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THE LEBRON BROTHERS : SALSA Y CONTROL



the end of the sixties, American ethnic minorities to question their marginal return and claim their rights to full citizenship. This awareness leads to cultural policy and Latino New Yorkers to turn to a more authentic lifestyle and closer to its roots. Soon known by the name of salsa, this new music exalts love the musicality of blacks and the beauty of the country (Cuba or Puerto Rico) and expresses the hardness of the street and gangster-infested Driga.

The sauce makes its debut at the St. George Hotel in Brooklyn, where the Lebron Brothers, Puerto Rican, excite the public. The Cheetah Club, Manhattan, replaces the Saint-George as a meeting of the New York salsa, and the success of this music, Latinos in New York recover the values \u200b\u200bof identity and pride.

Lebron Brothers are an institution within the Caribbean music. The orchestra comes in times of Boogaloo, and the end of the 60 members of that select group of chefs with good flavor flavored salsosa expression. They are the first to use the word "Salsa". Her song "Salsa y Control" is a worldwide success. They have over forty years and are still performing and recording as the start of their careers.

In 1989, Lebron Brothers got a brand: placing more than 60 thousand people in the Plaza de Toros de Cali, this is never repeated in any activity of this compound. It was the definitive consecration of its popularity on Colombian soil country that adopted since then. BRIEF



In 1954 Francisco Lebron Feliciano and his wife decided to try his luck in the north country. His eldest son Paul, born in Aguadilla (Puerto Rico) 30 June, and showed signs that the music ran in his veins and reach the U.S. created a group called "Three Coins" which lasted until 1965 when a Arecibo Orchestra. Furthermore José Angel and also showed his talent in the group "Elton" created in 1962.

the night of July 7, 1967 saw the Lebron Brothers record their first album entitled "Psychoeelic Goes Latin" which brought the hit "Descarga Lebron" plus four boogaloos with English lyrics.

was an immediate success and supported by the black community of Brooklyn, Lebron sold thousands of copies of this disc.

then goes to market the album "Salsa Y Control" (1970-Cotique-1049) real classic salsa and define the directions of the band for years siguientes.En this production features Frankie Lebron on congas and still have the participation of trumpeter Ray Maldonado.El song "Salsa Y Control" characterizes the contribution of Lebron to the sauce, if one part put in parentheses the instrumental arrangements in line with the Soul and Rhythm & Blues, by In addition to the sauce incorporating the influence of doo-wop: building their vocal choirs for six voices. In this way managed to keep the harmony necessary for the evolution of their temas.Esta production reached high levels of sales, thanks to this unique style in the choirs and allowing the orchestra to be heard in a unique and different winning once and ears salsosa community.

Currently the orchestra is comprised of:

ANGEL LEBRON: Composer, bassist, vocalist, singer, director. CARLOS LEBRON

: Composer, bongo, showgirl, singer, Ringer. FRANK

LEBRON: conga, producer.

JOSE LEBRON: Composer, pianist, vocalist, singer, arranger. VIRGILIO

HURTADO: vocalist Cali who plays the most recent success of the orchestra "If I may," as well Complicated and Culebra. DISCOGRAPHY

:

GOES PSYCHEDELIC LATIN, 1967 Cotique

1.SUMMERTIME BLUES (Jose Lebron) 2. SOUNDS (Jose Lebron) 3.TALL TALE (Jose Lebron) 4. MI MAMBO (Gabriel Gill / Johnny Rivera) 5. MARY, MARY (Jose Lebron) 6. MY COOL BOOGALOO (Angel Lebron) 7.MALA LUCK (Jose Lebron) 8.DESCARGA LEBRON (Angel Lebron). THE BROOKLYN

Blums, 1968 Cotique

1.You 'VE LOST THAT LOVING FEELING (Barry Mann, Cynthia Weit) 2.The VILLAGE CHANT (Eliot Rivera, Gabe Gill) 3.BOOGALOO PA'MI SAN JUAN (Jose Lebron) 4.VACILON (Jose Lebron) 5.LET 'S GET STONED (Jose Lebron) 6 . HURRY (Jose Lebron) 7.SON Sabroson (Jose Lebron) 8.THE SINGER (Jose Lebron) 9.MONEY CAN NOT BUY LOVE (Jose Lebron).

SALSA Y CONTROL, 1970 Cotique

1. You came into my life (Paul Lebron) 2. SALSA Y CONTROL (Jose Lebron) 3. THAT PANA (Jose Lebron) 4. BACK TO ME (Jimmy Webb) 5. THINK WELL (Jose Lebron) 6. BONGO CRAZY (Angel Lebron) 7. I'M CRAZY (Javier Vazquez) 8. Typical flavor (Angel Lebron).

WE, 1970

CREOLE picadillo, 1971

IN THE UNITED WE STAND, 1972

1.DULZURA (Jose Lebron) 2.Solid TU (Jose Lebron) 3.LA ENVY AND THE TOMB (Jose Lebron) 4. HOW ARE THINGS (Jose Lebron) 5. I SWEAR THAT WAS TRUE (Jose Lebron) 6. MOORS AND CHRISTIANS (Jose Lebron) 7. NIGHT ARE UNFAITHFUL (Jose Lebron) 8. SO IF YOU WANT TO DESTINATION (Jose Lebron).

Family Affair, 1973 Cotique

1.NO sweat it (Jose Lebron) 2.ÑEÑE (Jose Lebron) 3.and IN AIR (Jose Lebron) 4.SABOREA (C. Curet Alonso) 5.PRENDA LOSS (Jose Lebron) 6.SI BITE BITE (Jose Lebron) 7.NO FIGHT THE FEELING (Jose Lebron) 8.PROSTITUCION (Jose Lebron) 9.ESCLAVO'S SON (Jose Lebron) 10.TIMBALE (Angel Lebron).

LEBRON 4 + 1, 1974 Cotique

1.EXPERIENCIA TE HABLA (Jose Lebron) 2.APAGAME FIRE (Jose Lebron) 3.COM you like (Jose Lebron) 4.DOLORES (Mon Rivera) 5.ME HE CONCENTRATE (Jose Lebron) 6.MI MORENA (Jose Lebron) 7.AMAZONA (Jose Lebron) 8.SLOW DOWN (Jose Lebron) 9.PARAISO (Jose Lebron) 10.CURA YOUR WOUNDS (Jose Lebron)

distinct and different, 1976 Cotique

1.In the TREPAO CLOUDS (Jose Lebron) 2.AL IMPULSE (Angel Lebron) 3.MACHO CIMARRON (DRA) 4.A FOR A SHOW NO MONO (Jose Lebron) 5.com WALK MY CHINA (Lyrics by Kelvin Manzanette / music by Jose Lebron / Freddie Cruz) 6.VAMOS BREAK (Jose Lebron) 7.MY CHERIE AMOUR (H.Cosby / S.Morris / S. May) 8.LOOKIN 'GOOD (Jose Lebron).

10th Anniversary, 1977

THE NEW HORIZONT

, 1978

LAW, 1980 Cotique

1. THINGS THAT (Jose Lebron) 2. MY WEAKNESS (Jose Lebron) 3. DREAM (Angel Lebron) 4. SALUTE TO COLOMBIA (Angel Lebron) 5. COME AND SEE (Jose Lebron) 6. LAW (Jose Lebron) 7. PATRIA DULCE MIA (Angel Lebron) 8. SORROW AND PAIN (Angel Lebron) 9. COME WITH ME (Jose Lebron).

HOT STUFF (LEBRON), 1980 Cotique

1.TRAICIONERA 2.ESA I took it I 3.ACABARA 4.INSPIRACION 5.LET 'S MAKE UP HAPPY 8.SEÑORA 6.LLEGAMOS 7.SOY 9.com LUCK AROUND 10.Verification

CREOLE, 1981

1. I sing (Jose Lebron) 2. ALWAYS BE (Jose Lebron) 3.VOY A WALK (Jose Lebron) 4.ESPOSA AND DEAR (Angel Lebron) 5.MADRE (Angel Lebron) 6.DIEZ TEARS (Angel Lebron) 7.SABOR A MI (Alvaro Carrillo) 8. THERE IS NO BLACK GUAGUANCO (Angel Lebron) 9.Open ROAD (Angel Lebron).

SALSA LEBRON, 1986

THE BOSO, 1988

Take care, 1989

MOST RECENT

The earliest record of the orchestra have been performed as simple in the city of Cali as well: If I

, 2007

GUAGUANCO TRUE 2008

COMPLICATED AND SNAKE 2009.

Sources:
Leymarie, Isabelle. Latin American music and dance rhythms of a continent. P. 83. Ediciones Grupo Zeta. 1977. Http://thelebronbrothers.com/home

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The origin of the sauce as the foundation of American public opinion



Cindy Vega Natalia Rebelde
Football

Source: http://www.rebelion.org/noticia.php?id=73120

salsa To speak of the phenomenon as the basis of public opinion, must take into account the origin and the reason for the lifting of the voices against oppression.

The sauce comes after Fidel Castro and "bearded" rise to power in Cuba, according to this and the poor international relations he had with the rest of the world, especially with the United States significantly affected trade music.

By 1972, Son Cubano was being neglected, however, was by a group of young immigrants that this phenomenon really was important for the world. These characters had left Puerto Rico for economic reasons settled in New York, and called themselves "New Yorkers."

In New York, also presented problems affecting the identity of the Latin American peoples, as in the seventies, there were other musical styles that were being imposed with force. The Beatles, Twist and Rock and Roll, Fashion and marked the new musical style.

But the fate of Salsa changed the ideas of a man, Izzy Sanabria realized it was necessary to unite into one group different tropical rhythms of Cuban music came, therefore met under the name "Salsa" with rhythms like mambo, chachacha and Jazz. So met several artists who were determined to deliver the best of each to take Latin music forward. Musical group that would face the world we would know later as the Fania in the early group was composed by Willie Colon, Larry Harlow, Johnny Pacheco, Roberto Roena and Bobby Valentin, shortly after the group joined Hector Lavoe, Celia Cruz and Cheo Feliciano.

Thus we have the reaction that generated this musical innovation was mainly in the American world but with repercussions throughout Latin America. The main criticisms were made by these artists who had spent a considerable amount of time in the dark streets of New York. Thus arose with songs like Pedro Navaja, Johnny Vermin and plastics, which showed the public what was really going on inside the United States.

However, this fact originated from the voices that were silent in the poorest parts of Cuba before the revolution, as in the sauce were a society in which there were no social classes, the sauce came to where they wanted , there were no restrictions. Thus

as you can define a more complex problem in which the sauce was involved, many Cuban artists were affected by the restriction that occurred on the island after 1959, because the revolution will affect your comfort as the scheme established does not allow social privileges, seeking social equality and freedom for all.

Accordingly we can define a general problem from a particular event: the origin of the sauce and the artists who saw the need to convey what they were feeling a few through the music, bringing it to a higher level where the voice of a few could provide a solution to a problem that affects a whole society.

Most of these voices were raised away from their hometowns, many Puerto Rican artists, Cuba, among others, had to migrate to America, because from there they would have a wider distribution.

This phenomenon can be understood from two different perspectives. Firstly we can see that especially in Central and South America and the Caribbean, oppression by the dominant party has been more evident than in other continents like North America. Second, and directly related to the above may raise the idea that the oppressed majority decide to seek a more "freedom" in this case the United States.

But then how crucial is the relationship of this world power in the development of third world countries, specifically in the arts and more specifically in the case of Salsa.

From this point of view, several authors have put into the task of explanation about this problem, it also challenged the right of ownership, "... thereafter the process would have no choice but to rely on a model U.S. domain which strongly confirms the conclusion of the first half of the twentieth century ... "(1).

According to Sergio Ramirez, who puts into question the participation of the United States, no only in the political development of Latin countries, but also based, the economic partition it has on them, proportionally affects cultural production, "... the cultural subject matter is not exercised outside, but then becomes economic and political apparatus that acquires its most effective tool in the design of regional integration "(2).

therefore can understand more the complexity of the issue of salsa artists who decided to put an end to these sudden crashes, not only by their States of origin, but also by the State was using its products to make a profit cultural. Perhaps for this reason songs like "The Emigrant", written by Larry Harlow in principle, expressed his disagreement with the limited job opportunities that exist in Cuba, "... still my country so rich I had to go to other lands ... I'll get Money pa 'they can be maintained "(3).

This shows exactly what the situation was living, how difficult were the circumstances and also the need to travel to the United States. These letters show that they were living in difficult situations that were affecting society of Latinos who sought the opportunity to shout what was happening.
Thus
out of nowhere these salseros who had also fled their land and were able to make art, a form of protest against everything that oppressed them. Hector Lavoe

makes an excellent criticism with his song "Johnny Vermin", that very skill, showed a side of Latin society excluded, a society that was slowly consumed in corruption, crime and vandalism. This song is a clear example of the social situation in which these artists were, and also shared millions of people. When you begin taking these creations of the neighborhood and the suburbs, the political majority was that they were really putting pressure on the normal order of the state. On this

Leopoldo Munera is quite radical, in their theories are, well you can study this phenomenon, Communitarianism emphasizes mainly the integration of a large group of individuals seeking to express their opinions publicly, of this way we obtain collective benefits that are beyond a particular individual and also from state control. "It puts the emphasis on the emergence of collective spaces and non-state actors, from civil society that produced the public, together with the State or in parallel to this" (4). Based on

Múnera can understand the behavior of this group of artists who operate in parallel with the state, but always trying to put over any organization prior to their situation. Ie as citizens from proposing new ideas that might meet their social deficits and route their ideals into a more public sphere that can generate views.

In this sense, this view would be generated by a public that is okay with the song or the artist, being the principal actors, which would base further made public. On the other hand we found that most of these audiences are individuals who really are affected in equal or greater extent by the oppressions, the privatization of cultural property or the simple fact of being marginalized in a society that is seemingly perfect.

"... Hey latino, hey brother, hey friend, never sell your destination for gold or comfort. Never rest because we need to give enough, we all go forward to complete together with the ignorance that brings us bewitched with imported models are not the solution "(5). This is a song that represents well the challenges of internationalization of the Latin society, Rubén Blades makes an excellent understanding of what is happening and while generating a content review. However

but try to keep a positive attitude towards political decontrol emerge at this time, it is also necessary to note that in the public sphere that is taking this idea, other factors intervene directly, as is speaking emphatically from a series of international policies that affect their integrity and Hispanic origin, this factor is none other than an institution embodied in the state, which will respond to this warning is being done on the public and to the public.

From this point of view and opinion is being generated, is opening a public setting where they are no longer leaders of different states that give the last word, but, it is enjoying full freedom of expression and opinion. This kind of contributions are framed from a collective perspective, because thanks to the artistic voice of Ruben Blades, many can bring these feelings to the public sphere where we are supposed to involve all.

is this same public sphere which Habermas has proposed. We can say that if there can be a public sphere is the stage for an open discussion, but it must be a public sphere where they interact directly related, in this specific case, the artists decided Use the sauce as a means of spreading ideas and criticisms, the state as consolidator of social organization and social actors in a specific way are in agreement or disagreement with these measures.

The public sphere, a truism that is embodied in the music industry and its impact on society, this generation as the basis of opinion, however for this public sphere to exist there must be a private institution like State, to mark a contrast and thus generated opinion.

Therefore, if these artists were not victims of a lack of organization of government, if they had not been affected by external policies that disrupted the property rights they had on their songs and rhythms, and if they had not felt oppressed by their leaders, they never would have created a "Johnny Vermin" or "Pedro Navaja", maybe not exist the "Assassins" by Ruben Blades and very likely the "Emigrant" by Larry Harlow would never have had to emigrate to other lands.

From the above it can sustain a clear and concise, which starts from the very idea of \u200b\u200bchange, and in addition to continued expression of dissatisfaction that will exist in societies.

The public sphere is always oriented in this particular case Latin Americans who have been excluded, and they have seen in the Salsa the best way to prevent these changes, to monitor the factors that allow the variation of the ideal structure of what should be the rule, a monitoring system that allows more depth give a clear explanation a balance between what is and what it should be. From the view of these artists, which define the ideal state, from a public building.

"But ladies and gentlemen, in the middle of plastic are also the faces of hope faces are proud to work for a united Latin America and a future of hope and freedom. You see the faces of work and sweat of people of flesh and blood, not sold, people working, looking for new way proud of their heritage and of being Latino in a united race, which Bolívar dreamed "(6).

Bibliography:

- Lyrics of the songs. In: http://members.fortunecity.com/ceugev/lyrics2/re017.htm. November 20, 2007.

- Arribas Monzón, Candido. Public Opinion. Theories, concepts and methods. Collection of Social Sciences. Science Policy Series. Editorial Tecnos. Madrid 1987. Pg 15-17.

- Múnera Ruiz, Leopoldo. The tragedy of the public. May 2001. Unpublished. Pg 1-4.

- Torres Rivas, Edilberto; others. Central America: Today. Balkans and Volcanoes (approaches to the contemporary cultural process in Central America). Editorial Siglo XXI Editores, SA Spain. 1975. Pg 279 to 281.

- Torres Rivas, Edilberto; others. Central America: Today. History of the political process. Editorial Siglo XXI Editores, SA Spain. 1975. Pg 111 to 114.

- Yen Yeo Loo. "Historia de la Salsa." At: http://www. -merengue.net/loo_yeo.html sauce. November 16, 2007

Notes: 1. Torres Rivas, Edilberto; others. Central America: Today. Balkans and Volcanoes (Approaching contemporary cultural process in Central America. Editorial Siglo XXI Editores, SA Spain. 1975. Pg 279.

2. Idem.

3. The Lebron Brothers. Discography. Salsa today and forever. Larry Harrlow. The emigrant.

4. Múnera Ruiz, Leopoldo. The tragedy of the public. May 2001. Unpublished.

5. Fania All Stars. Rubén Blades. Plastic. Best of the sauce. Volume three.

6. Idem.

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