An Interview With the Authors of Nueva York

I met Carolina González and Seth Kugel in the unpretentious and casera Havana Chelsea, one of the top five locales for Cuban sandwiches in NYC according to González’s and Kugel’s new book - Nueva York: The Complete Guide to Latino Life in the Five Boroughs. Munching on crispy Cubans and tres leches cake, the co-authors seemed eager to talk about their nine-month adventure that covered virtually every Latino facet to New York City – restaurants, street festivals, places where you can learn Spanish, and even underwear stores! Here is what they said about the experience that gave birth to the first-ever guidebook for Latinos and non-Latinos about Latino life in NYC.

R: What inspired the book, and how did you find each other?

C: When you write about a certain subject, you get to know everyone [else who writes about it] and you follow their work. I noticed this Jewish guy writing about Dominicans in Washington Heights. A mutual friend introduced us, and it just so happened that we became friends.

S: We ended up looking for the book, but to our delight it did not exist. People were using us as the human Google – so we thought it would be a good idea to put all of our knowledge in a book.

C: There wasn’t a single New York guide book that covered the Latino population.

R: How did you decide where to start exploring and what your sources were going to be, and how did you divide the areas amongst yourselves?

C: Geographically at first. Seth covered Upper Manhattan; Queens, we pretty much split; and Staten Island we went together. Other things we split by what we were interested in, but we kept a list to make sure we divided the work equally.

S: I interviewed about 100 Colombians outside of a concert to find out the best Colombian restaurants…I also picked up lots of fliers from the ground to see the popular clubs.

R: What were some of the funniest experiences and/or people you met?

C: I did a lot of research on the tango underground. One of the places that have a weekly milonga is a Ukrainian restaurant that I found on a tango hotline called The Ukrainian East Village Restaurant.

R: Since you both are very familiar with Latino culture in NYC from your past writing experience, did you find there were still a lot of things even you did not know about?

C: We knew in our heads that there were a lot of Ecuadorians here, but nobody ever talks about Ecuadorians, and they really do a lot in this city. Also, a lot of the visual-arts places that were around years ago are now gone.

S: I was surprised, but I mean this in a serious way, on how each ethnicity is attached to their own underwear – especially, Colombians and Brazilians. I was also surprised that we didn’t find any Nicaraguan restaurants. There was only one Paraguayan one; but, by the time we finished writing the book, it had changed to only half Paraguayan, selling only very few Paraguayan items.

R: What were some of your favorite discoveries within the boroughs that you can’t wait to repeat for yourselves?

C: Seth is hooked on baleadas, a Honduran sort of gordita [thick tortilla].

S: Pecas y Más in Sunnyside, Queens, never ceases to amaze me.

C: I’m totally hooked on alfajores, cookies with dulce de leche in the middle.

S: I also love the way the Peruvians call their stomach – rachi.

R: In your opinion, which is the most Latin borough?

C: Population-wise it’s the Bronx; diversity-wise it’s Queens. Part of our point is that Latinos just don’t live in one place. Even Staten Island has a sizable community. There are also a lot of older Latino communities that are getting lost – like the Cubans who are no longer in Chelsea – like this place [Havana Chelsea]. Businesses take longer to disappear than the people. Basically though, all of New York is Latin.

For more information about Carolina González, Seth Kugel and where you can buy Nueva York, go to their website here.

(Published in NYRemezcla.com)

A Little Bit of Mexican Bliss Near Little Italy

Right off of Spring and Lafayette, in the midst of Nolita, lies Cleveland Street, a street I had never noticed until now. Nineteen Cleveland Street is the home of Mexican Radio – the residence of the best Mexican food my buds have ever tasted. Always on the lookout for a good Mexican place, I was surprised that I had never heard of this one, which has been around for nine years. I went on a Sunday, which is a quiet night there; Fridays and Saturdays are always packed and lively, according to the manager.

Mexican Radio does not need people to make it feel animated, however. As soon as you walk in, soft candlelight greets you warmly, reflecting dark melon walls and colorful papel picado (colorful cut-out flags usually associated with the Day of the Dead) overhead. Traditional Mexican décor of altar candles and rosaries, mixed with brightly hand-painted designs, makes you feel as if you are inside a Mexican shrine. A medley of Latin tunes, from Manu Chao to Eva Ayllón play in the background. Before you know it, the food arrives.

Unlike the song "Mexican Radio" by ‘80’s pop band Wall of Voodoo, this Mexican Radio does not make you wish you were "in Tijuana eating barbecued iguana." I felt extremely content where I was that very minute, savoring my chicken chimichanga.

The moment I took my first bite, I took a double take. The spice was just right, and the guacamole, crema and pico de gallo that topped it were perfect. Even though this dish is fried, it was amazingly not greasy. It was served with a side of tangy spiced rice and beans (named Shecky’s Best Funky Frijoles of 2005).

Mexican Radio’s margaritas won the Best Margarita in NYC award in 2001, but they still hold the title, in my opinion. What makes them so out of this world is that they are all made with fresh lime juice--no chemicals or mixes here! You can definitely taste the difference.

I have to go back to try the Rajas en Cerveza – a bubbling Mexican fondue, mixed with Dos XX, onions and strips of poblano peppers, as well as their Nachos made with crema and guajillo pepper sauce, which have also been named the best in NYC. They offer the choice of soft or crispy tacos as well.

Entrees (also catering to vegetarians and vegans) range from $11.95 – 18.95 and margaritas are around $9 – with a large selection of tequilas for the tequila connoisseur.

The only downfall is that they don’t serve complimentary chips and salsa (one of my favorite aspects of the Mexican dining experience), but the atmosphere and flawless food more than compensate for that. You will not be disappointed.

For more information, visit www.mexicanrad.com.

(Published in NYRemezcla.com)

Tanya Torres

Name: Tanya Torres

Roots: Puerto Rican Where do you live? El Barrio, NYC

Occupation: Artist, and college instructor

What are some of the causes you support? I am not really a part of any organized group, but as an artist, I try to support good causes in general - the cures for cancer and aids, and peace, are of particular importance to me. As a survivor of cancer and a stem cell transplant, what is your opinion on stem cell research? I believe in science. Years ago, I would have died. But science has advanced enough to offer me the opportunity to be here and do the things I need to do, like care for my son and share with people my experience as a cancer survivor. Stem cells have the potential to save lives. I believe stem cell research is extremely important and should be allowed and funded.

Why is art important to you? I have been an artist since I was four years old, but art became really important when I became sick. At that time, art was the only resource I had for facing cancer. Through art I was able to overcome it. In moments of intense fear and anxiety, I painted and made books, or illustrated books, or wrote poems. Without these tools, I don’t think I could have been calm enough to survive.

What is your favorite method of expressing yourself? I love painting. I always knew I wanted to paint, but I did not have good teachers and so, I thought I couldn’t do it. One day, about a year before I found out I had cancer, I started and finished an oil painting. I gave up on listening to people’s opinions about my artwork and really allowed myself to play. But then I stopped again. After I found out I had cancer and had gone through the first treatment, I had other health problems caused by the chemotherapy depressing my immune system. Out of frustration and sadness, I started painting again. This time, I started feeling how the colors filled the emptiness and pain with joy, and I kept on doing more paintings. A few months later, I found out the cancer had returned, and I started a new painting called, The Four Daughters of Eve, which tells about the origins of humanity. I left it unfinished when I left to the hospital for the transplant. I didn’t know if I would finish it, but I did. It reminds me of survival -- mine, and that of humans. Being able to finish that painting gave me great strength and joy, and I think my body responded to that desire to live and feel that way.

Which artists/writers have been an inspiration to you? Women artists in general, but Frida Kahlo was my real teacher. I studied her paintings and her life, and her style as a self-taught artist was an inspiration to abandon my doubts about painting. Also, as a child, I used to read and reread a poem by Julia de Burgos that my mother had put on the wall of the dining room. I am also inspired every day by the poetry and work of friends like Yarisa Colón, Raquel Z. Rivera, Verónica de Nadie, Prisionera, Sheila Candelario, and others without whom I could not have developed as an artist and writer. Tell us about the Children Without a Nationality project: The idea came about when I told a friend that I was going to exhibit the Battle Body pieces in Santo Domingo, Dominican Republic. She told me that she had recently found out that children born of Haitian parents in the Dominican Republic do not have the right to Dominican citizenship and live in the worst conditions. She had gone there to bring help and gifts to the children. Because my project deals with my experience with cancer, and I teach voluntary workshops as part of that project, I thought I would teach one for the children in Batey Palmarejo. My friend put me in touch with the women of Batey, and a lot of people sent money or volunteered to make it possible to bring the children art supplies and snacks. On August 12, a group of volunteers and I went to Batey to have a big, beautiful, and fun workshop. We gave watercolors to more than 250 children of different ages and they all painted. Many painted their flag -the Dominican flag.

What do you love about NYC? New York is the only place in the world where I feel free. I don’t need a car, I can dress any way I like, and have culture all over. I love that about New York.

What you hate? Cold! Plans for the future: I would like to travel with my artwork and teach people about how creativity can improve their lives. It is important for me to tell my story, because I will always be grateful to the people who offered theirs when I faced fear and death. I know how important it is to know people do survive and that you too can survive. Above all, I want to see my son grow, continue to create art, and always remember the lessons learned by sharing and practicing them. To see some of Tanya’s work go to her website: http://www.tanyatorres.com/

(Published in NYRemezcla.com)

The Passion of Antonio El Pipa

There is something mystical about flamenco. Federico García Lorca described it well by calling it, "…purely Andalusian singing, which already existed in germ in our region before the Gypsies arrived to it. It comes from Gypsy races, crossing through the cemetery of years and the depths of withered winds. It comes from the first cry and the first kiss…it is the soul of our soul."

The 6th Annual New York Flamenco Festival brought this marvel from southern Spain to New York, with various events throughout the city from January 19th through February 19th. I had the honor to attend a talk with dance legend, Antonio El Pipa, and then see his company perform at New York City Center.

During the talk, I had the fortune of sitting right across from "El Pipa" (who got his name from his grandfather who was perpetually smoking a pipe). He is a very charming man with a peaceful aura, but with a contradictory passion radiating from his light blue eyes. It’s like being in the calm before the storm – you are almost waiting for him to break out and dance at any minute.

Dressed in a black velour sweat suit and Puma sneakers, and sporting neatly groomed sideburns, he sat cross-legged and relaxed in his chair while he talked in Spanish about his life as a Gypsy in Jerez de la Frontera (located between Cadíz and Sevilla) in Andalusia.

"Jerez es una de las ciudades más importantes de flamenco," he began. "Es diferente de otras ciudades."

He explained that where he is from, dancing and singing are as normal as playing fútbol for a kid anywhere else. Gypsy families, as well as non-Gypsy families in Andalusia, use flamenco to celebrate at any gathering.

"En mi familia, todos hemos bailado…Yo no decidí ser artista. Cuando me di cuenta, ya era artista. Ya no puedo vivir sin mi trabajo…Bailaría mas si ganaría la loteria porque compraría un teatro," he said.

When someone asked him about an unforgettable experience he’d had on the stage, he talked about how his aunt, renowned deep-throated Juana la del Pipa, sang with such gusto and fervor that it actually paralyzed him – so much that he brought her to the middle of the stage and left the dancing to her.

The performance by Compañia Antonio El Pipa on the 19th was just as captivating as the dancer himself. Antonio choreographed and directed the production, which was entitled, "De Tablao," and it portrayed just that. Tablao flamenco is the traditional singing and dancing in cafés that has been popular in Andalusia for centuries.

Antonio’s set was simple – a few tables and chairs for the guitarists and dancers, and a backdrop of thin wooden curtains with sketches of palmas, dancers, roses…the standard elements of flamenco. Simplicity is key for tablao -- it is the dance that takes center stage.

The dances consisted of jaleos, bulerías, tarantos, romeras, and soleás, and were performed by a superb cast. Guest dancer Concha Vargas danced elegantly in her beautifully ruffled and colorful dresses, alongside Antonio El Pipa, while Juana la del Pipa’s hoarse and chilling voice emanated throughout the entire space, just as her nephew had described it.

Respected Mariana Cornejo also made a guest appearance, and sang a lively and extremely brisk-paced piece that made the audience laugh, even though the lyrics could were not easily decipherable. Guitar players Pascual de Lorca and Juan Moneo were essential to the performance, and Joaquín Flores’s palmas (clapping) continually gave life to the show.

The costumes were beautiful and well thought out. The older women usually wore more simple clothes, resembling real life in Jerez, while the younger ones were in a variety of form-fitting ruffled dresses. The men were all in black pants and vests with white shirts, except for Antonio, who stood out in fancier black and even purple suits.

Antonio was right when he told us that flamenco was not always a sad form of expression. While dancing, he looked like he could not have his smile wiped away. In his fitted suit and slightly high-heeled boots, he danced as passionately as he spoke about his love – flamenco. Actually, his passion seemed to overflow at the end, because he didn’t want to leave the stage. He came back for not two, not three, but four rounds of applause. The fourth time he ran and jumped onto the stage, making exaggerated hand gestures and facial expressions as he bowed. I think he overdid the passion just a little.

Antonio had said that a real artist is one who makes the public forget their problems. I can say that I did - I even got a laugh in at the end.

(Published in NYRemezcla.com)

Doña Rosita Returns to El Repertorio

From now until January 21, 2006, Federico García Lorca’s play, Doña Rosita la soltera, is being reincarnated after 23 years of absence from El Repertorio Español. Directed by esteemed René Buch and starring Miss Universe 2001, Denise Quiñones, as Rosita, Doña Rosita la soltera makes a stunning comeback.

Federico García Lorca, one of Spain’s most revered poets and dramatists, was born in 1898, a few miles from Granada. In 1936, at the young age of 38, he died a violent death also near Granada, as a victim of the fascist movement of the Spanish Civil War. He was highly recognized for intertwining his theatrical works with poetry, and he himself once explained, "El teatro es la poesía que se levanta del libro y se hace humana. Y al hacerse, habla y grita, llora y se desespera. El teatro necesita que los personajes que aparecen en escena lleven un traje de poesía y al mismo tiempo que se la vean los huesos, la sangre…"

One of his last plays before his death, Doña Rosita la soltera, is a precise example of how he combines theatre with poetry. It is a heart-wrenching tale mixed with surprising bits of comedy. The play starts out in Granada during the 1890’s, where a young and beautiful Doña Rosita falls in love with her cousin. Unexpectedly, his family calls for him to return to South America, but he swears to Rosita that he will return for her. She waits patiently for the rest of her life, even after she learns that he has married somebody else.

Lorca does an ingenious job at juxtaposing Doña Rosita’s life with the different historical periods (1980 – 1910) as well as comparing her with a flower – hence her name. As Lorca himself once said, seeing this play performed is like poetry brought to life.

The first scene at El Repertorio opened up with pure whiteness - the women were in white frilly dresses and flouncy white hats, the uncle was in a white suit, even the furniture was white. This is 1890, the period when Rosita is young, innocent and in love. She looked like a white rose in perfect bloom.

Rosita’s boyfriend, played by Freddy Rivera, made an appearance in the first act also dressed in white, and received loud sighs from the women in the audience because of his striking looks. He did not have a substantial part in the play, but it’s no wonder it took Rosita a lifetime to get over him!

In a period of social and gender status stratification, it is ironic that the maid possesses such a crucial role in the play. Alejandra Orozco did a remarkable portrayal of this fundamental character, and received many laughs from the audience. The maid butted her way into every conversation and made herself heard despite her position in society. "I love Rosita more than anybody," she would argue with Rosita’s aunt to explain why she listened in on all of their conversations.

The play portrays a period where a woman meant less in society if she wasn’t married. Rosita resists this societal norm by remaining single for the rest of her life. She proves that love conquers all, even if it is no longer reciprocated. She remains faithful to her heart and not to society. Rosita and the maid are the forces that rebel against society, the maid doing so more aggressively by making herself heard at all times, and Rosita, passively in her room.

By the third act, it is 1910: Rosita’s uncle dies, and everyone is now wearing black. Rosita has aged and looks wilted, she has found out and finally accepts the fact that her love is never coming back, and the play concludes with this heart breaking speech to her aunt:

"Me ha acostumbrado a vivir muchos años fuera de mi, pensando en cosas que estaban muy lejos, y ahora que estas cosas ya no existen sigo dando vueltas y mas vueltas por un sitio frio, buscando una salida que no he de encontrar nunca." Watching Denise Quiñones act out these words causing a tremble throughout her slim frame and tears streaming down her delicate face, sent a chill down my spine. Her anguish was so believable that my heart ached for her. She is a very sincere actress who truly felt the character she is playing. She would have made Federico García Lorca very proud for having revived his poetry so well.

(Published in NYRemezcla.com)