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EL BUEN SAMARITANO’S GOT THE SOUL!
New York City has always been known as a “melting pot” for culture. In the 1960s, a young Boricua named Tony Pabón embarked on a musical voyage that would bring together the soul of a generation through a new musical phenomenon called Boogaloo. Pabón, a charismatic leader and gifted musician, used his unique talents to help create a hybrid style that would trigger a multicultural celebration of music, diversity and dance. The Boogaloo crossed musical boundaries and spread like wildfire throughout the baby boom generation.
Pabón made his entry into the Latin music scene during the early ‘50s, when people were celebrating a return to peace and stability after the war. During that period, a new “industrial optimism” was blooming in the U.S. The music industry buzzed with excitement as the new 12” Long Playing (33 1/3 RPM) and 7” (45 RPM) record formats took flight creating new opportunities for musicians and artists alike. Without hesitation, Pabón seized the moment at a young age to create music that was both different and uplifting.
From the beginning, Tony was clear on his mission: he wanted to connect with the public through his music. Pabón’s dynamic talents helped him to create a body of work that is often described as joyfully infectious. The party-like atmosphere conjured in his music with Pete Rodriguez had an immediate impact on the listeners. Mega-hits like “Micaela” and “I Like It Like That” topped the charts and broke new ground establishing the band as the de facto kings of Boogaloo.
Pabón’s passion for composing music shouldn’t be underestimated. He had a gift for putting together songs that were memorable and inspiring, oftentimes poignant. His compositions (some written in collaboration) were filled with folkloric wit and bits of Jíbaro wisdom that reflected his island roots and humble upbringing. Songs like Borinqueños (co-written with Manny Rodríguez), Décima Moderna, Bandera (co-written with Kent Gómez), and Clemente demonstrate a deep respect for his people – and his heritage.
Moreover, Tony had a way of infusing humor and double entendre into his compositions (à la Rafael Hernández and Pedro Flóres) that was reminiscent of the “golden era of song”. His robust catalog of popular tunes (e.g. Averiguá, Dale Biberón, El Bobito, El Capitán, El Hueso [with Manny Rodríguez] Jeringoza, Lo Voy A Matar, Micaela…) stands as a testament to his exceptional gift for writing.
In addition to his skill with lyrics, Pabón had a knack for combining novel ideas in his creations. He would mix languages (e.g. “La conga playing a caballo beat – La Banda doing shing-a-ling”), interweave rhythms (e.g. pachanga, son, guaracha), fuse styles (e.g. Latin, Soul, Rock & Roll Doowop…), and experiment with sound textures (e.g. tambourines, hand claps, Doowop harmonies, etc.) to embellish his compositions. This creativity earned him multiple awards (including gold records) and fueled the Latin music industry (inspiring many of his contemporaries to jump on the Boogaloo bandwagon).
An example of his exceptional talent can be heard on one of Pabón early recordings, La Banda, which he wrote for the vocal group, The Latin Souls (recorded on Kapp Records – circa 1967).
The bi-lingual lyrics in this Latinised Doowop composition clearly demonstrates Pabón’s inventiveness in blending languages and varied musical forms to create a unique hybrid. But let’s backtrack a bit to see how Pabon’s extraordinary musical journey actually started…
José Antonio “Tony” Pabón II was born on March 6, 1939, in the coastal town of Santurce, Puerto Rico. He was the only child born to Don José Antonio Pabón and wife, Rosaura “Rosa” Colón-Pabón. In search of a better future, the family moved to New York City (c. 1944) and took up residence in Manhattan’s budding Spanish enclave, El Barrio.
During World War II, Don José worked as a merchant marine on a cargo ship (The Robin Goodfellow) that transported supplies for the US military; when, on a return trip from Africa, his vessel was hit by a German U-boat. None of the crew survived. Devastated by the loss of her spouse, Doña Rosa dedicated the rest of her life to the care and needs of her young son, Tony.
Upon arrival in El Barrio, young Tony was enrolled at Public School 21 [PS21], where he began his formal education. He later registered at the Patrick Henry School in Harlem where he would continue the development of his musical skills.
In an interview for Herencia Latina, Pabón affirmed that he participated in a special music program offered by the Board of Education when he was about 12 years old and studied under the tutelage of Instructor Luis Del Vecchio. While in school, he made many acquaintances through his involvement in music and became friends with future trumpet luminaries Tony Cofresí, Papy Román and Elías López.
An avid fan of Harry James, Tony was destined to follow in the footsteps of the popular trumpet master. He first started practicing music on the bass and experimented with the piano, but inevitably gravitated to his real love – the trumpet.
Around 1956, the family decided to relocate to the Bronx. To ensure the continuity of Tony’s music studies, Doña Rosa hired a private instructor from Julliard to give her son lessons in composition and orchestration. Thanks to his mother’s support, and Tony’s perseverance, the training and practice soon paid off. He played his first professional job with the band of Bolivar Vidal and subsequently went on to work (and record) with the orchestra of Randy Carlos.
*According to Pabón, he made his debut with the Randy Carlos Orchestra around 1956, while the band was riding high on the charted cha-cha-cha, Smoke/Humo (released on the Fiesta Records label). (Note: Also involved with the Carlos Orchestra was a budding young pianist by the name of Lawrence Kahn – AKA Larry Harlow.)
*revised 2023
Afterwards, Tony worked with the bands of Quique Monsanto and the Orlando Marín Orchestra. In 1958, he played on one of Marín’s early tracks titled La Mesa, which was released on the Fiesta Records LP – Let’s Go Latin [FLP-1222]. He went on to play for a short while with La Playa Sextet, making an appearance on their seminal recording of “Coco Seco/Dry Coconuts” [Mardi-Gras Records].
THE LATIN BOYS…& PETE RODRÍGUEZ ORCHESTRA
It was in the middle of those early years that Tony joined a band of local kids called the Latin Boys. The group came out of a small circle of gifted musicians whose talents would take them to the pinnacle of Latin music. Eddie Palmieri (piano), Joe Quijano (maracas), Pete “El Conde” Rodríguez (bongo), Benny Bonilla (bongo), Pete Rodríguez (piano) and Orlando Marín, (timbales), along with Tony, all came out of that pioneering group of youngsters.
According to Benny Bonilla, he first met Pabón in the Latin Boys when he was asked to join the band as a replacement for Pete “Conde” (who left to join Conjunto Sensación). Shortly afterwards, Eddie Palmieri left the band to work with the Johnny Seguí Orchestra and was he replaced by Pete Rodríguez. The band continued wood-shedding together until Rodriguez decided he wanted to try something new and asked some of the band members to join him in forming the Pete Rodíguez Orchestra. (Benny and Tony, who had become intimate friends, would continue their joint musical journey for almost two decades.)
During the ‘60s, the civil rights movement was in full gear. People were coming together to fight for change, equality, and justice. The mounting call for solidarity among the African-American and Latino community created a ripe time for the fusion of Latin and soul music. Inspired by the spirit of the times, many artists developed new ideas bringing together elements that would spawn the age of the Boogaloo. Eager to participate in the progressive wave was young Tony Pabón and crew.
The Pete Rodríguez Orchestra began around 1957, but, according to Pabón, wouldn’t record until seven years later. In 1964, Rene Moretti offered the band a contract to record for his new label, Remo Records. That year, the group released their debut LP titled, “At Last!” – Pete Rodríguez y La Magnífica [REMO LPR-1511] and took to the road, performing their new record throughout the city. The neophyte label only recorded two LPs with the Rodríguez band before releasing the group due to a lack of funds. Not long after, the orchestra was courted and signed by Alegre Records in 1966. That same year they released the Latin Boogaloo LP (produced by Al Santiago and Morrie “Pancho Cristal” Perlman).
But it wasn’t until 1967 that the band would score big with their epic hit I Like It Like That. Tony Pabón explained how the tune came about in an interview: “In early 1966, we kept getting repeated requests from dancers to add a little soul to the music…Pete asked me to write music that would please the promoters of the dances…” At the request of the promoters, the band went into the studio to record Tony’s new idea for the event’s radio promo…and the rest is history! The English tinged montuno filled in a void with audiences that became an instant musical phenomenon – forever branding the decade of the ‘60s as the era of the Boogaloo.
The Alegre years were fruitful ones for the Pete Rodríguez Orchestra thanks to Tony’s creative input. The popularity of the band and their music led to the crowning of Pete Rodríguez as the “King” and “founding father… of the Boogaloo sound.” They continued to perform and record, winning numerous awards and gold records through the end of the ‘60s. Unfortunately, a changing musical scene coupled with the usual industry high jinx ultimately caught up with the band. Tony, who was in popular demand by then, recorded a number of tracks with Ángel René & Johnny Rodríguez for the Mardi Gras Records label on a 1968 LP release titled, “Un Consejo: A Word Of Advice” [LP-5040].
TONY PABÓN & LA PROTESTA…
Disenchanted with the inequities he experienced in the Rodríguez band, Tony decided to leave the group and went out on his own. He invited some of his old band mates to join him in establishing one of the very first successful cooperative Latin bands in New York City and, in 1969, they formed Tony Pabón and his All-Stars (soon to become La Protesta).
Benny Bonilla, Nestor Sánchez, Ángelo Rodríguez & Tony Pabón]
Among the original members of the new band were long time Rodríguez associates Benny Bonilla (percussion) and Angelo Rodríguez (trumpet). The addition of power-house vocalist Nestor Sánchez, along with musicians Kent Gómez (piano), Henry “Pachi” Algarín (conga), José “Candido” Rodríguez (timbales), Richard Dones (bass), and José Mangual Jr. (percussion and vocals) rounded out the crew; together with Tony at the helm, they officially lit the torch to launch La Protesta.
According to writer Max Salazar, the orchestra’s debut performance took place on November 21, 1969, in the popular Bronx dance hall called the Abalone Ballroom. From that point on, there was no stopping their momentum. The band immediately landed a contract with Alegre Records and released their first LP in 1970, titled – Tony Pabón and his All-Stars. (produced by Miguel Estivill / engineered by Fred Weinberg)
recording engineer – Fred Weinberg]
The following year, Pabón met Rico Records executive Ralfi Cartagena and signed to a long-term contract with the label as an exclusive artist and production associate. The newly forged partnership would keep Tony busy in the recording studio for decades to come.
Nelson Velázquez]
With stellar vocalist Nestor Sánchez featured as their frontman (Tony and José Mangual also helped out singing lead), La Protesta quickly ascended in popularity and by 1971, the band broke into the Latin charts with their first hit single, Ñaña Seré. One of the few bands with the versatility to play clubs like the Cheetah and Club Caborrojeño, La Protesta had a unique sound that appealed to both young and old audiences alike. From the beginning, they earned the respect of the listeners and were showered with accolades by their loyal followers.
According to percussionist Johnny Santana, Pabón was one of the most generous and caring bandleaders in the business. He treated his musicians fairly. (i.e. paying exceptional wages, bonuses, and providing other opportunities through studio work)
It was around the early-to-mid ‘70s, when Pabón got the chance to branch out into the world of television. He teamed up with the distinguished Gilda Mirós to co-host a weekly music program broadcast out of Patterson, New Jersey called, “Esto Es Lo Nuestro.” The hour long music show was aired on Channel 41 by the Spanish International Network and featured a mixture of interviews and live performances by some of Latin music’s most notable musicians. (e.g. Pellín Rodriguez, Vitín Aviles, Roberto Roena, Larry Harlow, Típica Novel…)
while in transit to a show.]
After the show’s end, Pabón continued to record new material (e.g. No Te Tires, Fé Y Esperanza, Va Llover, Clemente, El Tabacón, El Capitán…) and perform live shows with his band until he unexpectedly fell ill in 1974. At a New Year’s Eve performance in Connecticut, Tony suffered a ruptured pancreas that forced him to stop playing trumpet and put him out of circulation for some time. It was during this period that he decided to retire from the band and dedicate his time to the distribution of music. He would later record one more album with La Nueva Protesta before moving on to establish a new label (with his wife Rachelle) called, Ritmo Records. The band left behind a legacy of great music that continues to inspire audiences today.
(Gómez – Pabón)
Tony Pabón y La Protesta
~ canta Nestor Sánchez ~
[Courtesy of Ralph Cartagena / Combo Records]
FROM RICO RECORDS…TO THE MINISTRY
As the principal recording director for Rico Records, Tony worked diligently in supporting the label’s roster. He directed and supervised many studio sessions for artists like: Chaparro, Tony Rojas, The New Generation, Orchestra Colón, Orchestra Love, Los Hermanos López, José Benjamín, Conjunto Candela and others.
He also organized some of the finest Latin musicians in New York City to form the label’s flagship orchestra, the Rico All-Stars (RAS). This stellar cast of musicians recorded tracks for popular vocalists such as Joe Valle and José Miguel Class and included the talents of: Israel “Cachao” López, Paquito Pastor, Leopoldo Pineda, Vitín Paz, Hector “Bomberito” Zarzuela, Mario Rivera, José Rodríguez, Tommy Rivera, Eddie Montalvo, Angelo Rodríguez, Nieves Quintero, Adalberto Santiago, Johnny Santana, Emilio Reyes, Milton Albino, Nestor Sánchez, Madamo, Vitín Aviles, Alberto “Panamá” Mercado, José Madera Jr., Salvador Cuevas, Kent Gómez and other renowned players.
In addition to the RAS recordings, Pabón worked on a number of projects for the Solo and Neliz record labels, supervising and directing recording for Primitivo Santos, Candido Rodríguez and Joe Acosta. As a record distributor, Tony was involved in promoting the works of: Elias López, Luis “Perico” Ortiz, Danny Rivera, 4/40, El Gallito de Manati, Santiago Cerón and many other artists.
A staunch guardian of Latino culture, Pabón often integrated jíbaro elements into his productions (e.g. he recorded Nieves Quintero’s cuatro mastery on the RAS sessions) and helped develop and direct many caribbean-based projects.
It was after facing some personal challenges around 1992, that Tony Pabón finally found his true calling; he became an ordained minister. Dedicating the rest of his life to his church and ministry, Tony set out to help people struggling with alcohol and other addictions. Using his personal resources, Pabón supported multiple ministries focusing on helping out youngsters in need.
Interview with Tony Pabón by Gilda Miros [click here]
Always fighting for fairness and the under served, el buen samaritano continued to carry out his honorable mission until his final days. Maestro Tony Pabón was called to rest on January 21, 2014, while being treated at Columbia Presbyterian Hospital in New York City for a stroke following a bout with cancer at the age of 74.
The Reprise of “I Like It Like That”
Written off as a fad, many critics predicted Boogaloo music would never survive the test of time, but Pabón’s legacy has proven them wrong time and time again. In the past 50+ years, Tony’s music has re-surfaced in recordings, reissues, movie soundtracks (e.g. I Like It Like That, Noel, Chef, We Like It Like That…), commercials (e.g. Burger King), samples and even phone rings (to the delight of a new generation of listeners). Triggered by the recent resurgence of Boogaloo in European discos, the genre’s renewed popularity has helped place Pabón’s tunes back onto the contemporary charts. (a feat very few artists can claim)
In 1994, I Like It Like That was used as the title track for a new movie starring Lauren Vélez and Jon Seda. The song was re-recorded by a group of world renowned musicians (called the Blackout Allstars) that included: Ray Barretto, Paquito D’Rivera, Sheila E, Tito Nieves, Tito Puente, David Valentín and Grover Washington, Jr. After the Sony Music release, the song continued to pick up momentum when it was used in a Burger King commercial and again, recorded and released in 1997, by popular vocalist Tito Nieves on his CD, titled “I Like It Like That.” According to the New York Times, the song was also a determining factor in the acquisition of Fania Records (which includes the Alegre catalog) in 2018, due to the tune’s continued sales and sampling.
Some additional words on Tony Pabón…
RALPH CARTAGENA
“For Tony Pabón [I’d give] anything…He was my right hand…”
BENNY BONILLA
“I knew Tony when he was in the Randy Carlos Orchestra…he was a rebel and a rock-n-roller… a tough guy – but he was a good guy and what he believed, HE BELIEVED!” [Benny Bonilla – August 2019]
JOHNNY SANTANA
“Every gig that I played with Tony was important…we were all like family members. We did everything together… celebrated birthdays together. That’s the way it was…nobody did that…I mean, Tony was a guy who was very generous…When it came to you being employed…he really took care of you…it’s very rare to find a leader that is that generous…a human being that takes care of you as if you were a family member. That’s the way Tony (was)…” [Johnny Santana – October 2019]
WILLIAM MILLÁN
“I first met Tony Pabón in the studio when I was in my late teens. I was playing bass for the Tony Rojas Orchestra, and we were recording tracks for El Chino Divino LP with maestro Pabón directing the session. It was my very first recording date, and I was filled with anxiety. Tony’s calming demeanor and sense of humor put me at ease and helped get me through the session. He was a true gentleman and a beacon that had a knack for making people feel comfortable – welcomed. His music and charismatic spirit will never be forgotten!” [William Millán – October 2019]
EDDIE MONTALVO
“In…1970, I was a member of [the] Joey Pastrana Orchestra. My first encounter with Tony was in…1971. I met Benny Bonilla…the conga player for La Protesta… [and he] took a liking to me as a conga player. A year had passed and I received a call to my parent’s house from Benny and Tony, offering me the job to play congas with [the band]… I was overwhelmed, I was only 20 years old at that time.
I joined the band when they had recorded an album called Capitán…and got to record… [on] ‘Tony Pabón presents Joe Valle.’ My first performance with the band was at Casa Borinquén in Brooklyn. When the show was over, that evening, I… recall Tony calling me “petaldito” (fireworks)… [He] asked me, ‘How is it that you get that sound from the congas because…when you slap the conga, it sounds like a firecracker?’ My reply to Tony was…’it’s God sent.‘
I have nothing but good memories of Tony. I can recall… [when] Tony was hospitalized and I went…to see him with Nestor Sánchez…Tony saw us come into the room [and] his eyes sparked like a light bulb…he tried to impress us by getting up from his bed. I said, ‘Tony please don’t try to get up’ and [he said] ‘I am gonna try to impress my wife, Raquel, when she visits me today.’ He had such…[a] good humor… a great human being! Tony was a father figure to me. He took me, as they… say, under his wings [and]… gave me nothing but good man-to-man talks.
I… recall, later… when he became a pastor, I went to the church to visit him [and] he was so happy to see me…[he gave] me a bible that afternoon. I took the Bible home [and] as I started reading it…tears [flowed] from my eyes. Tony left such a great impression on me… he was serving our savior. Today, because of Tony, whom God sent…to plant the seed, I am a Christian. I am serving the Lord at [the] Times Square Church ([of] the late David Wilkerson) and [play] with the ministry band… In my heart, Tony lives forever.” [Eddie Montalvo – November 2019]
JOSÉ MANGUAL JR.
“I [first] met Tony Pabón when he was with Pete Rodríguez at the Tropicoro… I was very impressed with the group…his singing, and the way he was… When Kent Gómez [my compay]…went in the band…I hung out…. [and] recorded some of the albums with them… Benny Bonilla was the bongo player and… I used to play the cowbells… and minor percussion on the albums…
Tony was on the money all the time… he was a very organized gentleman… He was aware of a lot of things… playing the trumpet…[and] doing the coros… nothing went by him…He was un aguila, un aguila…always on…spot!
No matter what the circumstances were, when he was on the stage, he never let anybody know that he had a problem… [or] was hurting. He was a true professional and that’s… [what] I admired in him… When it came time to do his songs, he always gave… 100%.
Working with a lot of musicians and… singers, sometimes you could tell that it’s not their day… When he had the mike and that trumpet in his hand, he was [committed] to… [doing his] best. That’s why I admire him and… remember… He always was…top of the line, no matter if… [he played before] 20 people or 2,000 people… [Tony always felt] the show must go on.” [José Mangual Jr. – November 2019]
ÁNGELO RODRÍGUEZ
“In the 9th grade home room class, early one morning at Patrick Henry Jr. High School, the music director asked for volunteers for the band. He preferred those with music experience. No one raised their hands. He lowered his standard and would accept those who wished to be in the band. Still no one raised their hands. He then said, ‘We’ll teach you.’ Three of us raised our hands. He thanked the home room teacher and asked that we followed him.
We were now in the band.
What instrument would you like? I said piano. He said, ‘No, we have no piano’. I then asked for trumpet. He said, ‘No, we have no more trumpets’. He offered me a Mellophone and explained it was similar to the trumpet in fingering. He said I could practice the trumpet during the summer and be ready for the High School band the following semester.
That summer my mother bought me a trumpet from the local pawn shop. I took lessons and was joined the Samuel Gompers High School band. The band was extra curricular; my major was electronics.
In the U.S. Air Force, I was a communications specialist. I played trumpet at the Airmen’s club on weekends and toured briefly with an Air Force show group. After four years, I was discharged and I began studying music theory, arranging and trumpet, complements of the U.S. GI Bill. This led to my playing with local bands.
I met Tony Pabón when he was with the Pete Rodríguez band. I was invited to sub for trumpet player Freddy Gaud. Tony was a soulful, sincere, and committed person who was totally focused on entertaining the audience. Through his innate spirituality, his experience, and guidance, he made things happen. He had wisdom and a sense of responsibility that I had not felt with others my age, not only in his talent, but also in business and in life. Together with the Rodríguez brothers, Manny (congas and chorus), Ritchie (various percussion and vocals), and Pete (Band Leader and piano), Tony would create ideas and verses on the spot. He would embellish and expand on them until a complete theme or musical number would emerged, including trumpet parts, and chorus; ‘I Like It Like That’ was one of them. Tony conceived the idea, the others nurtured and rehearsed it, and thus the birth of the Boogaloo.
‘You’ve got to believe’ he often would say with conviction. ‘You’ve got to have Soul.‘
While other Latin bands like Machito, Tito Rodríguez, and Tito Puente performed lyrics in traditional Spanish, Tony, Manny, and Ritchie composed and sang in English. The Pete Rodríguez band became known as ‘The Kings of Boogaloo.’ I was encouraged to write some of the musical notation and arrangements so others after me could read the music with a minimum of rehearsals.
I left the band to attend Lehman College. I also felt an adventurous appetite to experience other musical avenues and worked with other bands. When Tony formed his own band he persuaded me to join him and I, again was blessed to follow in his enthusiasm. Tito Puente would introduce Tony’s band as ‘Another P in the Pod.‘
Tony offered to be Godfather when I had a child. My daughter, Angela, was born with Tony as her predetermined Godfather.
The experience of leading his own band, being a headliner, composer, minister, all while handling other entertainment endeavors must have been very stressful for him. The physical and psychological overload, had to be very taxing. Although I got to lead the band for a while, it was never the same without Tony. He continued working with the recording company Ritmo Records and its President, Ralph Cartagena, while ministering and uplifting spirits during Sunday services, taking his ministry where needed.
Since, I have retired from the U.S. Department of Agriculture, Smithsonian Institution and have volunteered with three symphonic community Bands and one show band. I also manage residential properties in West Palm Beach. My daughter, Tony’s God-daughter, is an attorney and U.S Federal Court Administrator in the Southern District of Florida.
‘Some people come into our lives and quickly go.
Some people move our souls to dance.
They awaken us to a new understanding with the passing whisper of their wisdom.
Some people make the sky more beautiful to gaze upon.
They stay in our lives for awhile, leave footprints on our hearts,
and we are never,
ever the same.‘ [Flavia Weedn]
Tony Pabón, one of those people.“ [Ángelo Rodríguez – March 2020]
FELIX “JUNIOR” VEGA
“One thing that I liked about the band…was, when it was explained to me why it was ‘La Protesta’… supposedly it was protesting the conditions in Puerto Rico… Tony was always good to me…”
NELSON CHEZ SÁNCHEZ
“I remember… playing with Tony Pabón y La Protesta, it’s was a short stint, about 6 months long. I knew Kenny Gómez…he was looking for a replacement… I was playing with Ernie Agosto y La Conspiración…Kenny convinced me [to sit in] and I met up with Tony…Man those charts were hard, sabroso, but hard… swinging band, I had a real good time… learned a lot, too. Nice musician [Tony]…[also] Benny Bonilla, Nestor Sánchez, and [Johnny Santana]…” [Nelson Chez Sánchez – October 2019]
FRED WEINGERG
“It would take volumes for me to comment on Tony. He was one of my favorite artists… He was not only a… creative and talented musician, but also a great friend. It was always a joy to work with him and…[the] wonderful musicians [of]… La Protesta. Tony was virtually always in a great mood, and his joy [for] living was evident in his personality as well as his music, and… rapport with all those around him. Tony is truly missed. His demise leaves an empty void in the world of music and in my soul.” [Fred Weinberg – October 2019]
LUIS “PERICO” ORTIZ
“Tony Pabón…fue mi mentor…Yo lo conocí a él en la década del setenta y fue el primero que tuvo confianza en mí…”
Selected Recordings
CREDITS
Project Coordinator &
Developer: William Millán
Assistant Coordinator & Graphics Editor: Johnny Santana
Technical Support: Carmen Martínez-Millán
© 2019 [Rights Reserved]
Contact: LaProtestasLegacy@outlook.com
Special Thanks to:
Benny Bonilla, José Mangual Jr., Ángelo Rodríguez & Junior Vega
Cindy Pabón and the Pabón family
Luis “Perico” Ortiz
Derrick & Ralph Cartagena / Combo Records
Nelson “Chez” Sánchez & Eddie Montalvo
Frankie “DJ Tambora” Meléndez & Harry Sepúlveda
Fred Weinberg & Carlos Flores
Gilda Mirós
SELECTED BIBLIOGRAPHY & RESOURCES
DeLeon, Carlos & DeJesus, Carlos (1975, April 1975). What’s Happening in Latin NY. Latin NY Magazine, p. 8.
Flores, Juan (2000). From Bomba To Hip Hop: Puerto Rican Culture and Latino Identity. New York: Columbia University Press.
Flores, Juan (2016). Salsa Rising: New York Latin Music of the Sixties Generation. New York: Oxford University Press.
Clarke, Donald & Child, John (1989). The Penguin Encyclopedia of Popular Music. Donald Clarke (Ed.) (1989). 136. London: Viking Adult.
Glasser, Ruth (1995). My Music Is My Flag. California: University of California Press.
Gómez , Néstor Emiro (2015). El Buen Samaritano [Una Entrevista]. Retrieved March 2005, 2015, from: http://www.herencialatina.com/Tony_Pabon/Tonny_Pabon.htm.
Leymarie, Isabelle (2002). Cuban Fire: The Story of Salsa and Latin Jazz. London: Continuum Intl Pub Group.
Pacini-Hernández, Deborah (2010). Oye Como Va! Hybridity and Identity in Latino Popular Music. Philadelphia: Temple University Press.
Quintero Rivera, Ángel G. (1998). Salsa, Sabor y Control: Sociología de la Música Tropical. Mexico: Siglo Veintiuno Editores.
Rondón, César Miguel (2008). The Book of Salsa: A Chronicle of Urban Music from the Caribbean to New York City. North Carolina: The University of North Carolina Press.
Salazar, Max (2002). Mambo Kingdom: Latin Music In New York. New York: Schirmer Trade Books.
Sisario, Ben. “Catalog of Fania Records, the Motown of Latin Music.“ New York Times 7/27/18 2018. Web. 5 October 2019.
Storm Roberts, John (1979). The Latin Tinge: The Impact of Latin American Music on the United States. New York: Oxford University Press.
Cartagena, Jaime Delgado (2019). La Orquesta de Randy Carlos y Sus Músicos: Entre El Mito y La Leyenda – Fusion de Elementos Latinos, Judios, Jazz y Ritmos Cubanos – article from Herencia Latina [http://herencialatina.com/Randy_Carlos_y_sus_musicos/Randy_Carlos_y_sus_musicos.html]
“Chef.“ Dir. . Perf. Favreau, John. Fairview Entertainment, 2014. Movie.
“Cardi B’s ‘I Like It’ Spurs 2,520% Streaming Gain For Pete Rodriguez’s Original ‘I Like It Like That’.“ Billboard. Xander Zellner, 4/19/2018 2018. Web. 5 October 2019.
“Oye Que Rico Suenan Lado A” Documental realizado para la serie “Rostros y Rastros”. Dir. . Perf. Larry Harlow. Universidad del Valle [Posted by Oscar Lozada], 1996. YouTube Video.
“We Like It Like That: The Story of Latin Boogaloo”. Dir. . Perf. Ramirez Warren, Matthew. Ramirez-Warren, 2015. Documentary Film
[for more photos and information on Tony Pabón… visit Johnny Santana’s TRIBUTES page: http://johnnysantana.com/tributes/ ]
(R-191130)
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