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An Interview with Salsaweb Music’s Editor-in-Chief, Mr. George Rivera…
"The Voice of the Masses, The Ears to the Masters."
By Edie, The Salsa FREAK
Many of you know George Rivera as one of the most sought-after Latin music reviewers in the world. His dedicated following numbers in the thousands, not only because of the quality of his reviews, but the years of trust his readers have had in him. Many of his readers have told me his quality music reviews and articles are worth his weight in solid gold.
A few months ago, George and his company, Jazz Con Clave, decided to join Salsaweb Magazine on its quest to become the world’s number one resource for Latin Music, Entertainment, and Musical History. He brought in a team of reporters, writers, and historians to build what is quickly becoming the world’s strongest and most powerful information resource for Latin music and its historical origins.
When I started telling people George was now part of our team, I got comments like,
…"George Rivera? You’ve got George Rivera? Wow, that guy’s the BEST!"
..."Wow, Edie, now you’re dealing with the REAL DEAL."
…"My entire music collection is based on George’s reviews. Without him, I would have wasted a lot of time and money."
..."Do you REALIZE ‘who’ George Rivera is?"
…"George is by far, the best music reviewer and musical historian I’ve ever read."
…"His reviews are superb, and more importantly, accurate. He doesn’t powder-sugar anything - just tells it like it is."
After meeting George in New York earlier this year, I realized that George is a very humble, honest, and straightforward gentleman. He can recognize talent (and bullshit) a mile away. He takes a great deal of pride in what he does. When you talk to him, you feel as if you’ve known him for years. He is personal friends with some the most famous artists and musicians in the world, and they too, value and respect his opinions and recommendations.
Ladies and gentlemen, introducing The Voice of the Masses, and Ears to the Masters, Mr. George Rivera.
Where were you born and how long have you lived in New York?
I was born in San Juan, Puerto Rico. My parents lived in New York at the time. My mother, who was pregnant at the time, had to go to Puerto Rico because of an illness in the family. While she was there I decided to make my entrance. A month later I was back in New York and never made it back to the island until I was fifteen years old.
How long have you been interested in Latin Music and where were you first introduced to it?
The very first song I remember hearing as a very young child was Cortijo and Ismael Rivera’s "Oriza". From that point on it’s been nothing but Latin music for me. When I was about ten years old, during a visit to my Aunt and Uncle’s home, my attention was drawn to Cal Tjader’s "Guachi Guaro", and Tito Puente’s version of "Work Song". From this point on there was no return from this journey of sound. I started building an extensive record collection from about the age of twelve that to this day continues.
Who or what inspired you to start writing music reviews?
I had been studying music from a very young age. I had first started with basic theory when I was about ten years of age. I was fortunate to have lived in an area where guys like Milton Cardona, Patato and Totico, Machito, and Vicentico Valdes, among many others, lived. My father operated two of New York’s top theatres, the El San Juan in Manhattan, and the Puerto Rico in the Bronx. Both theatres were busy concert venues within the mainly Puerto Rican communities at the time. I would go with my father to the theatre and watch bands like those of Tito Rodriguez, Tito Puente, Machito, Cesar Concepcion, Cortijo and Ismael, and the debut of Roberto Roena’s Apollo Sound. I had access to these guys as a result and would ask lots of questions. One day, when I was about thirteen years of age I approached Mario Bauza with a tape recorder and proceeded to conduct my very first interview. That conversation is what fueled my desire to conduct research. One thing led to another and here I am today.
When did you start, and what was your first review?
I started back in the early ‘70’s by submitting articles to the now defunct LATIN NEW YORK magazine which was published by Izzy Sanabria. After that I had stopped and went on pursuing other musical interests since there were no publications that covered the Latin music scene exclusively. Eventually, the internet would come along and change the way we communicate. As a result I, along with a couple of other individuals, would kind of start something on the net that would eventually lead to the Music Section here at Salsaweb.
Why do artists trust you?
I have been involved in many aspects of this industry from pre to post-production work to handling publicity and promotional campaigns. I have also been involved in the distribution, wholesale, and retail end of the recording industry. I have had the opportunity to meet and befriend many of yesterday and today’s major artists. I have always been very straightforward with anyone that I had to interact with. Whenever there was something that I could help with, be it distribution, shopping a recording, getting someone out of a recording contract, or some publicity or promotional help, I was always there for them. As a result I have forged a very special relationship with many artists. These artists know that they can confide in me and that I will not compromise their trust.
Why does the public trust your opinions?
I guess because I have always told it like it is. I don’t sugarcoat anything. With me la verdad es la verdad, the truth is nothing but the truth. There have been lots of folks that have told me that as a result of a review I piqued their interest in regards to something they "thought" they didn’t like, but were pleasantly surprised to find that they indeed did. If we just open up our minds and refuse to let outside factors interfere with what we’re doing we’ll find in most instances that what we "thought" we didn’t like, is not so bad after all. For instance, take the Ruben Blades review (http://music.salsaweb.com/pick.htm). Lots of folks don’t like Ruben because they think he’s too arrogant, a communist, a hypocrite and for a variety of many other reasons. I happen to believe that if they put their prejudices aside that they may be surprise to find that what they hear appeals to them. That is my objective in writing, an appeal to the reader to give the artist in question a listen, a real listen.
What do you find the most difficult aspect of your job?
Dealing with the industry suits. There are so many individuals in this industry that are calling shots without knowing or understanding this music. These are the people that are bringing this music to a standstill. They are more interested in making a dollar than in giving the people what they truly want. Now don’t think for a minute that I am against making a dollar, after all we live in a capitalist society. What I am against is the way these powerbrokers go about copying the formula of whatever is the flavor of the month. We have some very talented individuals out there that are being forced to make lame records only because the suits demand they do so. An example would be the constant copying of Sergio George’s individual style. Sergio is an individual with lots of integrity. He would not compromise himself by copying the sound of a successful act, such as Marc Anthony or DLG, for some other act. The proper thing to do is to find an individual sound for the new act. As a result what happens time and time again is that the suits will just hire someone else to copy that sound for the up-and-comer. This hurts Sergio and Marc Anthony or DLG because it burns them out before they really begin to cook. These suits have got to wake up and realize what they are doing to the music before they kill the industry. They have to realize that this is dance music and that the real market for this music is in the nightclubs and not in the payola plagued radio market. If the listening public can’t move to this music then it will most definitely die a slow death. They point to the bigger sales figures, but they are too ignorant to see that those figures are there as a result of the bigger market that has opened up throughout the years. The distribution routes are far greater now than in the past and it is that fact that has expanded those sales figures. Now imagine if the music being pushed nowadays had real teeth, those sales figures would double and triple in an instant! Lo que la gente pide es Salsa, not that mass produced stuff, but the real thing.
What is the most satisfying?
The most satisfying thing that can happen is when the public responds, in a negative or positive light. That’s the only way to know if you are reaching anyone.
Was there ever a time where you felt a "breakthrough" with your work? When and what was it?
Two instances come to mind. The first, being touted as the "best" by Midem’s Eddie Rodriguez, Vice President of Sales. Eddie ran RMM’s TropiJazz label before leaving for Midem. The second, being complimented by Peter Watrous, of the New York Times. Peter is a champion of this music who has extensive knowledge as a result of conducting lots of research here in the states, as well as in Cuba and elsewhere.
How did you become such an authority of Latin music and History?
By living through this musical journey that I embarked on since first hearing Cortijo and Ismael’s version of Oriza. Ever since then the journey has continued. The education I received from grade school through grad school could not compare to that I received from individuals such as Mario Bauza, Machito, Tito Rodriguez, Milton Cardona, Manny Oquendo, Nicky Marrero, Charlie and Eddie Palmieri, Barry Rogers, Willie Colon, Rafael de Jesus and many other musicians. Individuals such as Jon Fausty, Rei Peña, Constanza Garcia of Music Marketing, Sergio Bofill of GB Records, Vicente Barriero of Casa Latina and my pal and partner in crime, who will remain anonymous (Negre, ya sabes!), are some of those individuals that I am indebted to as well.
I understand you will be working on a Musical History section for Salsaweb Magazine. When is the Grand Opening of that section?
By the time this is published our La Clave 101 section should be up and running. The section will trace the history of this music we call Salsa from it’s roots to the present. It will be rich with audio and visual effects. The work is in process and will be a weekly feature sort of like a telenovela.
Where do you get your information?
From an extensive book and record collection, as well as from interviews and field research I have conducted throughout the years. I rely heavily on the interviews and field research. Somewhere between the books, records, interviews and research lies the truth. That’s where the information that will be presented comes from. Facts have been checked and double-checked. All the t’s have been crossed, and the i’s have been dotted as well.
Who are your team members, and describe what each one does?
Well, there’s Nestor Louis who was a radio personality on WBMB 590 AM. Nestor covers the Salsa scene, with an eye on some of the classics of yesterdays. From time to time he will also be contributing articles, such as his piece on record piracy that is presently on the site.
There’s Javier Antonio Quiñones Ortiz, better known as JAQO. JAQO is a radio programmer with Miami’s WDNA, which I should add is the only Miami radio station with the courage to broadcast Cuban music. JAQO is also a percussionist who has performed with Gloria Estefan. JAQO brings us a taste of some of the alternative music that’s out there by publishing his playlist. He will also be conducting interviews, as well as writing reviews on whatever moves him. JAQO will also have an editorial section where he will be tackling lots of things. Keep in mind that JAQO is an ordained minister…
Louis Head is an on-air programmer of Afro-Latin music at KUNM-FM in Albuquerque, NM and an independent producer. Louis will be contributing record and performance reviews as well as editorials and interviews. Louis also is the producer of the Cubania website (http://kunm.unm.edu/cubania/index.html) which is devoted to Cuban culture and performing artists.
Christine Rodriguez is a Communications major at NYU who first came on the scene with a Teen View column. The column was something I had concocted in an earlier life with the intentions of presenting the view of the younger salsera/salsero. She has since continued to bring us all a glimpse of the scene from the perspective of today’s younger crowd.
Victor Hugo Paredes was a contributor at Salsaweb before the music site was revamped. I first met Victor a few years ago when I agreed to help him out with some research he was conducting for a college course. I was struck with his eagerness to learn about the music and decided to help a young brother out. He eventually received an A+ on the project and went on to work at RMM. Victor will be contributing record reviews, as well as profiles and interviews. He will also continue his previous column, Victor Hugo’s View.
Richie Blondet is making his writing debut with Salsaweb. After meeting Richie a while ago I decided to give this young cat a break and he has been running at full speed ever since! Richie has been contributing mostly performance reviews on his column, Rumbeando. He will be reviewing records as well.
Carl Findlay, our tech columnist, will be contributing lots of computer related information that will make your Salsa experience on the net that much better. He is also working on a listing of Latin radio and music on the net.
Last, but not least, is the JazzBuffalo, our Latin Jazz specialist. JazzB is one of the best reviewers that I have had the pleasure of knowing. Besides Latin Jazz, the man is very in touch with the Bolero. He’s just getting ready to get cooking that’s why we haven’t heard much from him to date.
I knew I would forget someone! Lori Clark is a bilingual teacher who will be contributing as well. She will be helping out with the proof-reading and translations. Our goal is to be completely bi-lingual within the next couple of months.
Are you a dancer yourself?
Yes, I do dance occasionally.
Do you prefer Mambo over Salsa music?
I prefer good music! Mambo is the dance, not the rhythm. It’s a common mistake made even by some musicians. People started referring to some of the up-tempo music as mambo back in the Palladium days as a result of the dance craze. It’s sort of the Salsa tag that took over during the early ‘70’s. If I understand your question correctly, I prefer music, which is up-tempo and where you feel the clave. That’s something that is missing today as a result of the romantica/erotica direction the music was taken in by the suits during the early ‘80’s.
In most other countries besides the United States, Cuban music, as well as Cuban style of dancing is very prevalent. With the gateways to Cuba now becoming more open to the US, do you see an influx of Cuban music and dance style becoming more popular in America in the next decade?
No. The Cuban timba sound is Cuba’s equivalent of the U.S. Pop or R&B sound. Here in the states the dancer is more into touch dancing, that is partner dancing such as mambo. The Cuban’s are more into a sort of free-style dancing nowadays. The music on the other hand is made more for musicians than for the general public. The Cuban musicians, and music industry on a whole, have not really mastered the art of marketing. Most of the music made on the island is in response to what others are doing. If one guy takes a two minute roll on his timbales, the next guy will want to out do him and record a three minute roll. Now, this is not me just saying this, but many of the Cuban musicians I have had the pleasure of interviewing and just hanging out with have said so. There is a certain Cubamania craze as of late due to the fact that most people are just becoming acquainted with the music of Cuba. This is not to say that the musicians of Cuba are not good, but as time goes on that Cubamania will die out.
All we hear at Salsa competitions and performances are fast, non-lyrical instrumental type music from the Palladium days. Don’t modern-day bands realize that dancers are interested in fast, jazzy, upbeat instrumental Latin music?
The musicians realize this; however, the suits don’t. One of the main characteristics of the Palladium was that of the dancers. When you speak with someone who had the opportunity to be there, that’s one of the first things that they tell you. All of the musicians of the era that I have had the pleasure of speaking with have told me that they thrived on the dancers. The dancers would make their performances that much better because the really good dancers that frequented the Palladium fed off the band, and in return the band would hype things up from the excitement. Maybe, what the suits need is a trip down memory lane to wake them up.
Why do the majority of new Salsa bands continuously make music that is slower and non-danceable to Salseros?
Again, it’s not the wish of the musicians or producers in most cases, but that of the suits. Today the music plays a backdrop for the vocalist. It is just there to accompany the vocalist, and that’s alright with me. However, they can make it much better and attractive to the dancer by just letting the rhythm section pick it up. A good example would be in Gilberto Santa Rosa’s Dejate Querer, or Willie Rosario’s El Apartamento. They both have romantic themes; however, the rhythm section pushes the music.
What frustrates you the most about musicians?
Sometimes they can be really hard to work with. Creative people can be difficult. Once they get to know and trust you things get better.
What frustrates you the most about dancers?
Nothing really. I’m not really a dancer like yourself. The only thing I can think of is when the floor is crowded and you are next to the psycho Mambo King who insists on kicking up his heels and throwing those elbows around.
What was your favorite "Latin Music" era, and why?
It would have to be the Fania era because I lived it. I mean I was there when the whole thing exploded after the Cheetah presentation of the Fania All Stars. I have had the pleasure of working with and knowing most of the protagonists personally. However, I would have loved it if I could have experienced the Palladium era also. That was the music’s elegant era.
Where do you see Latin music headed in the next decade? Do you see a resurgence of Tito Puente – type, no lyric, Mambo coming back? If so, by whom?
I see the music opening up a little more as a result of guys like Gilberto Santa Rosa, who has the clout to make that transformation possible. I don’t see the instrumental side of the music really making a comeback as of yet. Again, the reason lies with the suits because of the failure of their marketing strategies. They have no idea on how to market that type of music. They only understand the pop music concept of the pretty face.
What is the next biggest project your working on for your Music section?
We’re working on first designing a state-of-art website. Don’t get used to the current design. Soon it will be history. Eventually we will have everything the salsero desires. You will not have to go elsewhere for anything.
Do you plan on making your Music section bi or tri-lingual?
That is in the works. Thanks to Lori Clark we are currently working on making the site bi-lingual.
What will your readers expect to see in the future from the Salsaweb Music section?
The best music reporting on the net! Already the copycats are attempting to duplicate our work. In time, our readers, as well as the industry as a whole, will find that Salsaweb is where it’s at.
Thank you so much George, to both you and your team. Here’s to a phenomenal millennium together!
George can be reached at george@salsaweb.com or http://www.music.salsaweb.com
