Posts Tagged ‘CEO’

A One of a Kind Event – LEADERSHIP CONFERENCE

Sunday, November 1st, 2009
July 1, 2008
8:30 am

HISPANIC LEADERSHIP.jpg

What: Organizations are grooming their Hispanic executives for leadership at the most senior levels. In many cases however, middle management executives are often left on their own to develop their careers and leadership skills. Leadership extends beyond the corporate world and the decisions they make in the future will have an impact on the Latino community as a whole. Enlightened Latino Leaders will transform the Hispanic community, but the education of those leaders is the key to their progress and development.

This one day conference will showcase the leadership styles, methods, and practices of Latino leaders active in today’s business environment. The key note speakers will cover practical “how-to” advice along with innovative approaches to leadership development. These senior level professionals will cover areas such as foundational skills, navigating through critical business functions, strategy formulation and implementation and personal leadership.

This dynamic gathering of Latino leaders will demonstrate how success is achieved through preparation, determination, mentorship and a quality peer network. The event will be attended by approximately 250 middle management and senior-level Latino professionals, with a focus on the Tri-State region. The 2008 HPNG Latino Leadership Conference in New York City is sponsored in part by, Kaplan University and Martinez Law Group P.C.

Who: Confirmed speakers for the event include:
Robert Rodriguez, Associate Dean of Kaplan University,
Leslie Sanchez, CEO, Impact Group, author Los Republicanos
Robert Abreu, Global Leadership & Diversity, Goldman Sachs & Co.
Marty Secada, Managing Director, Broad & Wall Advisors
Robert Martinez, Diversity & Inclusions, Princeton University
Jenny Alonzo, Co-Founder, Mio.TV
Lt. General Ricard S. Sanchez, United States Army (Ret.)

Where: Yale Club of New York, 50 Vanderbilt Ave
When: Tuesday July 1, 2008
How: Early Bird Special Tickets $225 Register at Event Website

About HPNG: The Hispanic Professionals Networking Group provides opportunities for Hispanic professionals to grow their networks and develop their careers. HPNG hosts networking events and offers professional and personal development workshops in New York and Miami.

PRdream mourns the passing of Joe Cuba, 1931 – 2009

Sunday, November 1st, 2009
February 19, 2009
1:41 am

Viewing on Wednesday & Thursday, February 18 & 19, 2PM – 10PM

R&G Ortiz Funeral Home
204 E. 116th Street, between 3rd & 2nd Avenues
212.722.3512

From: Aurora Communications, Inc.

Joe Cuba: Father of New York Boogaloo has passed away

The “Father of Boogaloo” Joe Cuba passed away on Sunday, February 15, 2009 at 4 p.m. at Mt. Sinai Hospital in New York. He was the most popular exponent of the boogaloo, a fused Latino and R&B rhythm that exploded onto the American top 40s charts during the turbulent 1960s & ‘70s. Hits such as “*Bang Bang,” “Push Push,” “El Pito,” “Ariñañara,” and “Sock It To Me Baby,” rocked the hit parades establishing Joe Cuba and his Sextet as the definitive sound of Latin New York during the ‘60s & ‘70s. The Joe Cuba Sextet’s unusual instrumentation featured vibraphones replacing the traditional brass sound. His music was at the forefront of the Nuyroican movement of New York where the children of Puerto Rican emigrants, America’s last citizens, took music, culture, arts and politics into their own hands.

Joe Cuba’s Sextet became popular in the New York Latino community precisely because it fused a bilingual mix of Afro-Caribbean genres blended with the popular urban rhythm & blues of its time creating a musical marriage between the Fania and Motown sound. His was the first musical introduction to Latin rhythms for many American aficionados. The lyrics to Cuba’s repertoire mixed Spanish and English, becoming an important part of the emerging Nuyorican identity.

Joe Cuba’s music validated the developing Nuyorican population whose language and music Cuba captured with his sound, underlines Giora Breil, CEO of Emusica, the company that now owns the Fania label and who has remastered many of the classics to a new generation of music lovers. “He led the urban tribe,” pointed Breil, “into a united front of cultural warriors that were defining the social and political times they lived in.”

Longtime manager and promoter Hector Maisonave recalls Cuba as ”an innovator who crossed over into mainstream music at an early time. He was the soul of El Barrio. After Joe Cuba, El Barrio is just a street that crosses an avenue.”

In 1962, Cuba recorded “*To Be With You” *with the vocals of Cheo Feliciano and Jimmy Sabater whose careers he spotlighted after the bands introductory appearance at the Stardust Ballroom prior to its summer stint in the Catskills.

Born in 1931 in the heart of Spanish Harlem, his Puerto Rican parents arrived in New York City in the 20s. Christened “Gilberto Miguel Calderón,” Cuba was a “doo wopper” who played for J. Panama in 1950 when he was a young 19 year old before going on to play for La Alfarona X, where the young “congüerro” percussionist replaced Sabu Martinez tapped to play with Xavier Cugat.

By 1965, the Sextet got their first crossover hit with the Latino and soul fusion of “El Pito” (I Never Go Back To Georgia), a tune Cuba recorded against the advice of the producer later to be “broken” by a DJ over WBLS FM in N.Y.. The Dizzy Gillespie “/Never Go Back To Georgia” chant was taken from the intro to the seminal Afro-Cuban tune, “Manteca.” Vocalist Jimmy Sabater later revealed that “none of us had ever been to Georgia.” In fact, Cuba later comically described a conversation he had with the Governor of Georgia who called him demanding why he would record a song whose chorus negatively derided the still segregated Southern town. The quick thinking Joe Cuba replied, “Georgia is the name of my girl.”

“Joe Cuba exemplified the power that comes from collaboration.” highlighted East Harlem’s councilwoman Melissa Mark Viverito. “Through his music, Joe brought together Latinos and African Americans and his art form reflected the influences of both cultures, Furthermore, his music united Harlem and East Harlem by reflecting the growth both communities experienced during the 1960s and ’70s. Joe Cuba made Spanish Harlem proud as he bravely brought his particular New York Latino identity to stages all over the world.”

In 1967, Joe Cuba’s band ––with no horns– scored a “hit” in the United States National Hit Parade List with the song “Bang Bang” – a tune that ushered in the Latin Boogaloo era. He also had a #1 hit, that year on the Billboard charts with the song “Sock It To Me Baby.” The band’s instrumentation included congas, timbales, an occasional bongo, bass, piano and vibraphone. “A bastard sound,” is what Cuba called it pointing to the fans, the people, as the true creators of this music. “You don’t go into a rehearsal and say ‘Hey, let’s invent a new sound or dance.’ They happen. The boogaloo came out of left field.“ Joe Cuba recounts in Mary Kent’s book:” Salsa Talks: A Musical History Uncovered. “It’s the public that creates new dances and different things. The audience invents, the audience relates to what you are doing and then puts their thing into what you are playing/,” pointing to
other artists such as Ricardo Ray or Hector Rivera as pioneers of the urban fused rhythm.

“I met Joe up in the Catskills in 1955,” /recalls nine time Grammy Award winner *Eddie Palmieri*. “When I later started La Perfecta,” Palmieri muses, “we alternated on stages with Joe. He was full of life and had a great sense of humor, always laughing at his own jokes,” chuckles the pianist. Palmieri pointed to Cuba’s many musical contributions underlining the power and popularity of his small band and bilingual lyrics while providing a springboard for the harmonies and careers of Cheo Feliciano, Willie Torres and Jimmy Sabater. “He was Spanish Harlem personified,” describes Palmieri recalling the “take no prisoners” attitude Cuba had when it came to dealing with those who reluctantly paid the musicians. Recalling their early recording days with the infamous Morris Levy, Palmieri cites the antics of Joe Cuba, Ismael Rivera and himself as the reason for Levy selling them as a Tico package to Fania label owner, Jerry Masucci.

Funny, irreverent and with a great humor for practical jokes, Joe Cuba, or Sonny as he was called by his closest friends, was raised in East Harlem. Stickball being the main sport for young boys of the neighborhood, Cuba’s father organized a stickball club called the Devils. After Cuba broke a leg, he took up playing the conga and continued to practice between school and his free time. Eventually, he graduated from high school and joined a band.

“He was not afraid to experiment/,” said *David Fernandez*, arranger & musical director of Zon del Barrio who played with the legendary Cuba when he arrived in New York in 2002.

By 1954, at the suggestion of his agent to change the band’s name from the Jose Calderon Sextet to the Joe Cuba Sextet, the newly named Joe Cuba Sextet made their debut at the Stardust Ballroom. Charlie Palmieri was musical director of the sextet before his untimely 1988 death from a heart attack.

Since then, the Joe Cuba Sextet and band has been a staple of concerts and festivals that unite both Latinos, African-Americans and just plain music lovers in venues all over the world.

In 2003, the following CDs were released:

* “Joe Cuba Sextet Vol I: Mardi Gras Music for Dancing”
* “Merengue Loco” and
* “Out of This World Cha Cha”.

In 2004, Joe Cuba was named Grand Marshall of the Puerto Rican Day Parade celebrated in Yonkers, New York. Musician *Willie Villegas* who traveled with Joe for the past 15 years said, “It didn’t matter where we played around the world Joe would always turn to me and say, To My
Barrio…. With Love!”

Joe Cuba is survived by his wife Maria Calderon, sons Mitchell and Cesar, daughter Lisa, and grandchildren Nicole and Alexis.

Condolences can be sent directly to Joe Cuba’s widow: Maria Calderon at mariacuba1@verizon.net.

THE PROBLEM WITH “WAR” RAGES ON

Sunday, July 15th, 2007

Will the FCC make an issue of ‘War’ language?

Two months before the premiere of Ken Burns’ series,

“The War,” PBS CEO Paula Kerger still isn’t sure
By Ellen Gray

Philadelphia Daily News (July 12, 2007)

BEVERLY HILLS, Calif – Though Kerger yesterday told the Television Critics Association that PBS would offer its affiliates unexpurgated and edited versions of the World War II series, she said she doesn’t know yet how many stations would carry the edited version.

“I thought . . . that there would be more clarity” from the Federal Communications Commission by now about the use of certain language on broadcast TV (specifically, a word that’s already gotten a pass during airings of “Saving Private Ryan” from an FCC whose makeup – and agenda – has changed since then).

“We got a lot of coverage of this documentary because it has four words in it – four out of 14 1/2 hours,” she said, noting that two of those are used to explain the origins of “snafu” and “FUBAR.”

Though the issue drew headlines at the TCA’s winter meetings six months ago and still matters to many PBS affiliates, some of which could be crippled by an adverse FCC ruling and the accompanying fines, “that seems like the quaint old days,” the PBS executive acknowledged.

That’s because of pressure brought in the interim by Hispanic groups who were upset that Burns had not singled out the experience of Latino soldiers in his examination of World War II from the perspective of four American cities and towns: Sacramento, Calif; Waterbury, Conn; Mobile, Ala.; and Luverne, Minn.

In questioning Kerger, and later Burns, critics and reporters here, usually quick to lambaste networks on diversity issues, displayed little sympathy for the groups raising this particular one.

Admittedly, none of us – and none of Burns’ critics – has yet seen the final version of “The War,” which will incorporate some interviews and material he agreed to add at what in documentary terms could be considered the 11th hour.

Kerger was a bit vague on just what’s entailed, Burns a little less so.

“We’ve produced some new material and included it at the end of three of the episodes that doesn’t alter” what was largely completed more than a year ago, he said.

The added material, which will also include a Native American narrative, will run at the ends of episodes 1, 5 and 6, before the credits, Burns said.

It will add 28 to 29 minutes to the total length.

“It was, of course, painful to us on one level” that his work was being misinterpreted, “but we didn’t have the luxury” of arguing for too long, Burns said, reminding reporters that World War II veterans are dying at the rate of about 1,000 a day.

Noting that Hispanics in America are “a group of people who for 500 years have had their story untold,” he said, “We’ve done more than we were asked and were expected to . . . honoring our own interest in doing this right.”

Asked if he expected that to be enough to satisfy his critics, he replied, “There are a lot of different people with a lot of different agendas and a lot of concerns.”

Rather than try to address all of them, he said, the filmmakers “tried to hear . . . the larger question, and that’s what we tried to respond to.”