History of Eighties

1980s fashion history is memorable and have their own style. A variety of fashion looks same to each other in the 1980s.Women of this era begin to feel to choose from one of the many contrasting looks available.The fashion was looks the most powerful over the decade was the wide shoulder. Fashion history reveals that the 80s fashion was a tailored look. It was hard to go anywhere without at least a jacket, but preferably a complete suit. This was influenced by several movements including media influence on 1980s fashion through the popularity of TV dramas like 'Dynasty' and 'Dallas'. Costume dramas brought fashion into real everyday Eighties life. Power dressing, New Romantics, stretch dressing and sportswear all lent a significant feeling that a woman could be anybody she chose to be.

Salsa and exotic Bahia based on rhythmic Lambada of very popular throughout Europe. Both were popular enough to encourage enthusiasts to take short courses in the dance.Pretty silk dresses with cowl necks or bandeau bra dresses with shoe string straps or Azzedine Alaa bandage Lycra dresses were ideal to show off a swaying body in dancer.

Bibliography
- Dance step by step by penguin book - Dance class by Paul Bottomer - Need to know Latin dancing by Collins

Salsa dance in fashion trend forecasting the identification of social trends for future behavior of fashion clients.

Salsa was the one dance which is very interesting to watches. The audient who were seeing will be like to dance too. Like the movie shall we dance it is shown we the Latin dance. Like salsa in ballroom dance it is shown to me the romantic and smooth slow dance step. The dancer with their partner must dance deep in their heard and much understand each other and look like fall in love went their dance. The colour that had been choose such as red, green, yellow, and others. Latin sounds of New York in which many other already well established artists such as Tito Puente and Celia Cruz had been part of Johnny Pacheco and Jerry Masucci had produced an exportable good which toured the world creating an opening for Latin music where ever they were. Pretty silk dresses with cowl necks or bandeau bra dresses with shoe string straps or Azzedine Alaa bandage Lycra dresses were ideal to show off a swaying body when dance.

The silhouettes of salsa cut follow the flow of body with smooth flow light fabric are using for to show the smooth movement. The salsa shape very sexy in cut to shown the romantica and erotic dance floor. The detailing on the salsa dress are beats, sequin, and diamonds. . Style: Latin : Salsa Greatest Album | Greatest Artists | Greatest Tracks

Salsa is one of the most dynamic musical styles to come out of the western hemisphere. "Salsa" means "sauce," but the term should not be taken to mean simply hot and vibrant, nor should the music be regarded as such. Salsa is a term much like the word "swing" as it was applied to the jazz swing bands of the 1930s and 1940s. It describes a feeling that covers a wide range of emotions and musical expression. Salsa is not always fast-paced and vivid -- it can be slow and romantic or anything in between. The basic sound of salsa was intact before the term was applied to the music. In the 1940s and '50s, the Cuban sonero Arsenio Rodrigues, a blind tres player, became the dominant trendsetter in Latin music. His ensemble included a piano, a second trumpet, sometimes a saxophone, and an expanded rhythm section that included timbales, conga, and a cowbell. Instrumental parts were standardized and tight pre-set compositions were used. Salsa is also ... characterized by syncopated bass patterns. The ensembles of Rodrigues became the standard for Cuban dance bands and formed the basis for salsa. Salsa is influenced by many Latin musical forms, like the Puerto Rican plenas, the Dominican merengue, and the Colombian cumbia, but its backbone is the Cuban son. The primary difference between salsa and Cuban music is that salsa has largely developed outside of Cuba. Although salseros are found in most Latin American countries, it is primarily associated with Puerto Rican musicians. The term "salsa" did not come into use until the 1960s. It was applied to the music of Tito Puente and others who had been playing the music for at least 25 years. The term was made popular primarily by Jerry Masucci, the New Yorkbased founder of Fania Records (the largest producer of Latin dance music recordings until the 1980s). The best years for salsa were the 1970s, when Latin Americans were looking back to their roots. This showed in the attitude of salsa musicians looking for stylistic purity. They did so by using smaller band sizes like that of the Cuban conjunto, consisting of a rhythm section with a front line of three to five horns and one or two singers. Although salsa is a Cuban-based musical form (and a commercial form as well), it has served as a rallying point for Puerto Ricans and as an icon of pan-Latin consciousness. Nonetheless, salsa is still a form of dance music subject to the whims of

public tastes, and it suffered a decline in popularity in the 1980s as the Dominican merengue became fashionable. Salsa survived in all its dynamism but in a more diffuse environment, as other styles of Latin music become popular on a mass level. ~ Keith Johnson

Barretto, Ray

Barretto was born on 29 April 1929, in the Brooklyn borough of New York City, of Puerto Rican parents. Noted for his many years as a prominent Latin bandleader, his music career actually began as a studio performer on the conga for jazz recording sessions. He was raised in the Latin ghettos of East Harlem and the Bronx, in an environment filled with music of Puerto Rico but with a love for the swing bands of Ellington, Basie and Goodman. He escaped the ghetto by joining the United States Army when he was 17 years old, but he did not escape the music. Influenced by a record of Dizzy Gillespie, Manteca, with conguero Chano Pozo. He was hooked and he knew then that his calling was was to become a professional musician. Barretto sat in on jam sessions held at the Orlando, a GI jazz club in Munich, Germany. After military service in 1949, he returned to Harlem and taught himself how to play the drums. Barrettos first regular job was with Eddie Bonnemeres Latin Jazz Combo. He then went on to play for four years with Cuban bandleader/pianist Jose Curbelo. In 1957, Barretto then replaced Mongo Santamaria in Tito Puentes band, with which he recorded nis first album: Dance Mania. After four years with Puente, he was one of the most sought-after percussionists in New York Citys thriving music scene. He attended jam sessions with notable artists such as Max Roach, Charlie Parker, Art Blakey and other jazz giants. He also recorded with Sonny Stitt, Lou Donaldson, Red Garland, Gene Ammons, Eddie Lockjaw Davis, Cannonball Adderley , Freddie Hubbard, Cal Tjader, Dizzy Gillespie, and others. Barretto got his first job as a bandleader in 1961 when Orrin Keepnews of Riverside Records, asked him to form a charanga for a recording. Keepnews was familiar with Barrettos jazz work and the collaboration resulted in the album Pachanga With Barretto. This was followed by

the Latin jam Latino in 1962, on which Barretto was joined by Jose Chombo Silva on the tenor sax and Alejandro El Negro Vivar on the trumpet. In 1962, Barretto released the album Charanga Moderna. The track El Watusi reached the Top 20 pop chart in the United States in 1963 and went gold. His next eight albums between 1963 and 1966 thrashed around in various directions and consistently eluded commercial success. The musical merit of some of his recorded work from this period was not appreciated until years later. His fortunes changed when he signed to Fania Records in 1967. He dropped violins for an all-brass frontline and made the R&B- and jazz-flavoured Acid, which won him major popularity among Latin audiences for the first time. Barrettos next nine albums on Fania between 1968 and 1975 were increasingly successful. In 1972, with the Ray Barretto Orchestra he recorded the very popular and important album Que Viva La Musica. The following year he records many songs of Cuban composers in the album Indestructible. The only set back was in late 1972 when Adalberto Santiago, his vocalist since 1966, and four other band members, left to found the band Tipica 73. Perhaps his masterpiece album, Carnaval, in 1972, included the smash song partial MP3 clip Cocinando Suave and partial MP3 clip Summertime. His 1975 album, Barretto, with vocalists Ruben Blades and Tito Gomez was his biggest seller to date. It contained the prize-winning hit Guarare and was nominated for a Grammy Award in 1976. He was also voted Best Conga Player Of The Year for 1975 and 1976 in Latin NY magazine annual poll. Meanwhile, Barretto had tired of gruelling daily nightclub gigs and felt that clubs stifled creativity and gave no room for experimentation. He was also pessimistic that pure salsa could cross over to a wider audience. On New Years Eve 1975, he played his last date with his salsa band. They continued under the name Guarare and released three albums: Guarare (1977), Guarare (1979) and Onda Tipica (1981). Barretto went on to organize a fusion-orientated concert band. An agreement was struck between Fania and Atlantic Records and the first release on his new label was Barretto Live: Tomorrow, a two-disc recording of his successful debut concert at the Beacon Theatre, New York in May 1976. Barrettos 1977 and 1978 albums were his last on Atlantic. However, he still managed to win the Latin NY titles for Musician Of The Year and Best Conga Player Of The Year in October 1977. However, his fusion band turned out to be a commercial flop, as he injured a hand and was unable to play for a while. In 1979 he went back to Fania and reunited with Adalberto Santiago to produce Rican/Struction, a return to progressive salsa. The album was a smash hit and won him the 1980 Latin NY titles for Album Of The Year, Musician Of The Year and Best Conga Player. Two

albums, Giant Force in 1980 and Rhythm of Life in 1982, featured the impressive voice of lead singer, Ray De La Paz (ex-Guarare), and talented young New York-born Latino trombonist, Joe de Jesus. n 1983, Barretto teamed up with Celia Cruz and Adalberto to make the highly successful Tremendo Trio!, which won an ACE (The Hispanic Association of Entertainment Critics of New York) Award for Salsa Album Of The Year. The superb Todo Se Va Poder (1984) and Aqui Se Puede (1987) included singer Ray Saba on lead vocals. Barretto and Cruzs second collaboration, Ritmo En El Corazon, released at the end of 1988 and issued in the UK on the Caliente label in 1989, won them a Grammy award in 1990. He joined the salsa romantica bandwagon with the weak Irresistible (1989), his last on Fania. On 30 August 1990, to mark his long-standing involvement in both jazz and Latin music, Barretto appeared with Adalberto and Puerto Rican trumpeter Juancito Torres at a tribute concert titled Las 2 Vidas De Ray Barretto (The Two Lives Of Ray Barretto) at the University of Puerto Rico. He switched to Concord Picante for the 1991 Latin jazz set Handprints. Barretto has been a member of the Fania All Stars since their inception in 1968. In the late 1990s he was recording with the likes of Eddie Gomez, Kenny Burrell, Joe Lovano and Steve Turre. His recording with these artists as New World Spirit + 4 in 2000 was one of his finest projects in recent years

Ray Barretto a.k.a. King of the Hard Hands (April 29, 1929 February 17, 2006) born in New York City, was a Puerto Rican jazz musician, widely credited as the godfather of Latin jazz. He was also the first Hispanic to record a Latin song which became a "hit" in the American Billboard Charts.
Ray Barretto...
Ray Barretto, one of the most profilic and influental Latin percussionists in the history of modern jazz, makes an invaluable addition to his extensive recording legacy with the release of "My Summertime". With a musical heritage as deeply rooted in the bebop jam sessions held in Harlem during the late-'40s as in his Puerto Rican ancestry, Barretto has spent over four decades refining the integration of Afro-Caribbean rhythms with the improvisational elements of jazz. Few artists have been as successful over the years at fusing these two genres as Barretto, an undisputed master of this style. A pioneer of the salsa movement, Barretto achieved international superstardom and released nearly two dozen albums with the Fania label from the late-'60s until salsa's popularity peaked in the mid-1980's. "The Fania years were fun, challenging and productive years. I was able to use some of the things I learned in jazz and apply it to the charts I used in the Latin band. And it certainly got my name out there"; he says with a laugh. "But while I had the privilege of working with Celia

Cruz, Johnny Pacheco, Tito Puente, Willie Colon, Ruben Blades and other great musicians, there was a downside too. I discovered that after some 20 years with Fania I had become typecast as a 'Latin artist.' That turned out to be extremely limiting when I tried to interest jazz labels in signing me." This is ironic given Barretto's history. The son of Puerto Ricanimmigrants who was raised by a single mother from the age of four, he was exposed to jazz while still a child."I was born in Brooklyn in 1929 andgrew up half in Harlem and half in the Bronx, Barretto recalls. "My mother would play Latin music during the day, but she'd have to leave me, my brother and sister home alone so she could go to night school and learn English. Radio helped us make it through those nights as we listened to Tommy Dorsey, Glenn Miller, Harry James and other big bands. They were our baby-sitters!" Although Barretto was attracted to jazz as a child, it wasn't until he joined the army and was sent to Germany in 1946 that he realized he was destined to be a musician. Ray Barretto died on Friday, February 17, 2006 at a New Jersey hospital, a family spokesman said. He was 76. Barretto died at Hackensack University Medical Center in Hackensack, New Jersey, George Rivera said in a statement. Barretto had undergone heart bypass surgery in January 2006, according to press reports.

Copa's dance moves

BY CAROLINA GONZLEZ Wednesday, June 27th 2007, 4:00 AM

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1946

1980

2007 The Copacabana has survived nearly 70 years of music reinventions, fashion changes and two moves. This Saturday, the celebrated salsa nightclub will bid farewell one more time with a blowout concert featuring another salsa icon, El Gran Combo. The move, five years into the club's 27-year lease, is a result of the planned expansion of the No. 7 subway line. The line's future terminus will be at 34th St. and 11th Ave., the Copa's current location. "Eminent domain has reared its ugly head again," said club owner John Juliano. "Everyone wants a city that never sleeps but not in my neighborhood." This attitude is making the pending move a bit more difficult this time, said Juliano. Although the club's Web site (www.copacabanany.com ) says the Copa will relocate to 10 W. 18th St., Juliano said he has not yet secured a new spot. In the interim, there will be shows under the Copa name at Columbus 72, a new club at Columbus Ave. and 72nd St. But if the long lines that regularly snake onto W. 34th St. halfway to 10th Ave. are any indication, there is hope for the Copa's resurrection yet again after its third move in 15 years is complete. Founded in 1940 by its mob-related manager, Jules Podell, at 10 E. 60th St., the Copa became the hottest spot in town for performers such as Nat King Cole, Frank Sinatra and Sammy Davis Jr. In the '70s, before Barry Manilow immortalized the club in a song, it became a salsa shrine. The Copa has nurtured devoted followers like Jos Corcino, who hits its dance floor an average of four times a month and plans to be there Saturday. "I went to the Copa when it was on 60th St., on 57th St. and now to the one on 34th St., and I'll go wherever it goes," said Corcino. He goes by the nickname Neno la Salsa among the community of salseros who trek to clubs around town and make Copa a regular stop on Tuesday and Saturday nights. As a matter of fact, Corcino, 39, has a few suggestions for the club's new incarnation. "The spot on 34th St. is too big, like a savanna," he said. "And they need to draw more big acts from out of town." Juliano said he was looking to downsize a bit, from the current 15,000 square feet to 13,000, not just for the sake of economy but to recapture a more intimate atmosphere, even within a large club. He said he's looking for an appropriate site not just in Manhattan, but in the Bronx.

But too much room is unlikely to be a problem on Saturday. Juliano said that, as of Monday, the club had sold 90% of reserved seating for the midnight El Gran Combo show. But even without a table, the dancers will come. And they'll wait for the Copa's eventual return.
Mestre Alfredo

Name: Neto Capoeira Name: Date of birth: Place of birth: Salvador, Bahia, Brazil

Alfredo Neto was born on th day of the month of Ap 1963. He was born in the neighbourhood of Liberda where great afternoon Ro Capoeira happened every Sunday, which included participants such as great masters: Waldemar da Pa Caiara, Curi and others age of 12, Alfredo had his contact with capoeira with King of the Senac. At the family did not want him to Capoeira.

He entered the experimen group of dance instead bu eventually restarted Capo with Master Elisio (studen Master Sena). During his years training with Master he learned the importance discipline inside and outsi

Capoeira. From the age o 24, Alfredo was a membe Groupo Folclrico Exalta Bahia, which took him on travels to other states and countries.

From the age of 18 to 21, was a monitor of Capoeira Physical Department of Ed DEF with Master Saci (dis Bimba); he was the coord teaching in the Gymnasiu the Town Soldier of the B in the College Edgar Sant in the Clube do Z (in Lib With Master Saci, Alfredo opportunity of knowing gr masters such as: Master S who was considered at th as the oldest student of M Bimba.

From the age of 17 up until the Clube do Z both in the students and made friends Marcos Gitauna, Val Boa Mo Morte and Amen.

In 1983 through a friend fr Alfredo went to the Academ frequented some of the Sun meet some Capoeiristas fro others. Some time afterwar Master Paulo dos Anjos. Alf Master Paulo, also having t and Jorge Satelite.

At the same time he taught Caxias and in the Clube do Vinte Nove. Both living at t they developed a big friend met Master Boa Gente who

In the same period in his lif the master Helium Xareu a of Bahia in the city of Jagua Anjos de Angola of the Mas friendships of masters and

Together with the group, M cities such as: Itaquara, Iti Jequi and in the city of Alf owns most of his knowledg dos Anjos guided him in the where Capoeira Angola beg

In 1994 Master Alfredo mov Capoeira as well as gymnas his academy was inaugurat training and capoeira.

In late 2000 Master Alfredo Marcos Gitauna (today with years. At the same time me students, Master Boca Rica spoke a lot about. In this e Gitauna as to whom he owe

Master Alfredo also receive Master Val Boa Morte who i Australia, he met again wit Dinho Boa Morte, and also Muzenza. In the same even and teaches in Los Angeles event of Val and Nei and at Amen in June of the same y to him to be introduced to M Acordeon, and he met agai Capoeiristas that live in the

In the month of August 200 Meeting in Jequi, with the Boa Morte (Black Eagle), Pr Instructor Pel, Professor A Monitor Gaivota (Australia)

Today Mestre Alfredo is par Bahia - Sons of Bahia, (Val, with the group Capoeira Ba

Special Thanks

First of all, I thank God for like Marcos, Val, Nei, Dinho Alemao, Zezo, Pel, Clud may always be with them. Anjos de Angola, such as: M Master Virglio, Master Ren

Djalma, Master Wildes, Jo and to everybody who carri Anjos.

I would like to give special Jose Maria and Mrcio. (I L

"I know that during my wal but the important thing is t

OH Master Paulo, whereve CAPOEIRA.

Places to learn how to da 1979- Y

Overall Conclusioncommunity we had a clo danced salsa you were con dancers shared their skills salsa at all. The only bon musicians who were switc then, you want to be with Some people today who h mention how at places lik played salsa, yet that was only two types of music y upstart disco music. And clubs. Rarely did you hear during their set. Bachata w danced a cha cha, you wer and giras all featured a sal weight in gold a million ti DJ playing salsa. People d till 2am when the club clo place where you ran into o importantly saw and danc and /or New York. The ba sights and received with g your feet were moving on Philly or Dudley Grange P when box and started playing t dance. It was rare to see n non Latinos at Latin conce

was into salsa was a guy f thing was, White Boy Bo Ricans., He danced sals

In 1979 dance groups but yet we h clubs to go out dancing, a time, we dressed up, we s club or dance by buying d didnt use the excuse of n All the clubs were filled a dances. (Memories of the that would cross the bridg Randolph St and Erie Ave made them feel welcomed were treated like royalty b salsa- La Isla Del Encant and dances to show off ou

Back then, there was no m just dancing salsa say 1979 beats 2004 witho that we know we will nev else writes about the Phill better time. But for this w certainly is not better than past winter, information w which featured El Gran C the mouth of a young sals Notice, they didnt ask wh DJ would be. In 1979, tha party. Back then, we droo band would be coming to BIG DANCE knew about it at least two other places would empty a way of living, a cultural you danced salsa you back then, both men and w Ive met many women wh collections. When you we music or some salsa de a being played? It was more in my collection. Those w

about salsa, the music por Today, we have many sals then, we had many, many Thats what kept the musi friend to friend, family to generation. I remember m their younger children, ch about salsa from when I w knowledge, simply becaus knowledge as young salsa so what! Well, it is a big d and record companies thin record stores. So what, we twenty years, after all, it h salseros and salseras care musics survival.

A 15 page article in a prom magazine back in 1979, v magazine trying to cover t changed, the internet, high IPOD. But locally, (as we football & baseball stadiu scene out weighs heavily makes 1979 one heck of a

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