Mambo Memories (NBC New York, 1991) Subt. Español 

Ritmos cubanos todos, saludos.

Exactamente ........ !!!!!!!! Viva Dámaso Pérez Prado...... 🪐🪐🪐!!!!!!!!!

Musica cubana Que los boriqua ipusieron en alto!!!!!! Duela al quien le duela! Jajajaja!!!!!!!!!

​@@eddierivera1860Gracias. Triste verdad. También es triste que Uds como boricuas no pudieran exportar su propia música y utilizaron lo ajeno por fama y dinero. Piensa, el mambo hubiese Sido popular con o sin Uds, todo lo bueno encuentra su camino. No es casualidad o debido a los PRqueños , es la música en si misma que fue creada en Cuba por un cubano. Todo nuevo ritmo encuentra resistencia , ej Elvis Presley en USA y hasta el mismo danzón en Cuba. No creo que un cubano tenga a menos que otras nacionalidades interpreten música cubana, lo que llama la atención es el coraje de no dar siquiera crédito a su autor y su país de origen. Cuando yo era Nina en Cuba , si un cubano interpretaba una Ranchera o un Corrido se especificaba que era un género Mexicano y se nombraba el autor y hasta la fecha de la creación si era posible Pero al parecer no es costumbre que siga en todas partes. Solo por los sucesos del 59 pudieron echar mano a algo que no les pertenece. Les tengo que dar gracias, solo en parte porque desde el momento que no mencionan de dónde proviene todo agradecimiento es nulo.

@@mariaaballi-gonzalez3716 estas hablando demas los boriqua dicho por musico cubano la musica afro/cubana la ipusieron en alto los boriqua. Si te molesta alla tu!

If you would have spoken to any Cubans who were around in the 1940s and early 1950s in Cuba, they would have indicated that the "Mambo" music & dance movement was not embraced across the board as it was outside of Cuba. "Chocolate" Armenteros was one such musician who noted while the "Mambo" became visibly popular outside of Cuba, within Cuba the dancers were embracing the new rhythm called the "Cha-Cha-Cha" (1948). A musical 'craze' in Cuba that didn't catch on in NYC until 1952-'53. Even Mambo hadn't caught on in a mainstream way in the U.S. until the 1950s. Even though it had been around locally in NYC during the 1940s. It's not a coincidence that both Perez Prado and Benny More made their fortunes with Mambo in another country (Mexico), outside of Cuba. Mambo was created in Cuba, but it was popularly internationalized by Cubans and non-Cubans outside of Cuba. Charanga bands are who were popular in Cuba circa the late 1940s and throughout the 1950s. A style of orchestration (Charanga) that became popular later at the end of the 1950s in NYC.

@@richieblondet2310 Thai is all true. What I say is that there is a lot of animosity if not confrontation, that New York "Salsa" scene wants to erase the cuban heritage of Cuban Mambo. Many actually think it is purely New York. Many Cuban musicologists who try to set the record straight and many cuban dancers in New York City who know the truth about Mambo -- they get marginalised. Many New York "Salsa" teachers or musicians actually get angry when shown RU-vid or other footage -- of Cuban music in the 1930,40's -- something that till 2005, was not that available to most people. My cuban dance teachers in New York get their equipment unplugged or their show sabotaged simply because they do not agree that Tito Puente was NOT the Mambo King -- ad some movies portray.

@waldo enrique Mariscal pelaez The issue is that if you are based in New York, the heritage of Cuban Mambo in Cuba is not the same story or details as the heritage of Afro-Cuban Mambo in New York. Just like the experience in Mexico, where Damaso Perez Prado found fame spanning the english and spanish-speaking Americas, is distinct from Cuba, NY, Puerto Rico, Colombia, etc. If local Salseros in NY invest in the notion that "Salsa" is distinct genre of music from Son Cubano, created in NY, there's nothing you can do save to educate them in your own way. If they don't respond, or believe you, that's just an unfortunate reality. If instructors are being sabotaged because they don't invest in the idea that TP is the King of Mambo, then dial 9-1-1 and file a police report. That's what they're for. I face a somewhat similar dilemma as you and your Cuban compatriotas, only on the flipside. The popular narrative of this dance music, which is the "Salsa" narrative, erases the legacy of Puerto Rican artists/musicians/composers/arrangers who were interpreting, reinterpreting and contributing to the growth of Afro Cuban music, as far back as the 19-teens (1913-1919) and all throughout the 20th century. Whenever people state that the Fania All-Stars brought "Salsa" all over the world, it indirectly erases musical artists such as the Lecuona Cuban Boys, Daniel Santos, Sonora Matancera, Rafael Hernandez, Eliseo Grenet, Bobby Capo, Alberto Socarras, Pedro Marcano, Orq. Anacaona, Johnny Rodriguez, Los Panchos, and so many others who made their way across Latin America, Asia, Europe and North America, exposing audiences to Cuban Son genres and other musical styles. This earlier activity is what opened those doors for the Machito's, Tito Puente's, Fania All-Stars, and Ruben Blades, etc, to make their way across the world. The appetite for the music had already been developed long before. So when I express that Yomo Toro did not introduce the cuatro guitar to "Salsa," aka Afro-Cuban music, I'm strictly basing it from a historical reality. Yomo had antecedents playing the Cuatro within Cuban based music. I'll get the side eye as well because people who are ignorant and put all their cultural eggs in one basket will often respond negatively since they have nothing else to offer. But if the public were to educate itself they would not be bothered by commentary that others make. As long as you know what the actual history is, nothing anyone else does or says can affect you. There's plenty of platforms to offer one's POV. Academia, Social media, etc. Just continue to educate yourself further and share that knowledge to enlighten others. Not as some do by using it as a means to make a nationalistic or cultural point. Saludos.

@@richieblondet2310 I believe in authenticity. In New York City -- anything that gets there -- it has to be twisted, domesticated, so it can be sold. One of those Salsa teachers actually told me that Celina Gonzales music as well as others of that genere was not "interesting" until New York Afro-cuban bands made it "better". Just like the Cuban Rumba and the "Rhumba"(for the blanquitos who cannot dance in clave). The story repeats it self. Not only in Cuban but also in Afro-Colombian music -- (what scammers wanted to do to Gaiteros de San Jacinto before they recorded and won a grammy). Let me help you educate you as well. My countrymen -- Peruvians in New York also have a very close minded notion of Peruvian traditions and folk music. (Peruvians in Miami -- forget it -- they are so called "Europeans"). When my family and artist friends did a theatrical representation of Intiraymi, from 2006-09, in the Lower East Side, most Peruvians found its authenticity -- "unnecessary" and not commercial. That is where convictions tell people apart. But not everything is lost in the US. Thankfully there are real cultural institutions, and many musicians and artist find and have found shelter in several of them, specially the Smithsonian Institute. I no longer live in New York City, but with great nostalgia keep my memories when I danced with Peruvian dance companies on 5th Avenue, with Cuban orchestras, and when La familia Sepeda came to la Casita del Chema in the South Bronx and we all Bomba and Plena through the night.

@waldo enrique Mariscal pelaez If you're entitled to your opinion, then so is everyone else. If you don't like it, just ignore it. Instead of playing the victim. I beg to differ with regards to the Smithsonian. But that's my opinion, of which I'm entitled to. What you describe exists everywhere. Commercialism is now part of those institutions' (including the Smithsonian) mandate. Thanks for the lesson but I've been around the block dealing with New York cultural institutions and the non-profit sector. Which is why I can assure you there's no point in being bitter over it because it's only going to get worse, wherever you go. Good luck!

Jose Curbelo orchestra Sabu Martinez on conga Jimmy la Vaca on timbales

​@Jack Chavarro The trombonist next to Jimmy La Vaca was Jack Hitchcock, who was still alive as of 10 years ago and in his 90s. I'm going to assume that he has since passed. That segment was from a television show known as "America's Greatest Orchestras" hosted by Paul Whiteman. It was from 1954. (BTW-Santos Colon also appeared in that TV segment with Curbelo's orchestra. He eventually exits to join the Tito Puente orchestra and records "Dancemania" Vol. 1 & 2.

En el vídeo hay una breve mención a Orestes López Cachao que junto a su hermano Israel crearon el mambo, ellos crearon más de 3,000 mambos, pero no hay duda que fue Dámaso Pérez Prado quien lo internacionalizó con su inconfundible estilo.

This was aired in NBC. Every person interviewed is who they say they were.