Elegant, charming and like good wine, aged to perfection – this Rioja not only leaves you wanting more, she simultaneously ignites your soul. Flamenco dancer Pilar Rioja, is now in her 70’s, and is still as young-looking, fit, and mesmerizing as ever. She was currently performing her 32nd season at El Repertorio Español until September 11th, and this was also the beginning of her first farewell tour to New York.
From Torreón, Mexico, and born to parents from Spain, Pilar started to dance soon after she learned how to walk. It was in Spain where she combined modern, ballet, and classical dance with traditional Spanish dance, such as flamenco. One can see these amalgamations and feel the strength of her diversity while experiencing one of her performances.
On Saturday, August 27th she gave a stellar performance. Her first dance was a guajira of Cuban origin, interpreted in a flamenco style, by using melodic movements of a fan (abaniqueo). This act was the first glance she gave the audience of her charm as her smile peeked through from behind the big alabaster fan.
She looked angelic in her white ruffled dress, but her erect torso and intricate footwork leaves you wondering what she’s up to next. All of her dances were accompanied by her three guitarists, José Luis Negrete, Antonio Muñoz, and Arturo Martínez, and two singers, Alfonso Cid and David Castellano, who added the heart-wrenching flamenco cry (jaleo) to the performance.
The farruca was her next dance. This time, Pilar came out in an outfit of black fitted matador pants and a button down white shirt, as this type of dance is originally supposed to be for men. The dance contained a lot of strong footwork (zapateado) and she also added some contrasting feminine arm movements which was evidence of her creativity she adds to Spanish dance.
The dance of Doña Rosita la Soltera, based on a story by Federico García Lorca of a woman who has been left a spinster because she has become too old to marry, was mood altering. Somehow she mixed the emotions of happiness, fear, sadness and anger with the use of a white veil, precise facial expressions and a slow haunting rhythm aided by the sound of a tapping cane (palo seco). Her finale was just as fiery and spectacular as her red ruffled-train dress which accentuated her still youthful figure. It was here that she combined bulerías (jovial), and soleares (sad) as well as other bits of improvisation. During this dance, her personality exploded. She was elegant yet sensuous, reserved yet uninhibited and undeniably festive. Her stirring hip movements towards the end both surprised and awed the audience.
Seeing her at El Repertorio Español was worth every penny, because the intimate theater allows you to feel the vigor emanating from her, and almost feel what she is feeling. The audience could not help but applaud spontaneously and cheer loudly at her powerful movements throughout the show. Pilar has performed all over Latin America, and Europe, and is respected all over the world as one of the greatest teachers of Spanish dance. She currently teaches at her own academy in Mexico City.
(Published in NYRemezcla.com)
Thursday, September 1, 2005
Sunday, July 24, 2005
Eva Ayllón: Diva del Landó
To experience Eva Ayllón, is to experience Peru. Eva is to Peru what Celia Crúz is to Cuba - a woman with a tremendous singing voice, who’s full of adoration and passion for her country— feelings that inevitably envelope the listener as well.
For 35 years, Eva has been entertaining her people, as well as massive audiences all over the world with her beloved Afro-Peruvian music, known in Peru as música criolla.
On Sunday July 17th, in celebration of Peru’s upcoming Independence Day, Eva Ayllón gave her first Queens performance at La Oveja Negra. Hundreds of Peruvian fans of all ages – from twenty to seventy-somethings--gave her a warm greeting chanting, "Eva! Evaaa!"
Eva opened the show with the late Chabuca Granda’s famous vals, "Fina Estampa." The crowd became spellbound and began taking out their camera phones to capture the special moment digitally. Next came "Negra Presuntuosa," from her latest album, Eva! Leyenda Peruana (2004); the audience quickly started swaying their hips to the captivating rhythm. It’s not everyday they get to see Eva Ayllón sing the treasured songs they grew up hearing at family reunions and civic gatherings.
Eva is known for singing traditional genres, such as the landó, the festejo, and the vals: all mestizo blends of coastal Peru’s Andean, African, and Spanish heritage.
Landós originated from an Angolan fertility dance called "londu" brought to Brazil by the slaves. The Peruvian landó is a blend of Spanish and African rhythms. "El landó llego en Peru en el año 1520, cuando los negros llegaron a Peru," Eva explained. "Ha sido el ritmo que he ayudado el esclavo a recordar su tierra. El landó es la lloranza del negro esclavo – como decir ‘te extraño’ a la tierra."
The landó is a bit slower than the festejo, although both contain a prominent beat from the cajón. Festejos, her most festive songs of all, were meant for celebrations. They trigger quick dance movements by the body, like a sensual communication between the dancers. "Ingá," and "Le dije a Papá" are some famous festejos.
For the performance, Eva’s voice was backed-up by a cajón, congos, bongo, piano, electronic bass, and a guitar. She was also accompanied by two back up singers: her sister Rosa Ayllón and Brazilian Sofia Buitrón. Buitrón and Eva danced a fiery festejo during the show – the two of them imitating each others’ rapid undulating torso and leg movements.
In addition to landós and festejos, Eva also sings the much slower and romantic vals. "Cuando llora mi Guitarra" and "Que Somos Amantes" are examples of this genre derived from the Viennese waltz but with Spanish guitar riffs, and boleros. Eva further demonstrated her romantic side during the show by throwing rose stems to the audience.
All her songs are unique for her, she says, "Todas tienen un gran significado. Son como mis hijas." Eva conveys the love she has for her songs during her performances. She is a passionate woman who feels what she sings, as if the lyrics were flowing out of her heart.
Eva was born María Angélica Ayllón Urbina in 1956. She started her singing career at the early age of three under her grandmother’s tutelage. Ayllón adopted "Eva" from her grandmother. She didn’t come from a musical family, "Siento que [mi talento] fue reincarnada de alguien o de muchas personas. Yo creo mucho en la reincarnación," she says.
Ayllón started out singing at school competitions. Soon after, she worked her way up to television and radio. By the 1970’s, she was appearing in the local peñas criollas (a gathering of musicians, typical in South America). From 1973 to 1975, she was the lead singer in the trio Los Kipus, and in 1978, she debuted as a soloist with the release of Esta Noche. By 1979, she began touring internationally, all over Europe, the United States, Canada, and Japan. And in 1989, she sang in Los Hijos del Sol, a group comprised of all-star Peruvian musicians including master drummer Alex Acuña. By 2002, with over 20 albums in her discography, she received her eighth award for achieving double platinum status for the album, 30 Años en Vivo (2000).
Ayllón left her beloved Peru and moved to New Jersey six months ago to be with her family. "Todo es alla para mi, dentro de mi pais, pero el amor te arranca a cualquier tierra," says Eva.
Judging from her adoring fans, Eva has been most-heartily welcomed to the U.S. Her message to all of them: "Que se sienten feliz, y que yo traigo un poco de Peru…que se recuerden sus calles, sus casas, sus camas…"
(Published in NYRemezcla.com)
For 35 years, Eva has been entertaining her people, as well as massive audiences all over the world with her beloved Afro-Peruvian music, known in Peru as música criolla.
On Sunday July 17th, in celebration of Peru’s upcoming Independence Day, Eva Ayllón gave her first Queens performance at La Oveja Negra. Hundreds of Peruvian fans of all ages – from twenty to seventy-somethings--gave her a warm greeting chanting, "Eva! Evaaa!"
Eva opened the show with the late Chabuca Granda’s famous vals, "Fina Estampa." The crowd became spellbound and began taking out their camera phones to capture the special moment digitally. Next came "Negra Presuntuosa," from her latest album, Eva! Leyenda Peruana (2004); the audience quickly started swaying their hips to the captivating rhythm. It’s not everyday they get to see Eva Ayllón sing the treasured songs they grew up hearing at family reunions and civic gatherings.
Eva is known for singing traditional genres, such as the landó, the festejo, and the vals: all mestizo blends of coastal Peru’s Andean, African, and Spanish heritage.
Landós originated from an Angolan fertility dance called "londu" brought to Brazil by the slaves. The Peruvian landó is a blend of Spanish and African rhythms. "El landó llego en Peru en el año 1520, cuando los negros llegaron a Peru," Eva explained. "Ha sido el ritmo que he ayudado el esclavo a recordar su tierra. El landó es la lloranza del negro esclavo – como decir ‘te extraño’ a la tierra."
The landó is a bit slower than the festejo, although both contain a prominent beat from the cajón. Festejos, her most festive songs of all, were meant for celebrations. They trigger quick dance movements by the body, like a sensual communication between the dancers. "Ingá," and "Le dije a Papá" are some famous festejos.
For the performance, Eva’s voice was backed-up by a cajón, congos, bongo, piano, electronic bass, and a guitar. She was also accompanied by two back up singers: her sister Rosa Ayllón and Brazilian Sofia Buitrón. Buitrón and Eva danced a fiery festejo during the show – the two of them imitating each others’ rapid undulating torso and leg movements.
In addition to landós and festejos, Eva also sings the much slower and romantic vals. "Cuando llora mi Guitarra" and "Que Somos Amantes" are examples of this genre derived from the Viennese waltz but with Spanish guitar riffs, and boleros. Eva further demonstrated her romantic side during the show by throwing rose stems to the audience.
All her songs are unique for her, she says, "Todas tienen un gran significado. Son como mis hijas." Eva conveys the love she has for her songs during her performances. She is a passionate woman who feels what she sings, as if the lyrics were flowing out of her heart.
Eva was born María Angélica Ayllón Urbina in 1956. She started her singing career at the early age of three under her grandmother’s tutelage. Ayllón adopted "Eva" from her grandmother. She didn’t come from a musical family, "Siento que [mi talento] fue reincarnada de alguien o de muchas personas. Yo creo mucho en la reincarnación," she says.
Ayllón started out singing at school competitions. Soon after, she worked her way up to television and radio. By the 1970’s, she was appearing in the local peñas criollas (a gathering of musicians, typical in South America). From 1973 to 1975, she was the lead singer in the trio Los Kipus, and in 1978, she debuted as a soloist with the release of Esta Noche. By 1979, she began touring internationally, all over Europe, the United States, Canada, and Japan. And in 1989, she sang in Los Hijos del Sol, a group comprised of all-star Peruvian musicians including master drummer Alex Acuña. By 2002, with over 20 albums in her discography, she received her eighth award for achieving double platinum status for the album, 30 Años en Vivo (2000).
Ayllón left her beloved Peru and moved to New Jersey six months ago to be with her family. "Todo es alla para mi, dentro de mi pais, pero el amor te arranca a cualquier tierra," says Eva.
Judging from her adoring fans, Eva has been most-heartily welcomed to the U.S. Her message to all of them: "Que se sienten feliz, y que yo traigo un poco de Peru…que se recuerden sus calles, sus casas, sus camas…"
(Published in NYRemezcla.com)
Saturday, May 14, 2005
Elvis a lo Mexicano
When people think of Elvis, they remember the hip shaking, charismatic singer in a sparkly jumpsuit with slicked black hair and side burns who passed away on August 16, 1977. There have been many impersonators since his death, but there is one who outshines all the rest, and who adds spicy jalapeño flavor to the name Elvis. His name is El Vez. Elvis’s Mexican counterpart has been touring the U.S. on a Cinco de Mayo tour, coincidentally landing in New York during the same week as CBS’s four-hour miniseries "Elvis by the Presleys."
Born in Chilavista, CA, East L.A., Robert Lopez, a.k.a. El Vez, has been doing his act since 1988. It all started after taking part in an Elvis impersonator contest while working as a curator at an art gallery, La Luz De Jesús, on Melrose Avenue in Los Angeles. He was such a success that he went on to Elvis Tribute Week in Memphis, where he competed in another Elvis impersonator contest.
"The next day, it was in the L.A. Times that a Mexican Elvis made it to the finals," says El Vez.
Ever since then, people have been asking for more. How could they resist a guy who is a cross between Zorro and Elvis singing songs with titles like, "Viva la Raza" (instead of "Viva Las Vegas") and "En el Barrio" (replacing "In the Ghetto")?
On Saturday, May 14th, El Vez performed with his band "The Memphis Mariachis" and "The Elvettes" (two back-up singers, Lisa Maria and Priscillita) at the Mercury Lounge in Manhattan, after playing at Brooklyn’s Southpaw on Wednesday night.
Mercury Lounge was packed. I was hot and claustrophobic waiting for the show to start, apparently on Latino time, but my exasperation was quickly forgotten once El Vez danced onto the stage.
He joked, "People say that I’m nostalgic, because Cinco de Mayo was last week, but my goal is to make it last ten days."
The last time he came to New York was in November during his "El Vez for Prez" tour, when he performed at The Knitting Factory and Southpaw. He made reference to that trip, saying that he was going to run for president again during the next election against Hillary Clinton and give the U.S. back to Aztlán, the portion of Mexico that was taken over by the United States after the Mexican-American War of 1846.
Not only are his lyrics very creative, but he sounds just like Elvis with your eyes closed, he does splits on stage, and his outfits seem to get louder with every passing song. Starting out with a Mexican charro outfit in patriotic red, white and green, he then moved on to a black one with white stitching, and then to a white wife beater with black and white shimmery stretch pants, and then a feathery Aztec costume.
The climax of the show, I would have to say, was when he came out in a tiger print jumpsuit made out of stretch polyester, a big black leather belt with leather studs and chains, and black cowboy boots, declaring, "I’m your Tigre del Norte." He then started singing the song "Suspicious Minds," but with the lyrics, "I’m caught in a trap/I can’t walk out/Because my foot is stuck in this border affair/We can’t go together/It’s immigration time/The Promised Land waits on the other side/Why can’t you see?/ Liberty…"
With over 17 years of touring all over the U.S., Europe, and Australia, and 13 albums under his huge gaudy belt, I asked El Vez if he felt a resemblance to the King of Rock n’ Roll. He said, "Well, the idea of entertaining, but I think I like to make my shows more political than Elvis ever did. However, we both have sideburns and influence lots of people with music."
I admit that prior to the show, I was afraid that El Vez was going to be some cheesy, Las Vegas-like act, but he definitely impressed me, and I now understand why people wait for him every year and follow him all over the world.
Peter Caravella, a fan of seven years from New York, said to me on the way out, "I am going to be a fan for the rest of my life. Wherever he goes, I go."
All I can say is, "Watch out Hillary, here comes El Vez!"To keep track of where El Vez is headed next, and for some interesting merchandise, check out http://www.elvez.net/.
(Published in NYRemezcla.com)
Born in Chilavista, CA, East L.A., Robert Lopez, a.k.a. El Vez, has been doing his act since 1988. It all started after taking part in an Elvis impersonator contest while working as a curator at an art gallery, La Luz De Jesús, on Melrose Avenue in Los Angeles. He was such a success that he went on to Elvis Tribute Week in Memphis, where he competed in another Elvis impersonator contest.
"The next day, it was in the L.A. Times that a Mexican Elvis made it to the finals," says El Vez.
Ever since then, people have been asking for more. How could they resist a guy who is a cross between Zorro and Elvis singing songs with titles like, "Viva la Raza" (instead of "Viva Las Vegas") and "En el Barrio" (replacing "In the Ghetto")?
On Saturday, May 14th, El Vez performed with his band "The Memphis Mariachis" and "The Elvettes" (two back-up singers, Lisa Maria and Priscillita) at the Mercury Lounge in Manhattan, after playing at Brooklyn’s Southpaw on Wednesday night.
Mercury Lounge was packed. I was hot and claustrophobic waiting for the show to start, apparently on Latino time, but my exasperation was quickly forgotten once El Vez danced onto the stage.
He joked, "People say that I’m nostalgic, because Cinco de Mayo was last week, but my goal is to make it last ten days."
The last time he came to New York was in November during his "El Vez for Prez" tour, when he performed at The Knitting Factory and Southpaw. He made reference to that trip, saying that he was going to run for president again during the next election against Hillary Clinton and give the U.S. back to Aztlán, the portion of Mexico that was taken over by the United States after the Mexican-American War of 1846.
Not only are his lyrics very creative, but he sounds just like Elvis with your eyes closed, he does splits on stage, and his outfits seem to get louder with every passing song. Starting out with a Mexican charro outfit in patriotic red, white and green, he then moved on to a black one with white stitching, and then to a white wife beater with black and white shimmery stretch pants, and then a feathery Aztec costume.
The climax of the show, I would have to say, was when he came out in a tiger print jumpsuit made out of stretch polyester, a big black leather belt with leather studs and chains, and black cowboy boots, declaring, "I’m your Tigre del Norte." He then started singing the song "Suspicious Minds," but with the lyrics, "I’m caught in a trap/I can’t walk out/Because my foot is stuck in this border affair/We can’t go together/It’s immigration time/The Promised Land waits on the other side/Why can’t you see?/ Liberty…"
With over 17 years of touring all over the U.S., Europe, and Australia, and 13 albums under his huge gaudy belt, I asked El Vez if he felt a resemblance to the King of Rock n’ Roll. He said, "Well, the idea of entertaining, but I think I like to make my shows more political than Elvis ever did. However, we both have sideburns and influence lots of people with music."
I admit that prior to the show, I was afraid that El Vez was going to be some cheesy, Las Vegas-like act, but he definitely impressed me, and I now understand why people wait for him every year and follow him all over the world.
Peter Caravella, a fan of seven years from New York, said to me on the way out, "I am going to be a fan for the rest of my life. Wherever he goes, I go."
All I can say is, "Watch out Hillary, here comes El Vez!"To keep track of where El Vez is headed next, and for some interesting merchandise, check out http://www.elvez.net/.
(Published in NYRemezcla.com)
Wednesday, April 20, 2005
A New Generation of Mariachis Thrives in El Barrio
Some say the term "mariachi" was derived from the French word for marriage, while others claim it comes from the indigenous name for the wood used to make guitars. There are many theories as to how the term "mariachi" came about, but one thing that is for sure is that mariachis, in their wide-brimmed hats and festive charro outfits, have added plenty of alegria to weddings, restaurant outings, birthdays, and even funerals and masses. Their music captures the heart and soul of Mexican culture and tradition, as well as that of the listener.
Mariachi music has prospered greatly ever since its origin in Jalisco, Mexico in the early 19th century. Originally, the mariachi ensemble was made up of violins, a harp and guitars. With time, it evolved to include the vihuela, two violins, and the guitarron (which replaced the harp), and then eventually trumpets were added. During the Mexican Revolution, the mariachis would wander from town to town, singing songs of revolutionary heroes and bringing news of the war everywhere they went.
The musical style has been carried on as a Mexican tradition for decades, due to the undying support of the people in their communities. The popularity of the genre expanded even more with the arrival of radio and television, and now mariachi music can be heard all over the world.
With the Mexican population growing at such a rapid rate in New York, the desire for Mexican culture and tradition has increased as well. The idea for a local mariachi school for children came from the renowned father and son mariachi team, Ramon Ponce Sr. and Jr. Their Queens-based group, Mariachi Real de Mexico, has been playing public and private events for years, and has even appeared on such Spanish-language television programs as Sabado Gigante.
When I asked what the main reason was for starting the Academy, Ramon Ponce Jr. said, "Porque ninos nos preguntaban, "’Donde podemos aprender?"’ ("Because kids [wherever we would perform] would ask us, "’Where can we learn?"’)
About two years after the initial seed was planted in their heads, in July of 2002, the Ponces opened the doors of the Mariachi Academy of New York - the first mariachi school on the east coast. The school was made possible with outreach support from The Mexican Cultural Institute of New York and the Consulate General of Mexico, the sponsorship of the Mariachi Association of New York, and a grant from the National Endowment for the Arts.
The cohesiveness of the Mexican community in El Barrio is evident at the Mariachi Academy of New York, which is open to Mexican and non-Mexican students alike, ages 9-17. The teachers often volunteer their time if funds are low, and the parents get involved by encouraging their children and bringing homemade food to events. It is indeed a community project.
"I believe the Academy... has shown that immigrants, especially among the Mexican community, understand [that] their children are becoming more assimilated as Americans, and thus appreciate and take advantage of opportunities to teach the younger generations about Mexican music and culture," says President of the Board of Directors, Adlar Garcia.
There are six teachers who conduct two classes a week (Wednesday evenings and Saturday afternoons) in voice, violin, trumpet, guitar, vihuela, and guitarron at the Union Settlement Association. This center in East Harlem generously donates classroom space for the program - now consisting of 70 students, only five to ten of whom are not fully Mexican. Some were born here, and some were born in Mexico.
"If kids don’t apply in the summer, they have to wait a whole other year, because the program begins in the fall. Auditions take place only in the summer," says program coordinator Itandehui Chavez-Geller.
The mariachi kids are becoming well known throughout the city. They have done community performances in schools, museums, and at various cultural/community associations. "It’s quite a success. Everyday we have a growing waiting list," says Chavez-Geller. "The most important thing we look for during the auditions is the child’s interest. Most don’t know an instrument before they start," she adds.
The next big show is on May 8th, for Mother’s Day, from 1-5 p.m at the Union Settlement Association Center on 104th Street, between 3rd and 2nd Avenues. This will be a fundraiser performance with authentic Mexican food available.
"Mi vision y sueno es que los estudiantes de la Academia de Mariachi lleguen a ser grandes personalidades y me encantaria que varios de ellos sean mariachis profesionales. Si no son mariachis, por lo menos sentirse orgullosos de su musica y su cultura," says Ramon Ponce Jr. ("My vision and dream is that the students of the Mariachi Academy grow up to be great personalities, and I’d love to see some of them become professional mariachis. If they aren’t mariachis, (I hope they will) at least feel proud of their music and their culture."]
(Published in NYRemezcla.com)
Mariachi music has prospered greatly ever since its origin in Jalisco, Mexico in the early 19th century. Originally, the mariachi ensemble was made up of violins, a harp and guitars. With time, it evolved to include the vihuela, two violins, and the guitarron (which replaced the harp), and then eventually trumpets were added. During the Mexican Revolution, the mariachis would wander from town to town, singing songs of revolutionary heroes and bringing news of the war everywhere they went.
The musical style has been carried on as a Mexican tradition for decades, due to the undying support of the people in their communities. The popularity of the genre expanded even more with the arrival of radio and television, and now mariachi music can be heard all over the world.
With the Mexican population growing at such a rapid rate in New York, the desire for Mexican culture and tradition has increased as well. The idea for a local mariachi school for children came from the renowned father and son mariachi team, Ramon Ponce Sr. and Jr. Their Queens-based group, Mariachi Real de Mexico, has been playing public and private events for years, and has even appeared on such Spanish-language television programs as Sabado Gigante.
When I asked what the main reason was for starting the Academy, Ramon Ponce Jr. said, "Porque ninos nos preguntaban, "’Donde podemos aprender?"’ ("Because kids [wherever we would perform] would ask us, "’Where can we learn?"’)
About two years after the initial seed was planted in their heads, in July of 2002, the Ponces opened the doors of the Mariachi Academy of New York - the first mariachi school on the east coast. The school was made possible with outreach support from The Mexican Cultural Institute of New York and the Consulate General of Mexico, the sponsorship of the Mariachi Association of New York, and a grant from the National Endowment for the Arts.
The cohesiveness of the Mexican community in El Barrio is evident at the Mariachi Academy of New York, which is open to Mexican and non-Mexican students alike, ages 9-17. The teachers often volunteer their time if funds are low, and the parents get involved by encouraging their children and bringing homemade food to events. It is indeed a community project.
"I believe the Academy... has shown that immigrants, especially among the Mexican community, understand [that] their children are becoming more assimilated as Americans, and thus appreciate and take advantage of opportunities to teach the younger generations about Mexican music and culture," says President of the Board of Directors, Adlar Garcia.
There are six teachers who conduct two classes a week (Wednesday evenings and Saturday afternoons) in voice, violin, trumpet, guitar, vihuela, and guitarron at the Union Settlement Association. This center in East Harlem generously donates classroom space for the program - now consisting of 70 students, only five to ten of whom are not fully Mexican. Some were born here, and some were born in Mexico.
"If kids don’t apply in the summer, they have to wait a whole other year, because the program begins in the fall. Auditions take place only in the summer," says program coordinator Itandehui Chavez-Geller.
The mariachi kids are becoming well known throughout the city. They have done community performances in schools, museums, and at various cultural/community associations. "It’s quite a success. Everyday we have a growing waiting list," says Chavez-Geller. "The most important thing we look for during the auditions is the child’s interest. Most don’t know an instrument before they start," she adds.
The next big show is on May 8th, for Mother’s Day, from 1-5 p.m at the Union Settlement Association Center on 104th Street, between 3rd and 2nd Avenues. This will be a fundraiser performance with authentic Mexican food available.
"Mi vision y sueno es que los estudiantes de la Academia de Mariachi lleguen a ser grandes personalidades y me encantaria que varios de ellos sean mariachis profesionales. Si no son mariachis, por lo menos sentirse orgullosos de su musica y su cultura," says Ramon Ponce Jr. ("My vision and dream is that the students of the Mariachi Academy grow up to be great personalities, and I’d love to see some of them become professional mariachis. If they aren’t mariachis, (I hope they will) at least feel proud of their music and their culture."]
(Published in NYRemezcla.com)
Tuesday, February 1, 2005
La Kueva Rocks on in Queens
Rock en español with a side of pollo a la brasa anyone?
Now you can come for lunch, dinner, drinks, and rock en español to La Kueva (The Cave) – the House of Latin Rock. Previously located on Steinway Street in Astoria, this legendary spot amongst Spanish rockers since 1999 reopened on September 2004 on Queens Blvd. in Sunnyside.
Plastic bats and gargoyles no longer furnish this cave. Now called La Kueva 2.0 – Latin Rock Café, it has revamped its image with white globe light fixtures hanging from the ceiling. It’s a little brighter, with a wide open space for the round tables where people can sit and eat, and of course there’s also room for a stage and small dance floor in the back. The place is a bit sleeker than the grungier, darker, narrower original version of La Kueva. It is also now more easily accessible by train and car, with parking across the street.
"It’s still under construction – there’s still a lot to do, but the bar we made exactly the same – so people still feel at home", says owner Jesús Giraldo. "Now people can bring their families during the day to eat – their mom, their aunts, uncles…something you couldn’t do in the other one. Now kids 15 years old, or so, can finally come in, when before they couldn’t."
Posters of Juanes, Shakira, and Maná are just a few of the details on the dark wood paneled walls that help make the customers - most of whom are recent or second generation immigrants from Central and South America - feel at home.
"We wanted to reinvent ourselves, make ourselves more modern, while maintaining the same style of music," says Giraldo.
Now that the place serves food from the owner’s native Colombia, it’s even more of an attraction for its customers. The Nuevo Latino menu offers specialties such as Plato Cartagena de Indias – camarones, y scallops en una salsa cremosa de ajo y cilantro, servido con arroz y tostones, and Bandeja Viejo Caldas – carne asada, chicharron, arroz, frijoles, yuca frita y un huevo frito, just to name a few. All entrées, except for burger and sandwich dishes are served with their exceptional tangy house salad.
"The original idea of La Kueva was to be a pub, but the people like to dance," says the owner.
Other Latin music genres such as bachata, and the newly popular reggaeton, have been attempting to sneak into the cave, but it’s trying to stay exclusive to rock.
"Some of the DJs don’t listen, some think you can only dance to merengue and salsa, but we want to maintain rock - at least 70% rock, and 25% tropical. We want to keep live bands, we still have open mike on Thursday nights, and we’re thinking of starting karaoke on Sundays," says Giraldo.
The regulars are what made La Kueva, La Kueva. "There are even some that used to come way in the beginning, have gotten divorced, and have now come back," laughs Giraldo. The same house band, Los Discípulos de Jesús (the Disciples of Jesus) still plays at La Kueva 2.0 when they can get the group together. They usually play every other Friday or Saturday night, alternating.
The lead singer, Zack Valladares, a long-haired native of Ecuador says, "The people that work here – I consider them family- the waitstaff, security guards, the owner…and there are new people that keep on coming. It’s a nice feeling to meet new people…La Kueva is the biggest place for Spanish Rock in N.Y. right now…"
According to the new lease, the place should last at least another 10 years, a big leap from the five years given at the original place. When some of the patrons were asked how long they thought the new locale would last, "Forever," and "I hope it will last a long time," were the common responses.
For more information on upcoming events at La Kueva 2.0, check out their website: http://www.lakueva.com/.
(Published in NYRemezcla.com)
Now you can come for lunch, dinner, drinks, and rock en español to La Kueva (The Cave) – the House of Latin Rock. Previously located on Steinway Street in Astoria, this legendary spot amongst Spanish rockers since 1999 reopened on September 2004 on Queens Blvd. in Sunnyside.
Plastic bats and gargoyles no longer furnish this cave. Now called La Kueva 2.0 – Latin Rock Café, it has revamped its image with white globe light fixtures hanging from the ceiling. It’s a little brighter, with a wide open space for the round tables where people can sit and eat, and of course there’s also room for a stage and small dance floor in the back. The place is a bit sleeker than the grungier, darker, narrower original version of La Kueva. It is also now more easily accessible by train and car, with parking across the street.
"It’s still under construction – there’s still a lot to do, but the bar we made exactly the same – so people still feel at home", says owner Jesús Giraldo. "Now people can bring their families during the day to eat – their mom, their aunts, uncles…something you couldn’t do in the other one. Now kids 15 years old, or so, can finally come in, when before they couldn’t."
Posters of Juanes, Shakira, and Maná are just a few of the details on the dark wood paneled walls that help make the customers - most of whom are recent or second generation immigrants from Central and South America - feel at home.
"We wanted to reinvent ourselves, make ourselves more modern, while maintaining the same style of music," says Giraldo.
Now that the place serves food from the owner’s native Colombia, it’s even more of an attraction for its customers. The Nuevo Latino menu offers specialties such as Plato Cartagena de Indias – camarones, y scallops en una salsa cremosa de ajo y cilantro, servido con arroz y tostones, and Bandeja Viejo Caldas – carne asada, chicharron, arroz, frijoles, yuca frita y un huevo frito, just to name a few. All entrées, except for burger and sandwich dishes are served with their exceptional tangy house salad.
"The original idea of La Kueva was to be a pub, but the people like to dance," says the owner.
Other Latin music genres such as bachata, and the newly popular reggaeton, have been attempting to sneak into the cave, but it’s trying to stay exclusive to rock.
"Some of the DJs don’t listen, some think you can only dance to merengue and salsa, but we want to maintain rock - at least 70% rock, and 25% tropical. We want to keep live bands, we still have open mike on Thursday nights, and we’re thinking of starting karaoke on Sundays," says Giraldo.
The regulars are what made La Kueva, La Kueva. "There are even some that used to come way in the beginning, have gotten divorced, and have now come back," laughs Giraldo. The same house band, Los Discípulos de Jesús (the Disciples of Jesus) still plays at La Kueva 2.0 when they can get the group together. They usually play every other Friday or Saturday night, alternating.
The lead singer, Zack Valladares, a long-haired native of Ecuador says, "The people that work here – I consider them family- the waitstaff, security guards, the owner…and there are new people that keep on coming. It’s a nice feeling to meet new people…La Kueva is the biggest place for Spanish Rock in N.Y. right now…"
According to the new lease, the place should last at least another 10 years, a big leap from the five years given at the original place. When some of the patrons were asked how long they thought the new locale would last, "Forever," and "I hope it will last a long time," were the common responses.
For more information on upcoming events at La Kueva 2.0, check out their website: http://www.lakueva.com/.
(Published in NYRemezcla.com)
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