba. You are promoting a cultural experience where the dancing is "in context", the non-Cubans are promoting a dance style (or styles) which exists on the fringes of North American culture and is not associated exclusively with one ethnic group or race.

Don't get me wrong .. I'm all for pride in one's heritage and I think nationalism can be a great and very healthy thing if channelled into positive (cultural) directions. But ... there is a line which, if crossed, leads to intolerance and the abandonment of logic.

I suspect that your views are rooted in your culture and are largely a product of Cuban history. I am guessing (please correct me if I'm wrong) that the great "fact" of Cuban history (to Cubans) is resistance against foreign aggressors or "exploiters" - first the Spanish, then the Americans. As a result it is natural that Cubans would tend to stress the African elements of their culture over the Spanish and would look upon any cultural influence of Americans (or their friends) on Cuban culture, or "usurpation" of Cuban culture with a sense of indignation. It probably also, to some extent, shapes your world view e.g. you may see American intervention in Iraq or Afghanistan being "American colonialism" as opposed to past Cuban military involvement in South America and Africa which would be altruistic attempts at liberating other oppressed people (which Americans would no doubt mostly see as Cubans acting as puppet state of Russia). We each see things from our own cultural and historical perspective.

This is very understandable. Every group which sees itself as historically oppressed seeks to distance itself culturally from its oppressors - it's human nature. Many Quebeckers here in Canada try to do the same and so, for example, tend to de-emphasize the Irish and Scottish elements of their folk music. Local music and dance are important distinguishing features of a culture and so, in these circumstances, become a national treaure to be protected. Cubans are not unique in this .. dancing a csardas has been, at times, an expression of Hungarian or Slovak nationalism (like salsa raising heated arguments about who's dance it really is) for example and the Hora has been elevated to the status of a national dance of Romania (as a circle dance, symbolizing the unity of that country).

Well, that was my attempt to try and understand you. But what you should maybe try and understand is that our attitudes (also shaped by our history) are different. Urban Canadians do not, by and large, see themselves as having been oppressed and as a result attach no special importance to our local folk culture (old-time fiddling etc.). We feel free to enjoy whatever form of culture (dance or otherwise) strikes our fancy with no assumed "political", "national" or "ethnic" message attached to our choice. Music CAN be used, and HAS been used, for political purposes (of course) but this is not a necessary link. If we are interested in a particular culture we are free to explore it to the extent that we wish.

So, when confronted with suggestions that dancing a certain way is "treason" to one's race, or that it is philosophically mandatory to dance and understand the music in one particular way, or to be obliged to learn the language of the place which a dance comes from, it strikes me as a ridiculous, unsavoury, and thoroughly illogical stance. Am I being a traitor to my Canadian or Hungarian heritage because I go salsa dancing instead of square dancing or csardas dancing ? Do people run around all over the world suggesting that no-one should do a waltz unless they speak German or are intimitely familiar with German culture ? Did anyone go up to Bill "Bojangles" Robinson or any of the other great tap dancers, and suggest to them that, since tap dancing ultimately derives from Irish and English step dancing that they should suppress the black stylistic elements of their style, learn Gaelic and keep their dancing as close as possible to its historic (British Isles) roots, making frequent trips to Ireland to make sure that they are still "in sync" ? Scary notion, that ...

Your stance often reminds me of a very old joke that used to be known everywhere in Eastern Europe .. summary of the communist leadership's philosophy .. "What's yours is mine and what's mine is .... none of your business !!!".

This means that you suggest that no-one should develop a style of salsa which is not firmly rooted in the Cuban style and that we should treat with disdain the elements that have their roots in, or were developed by people from, other cultures (Puerto Rican, American, Mexican, European etc.). And yet ... you do not apply the same "rules" to yourselves and feel free to assimilate elements from other cultures (African, American, Spanish, European, other Latin etc.) and label the result "authentic" Cuban. You acknowledge the African elements in your music and dance and yet make no real attempt to stay true to those historic roots by, say, purging Cuban music of its American and European elements.

Not fair, Mechy. Justice belongs to all people or it belongs to none. -- Gabor

April 6, 2003 -- response to Alex

Alex, I think the reason you don't like LA style salsa dancing is because you can't dance it yourself, you may not have the endurance and fitness that is required for LA salsa dancing.

You say that most LA salseros don't know what real salsa dancing is. Well, I ask you for the benefit of everyone in this forum to please kindly explain and define what "real" salsa dancing. Please enlighten everyone here in this forum with your knowledge of the "real thing".

Who cares if most of the people who dance salsa in LA can't speak Spanish - Salsa is a multi-ethnic dance. When people dance to American Top 40 music in Colombia are they required to know English when they dance to the Backstreet Boys? Do the people of Latin America NEED to understand and speak fluent English to dance to the Beatles?

Thank God Salsa is a dance that attracts all nationalities and cultures. It is also a good thing that one-dimensional individuals such as yourself are the minority in the Salsa scene.

One last question, why did you not get on your soapbox and talk on the microphone at the Mayan Competition and tell all those great dancers that they don't dance the "real thing" and that they are all artificial because they can't speak Spanish? It is SO easy to hide behind the internet and criticize all LA-style salsa dancers and dancers that don't speak Spanish rather than personally confronting them.

Kindly take your bigotry somewhere else -- Mark

April 6, 2003 -- reply to mechy. african canadiens

Mechy, with all do respect, your claims about American ignorance do nothing but expose your own.

Although it is true that the African-American population may not be as diverse as the Afro-Brazilian or Afro-Cuban populations, it is very diverse. You say, "Americans who have one parent who is white and the other parent black identify themselves as 100% percent African American. They say American society views them as black so they deny their Europeaness." You are making a huge generalization. You cannot speak for all African-Americans, but you also fail to realize the reasons behind the African-American identity. If there was one good thing that came out of segregation, it was the consolodation of the African-American identity. This was crucial in the civil rights movement. It allowed African-Americans to speak and to fight with one voice, and subsequently gain significant recognition within American society. This is in great contrast to Brazil, for example. In Brazil, you are correct, there was widespread miscegenation between those of European and African descent. This was for many reasons; one, that Brazil has the largest population of Africans outside of Africa and two, that miscegenation was a state-sponsered (and racist) policy as a way to "whiten" the country. It was thought that within a few generations everyone in Brazil would be of a tan color. However, look at the numbers and demographics of Brazil. How many Afro-Brazilians have access to education, to worthy political positions, to upper-class or even middle-class society? Not many. It is a falacy to believe that a racial democracy exists in Brazil. If Afro-Brazilians, as a whole, identified themselves as a more cohesive group, much in the same way as African-Americans did in the 60s, it would go a long way in their establishment of a place in Brazilian society.

And you mentioned South Africans. Large-scale racial mixing in South Africa?? Where did you get that from?? Do you not remember that until just a few years ago South Africa had the most disgusting segregationist policy known in modern history in Apartheid??

I understand that you are proud of Cuban music and dance. Personally, Cuban music and the style of dance are my favorite, way more so than the other musical genres and styles of dance. As an American, I wish they were more widespread than it is. That being said, there are many other and more logical reasons why they are not as consumed as the other styles. Clearly, the cities of New York and Los Angeles -- besides salsa -- are cultural and stylistic feeders to the rest of the United States and beyond. Miami is a Latin American gateway to the U.S., but does not have the same cultural influence on the rest of the country like the other cities.

Again, I respect your opininos. I do, however, take offense to your generalizations -- Brian

April 6, 2003 -- To Sandy

Well, Sandy, I don't know about you, but I'm outta here. I won't spend another day in this cultural black hole known as America. It pains me to realize, that as a lover of Afro-Cuban music I have been wasting my time here.

Now, it is true that I have seen some special things while living here, like Cubanismo's first ever North American shows in Manhattan, as well as many of their other shows, including last year at the Filmore East, in San Francisco. I have seen Los Van Van play a free concert at the WTC plaza and House of Blues in Chicago; have seen Sierra Maestra play Juana Pena at Nell's, as a tribute to Hector Lavoe. Big Deal. My new Country will do better than this.

Did I dance to Orchestra Aragon under the stars at Lincoln Center Plaza? See Manolito y Su Trabuco on New Years eve at SOBs. Afro Cuban All Stars at Town Hall? Have I seen Bamboleo, Charranga Habanera, Azucar Negra, NG la Banda, Issac Delgado, Munecitos de Matanzas, and others, all without leaving her borders? Yeah, yeah, yeah. But my new country will enlighten me. Chucho Valdez, Cachao, and Arturo Sandoval, will play its Jazz clubs. Nelson Gonzales, Alfredo De la Fe, Fajardo, and Chocolate will be regulars at the dance clubs, Celia will play the summer festivals, and thats just the Cubans. The Boricuas, Colombians, and the rest of the salsa playing world will come and go though a virtual revolving door, all due the high demand, and open minds the people that live there. I will finally get to see people dance Casino, because as an American, I have never seen this before. No one will give a rats-ass about the trends in New York. There will be no Taco Bell. The Congress men all have passports. I cant wait. But I worry about you Sandy, as you stay behind in that vacuum that sucks the life out of all that is good. Will you beat your head against the wall? Argue with people who know where the Great Wall of China is, but don't seem to know that New York is part of the Union? Those who hate American culture, yet cant find anything better to do late at night than to watch Jay Leno? People who can write a thousand words about how "African" Cuban salsa is, without once ever mentioning that African Salsa is pretty freakin' African too. (Those geniuses might want to checkout bands from Senegal and the Congo ie; Pape Fall, Ricardo Lemvo, Star Band no1, Orchestra Baobab, Etoil De Dakar, and Nicolas Menheim & Super Sabador to name a few) There are those who pour cream into their coffee, but don't drink it. Instead, they try to separate the two, with blunt instruments. They are not worth your time. Me? I'm off to my new country, as soon as I figure out where it is. -Eddie

	Reader's Comments
Our Feedback...	March 4, 2003 - Sandy's response
	March 6, 2003 - Mechy's response
	March 7, 2003 - Sandy's Response
	March 7, 2003 - Eddie's Response
	March 28, 2003 - Mechy's response to Sandy
New!	April 4, 2003 - Mechy's responses to Sandy, part 2 and 3
New!	April 4, 2003 - Alex's responses to Mechy and Sandy
New!	April 5, 2003 - Gabor's response to Mechy
New!	April 6, 2003 - Mark's response to Alex
New!	April 6, 2003 - Brian's response to Mechy
New!	April 6, 2003 - Eddie's response to Sandy