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FRANK CERAOLOEditor

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From The EditorWhy can’t the Club Community be more like the Hip-Hop Community?

Dear Readers:

First, I’d like to thank all of our readers for the warm and positive feedback welcoming our publication and website into the Latin and club communities. We appreciate your well wishes as well as your ideas and suggestions.

As I was contemplating a topic to write about for the sophomore issue, it was not difficult to decide upon a pertinent subject to write about in this second issue of the Latin Music Club Report.

In some of my recent discussions with various people within the club/dj/dance community, it becomes rather clear to me that many of us operate with this cut-throat “me” mentality. While that may have sounded great in the 1980s, we are in 2010, and times are tough—not only for the record industry as a whole, but for the national economy, which impacts record buyers and club goers. We might want to “adjust” our approach to a more “how can we help each other” mentality.

Isn’t this how the hip-hop community operates and subsequently have built each other’s various empires? Haven’t they built up the mega-subsidiary labels that have made billions for themselves and their artists? Don’t they all “guest” on each other’s tracks and promote each others tracks via mixtapes? I really think that it is “they” who have been holding the “keys to the kingdom” since the late 1980s.

Rather than worry about who might be taking business away and playing “cut-throat” or “shady” games behind each other’s backs, we should be revising our mindsets to this theory: “maybe if I help this person out, or work together with this person, they might do something nice for me in return, or return that kindness in the future”.

When we, as a community, fail to work in tandem with each other, we splinter off into various offshoots and appear to the world at large, i.e., radio, television, media in general, etc., as “scattered” and “unfocused”.

Unfortunately, this mentality runs rampant and pits us against each other-- which tends to result in counterproductive outcomes. If we reexamine our relationships with some of our fiercest competitors and form some actual alliances with these counterparts, we might actually build a stronger, more powerful community that actually allows us to accomplish more together than we do apart.

Healthy competition is always welcome to stimulate us to do better, but when you incorporate the element of unifying with some (or all) of your opponents, it will sometimes result more times rather than not, in both sides winning.

I realize that some of you may be thinking to yourselves, “wow, what has he been smoking?”….but honestly, take a moment and think about how much more you’d accomplish if you formed an alliance with just one of your competitors? I would imagine that in more than half of those alliances would result in both of you doubling or tripling your output/outcomes.

It’s just something that has been weighing on my mind and I thought I would share it with you.

Please enjoy our sophomore issue with warm wishes for a joyous holiday season and a prosperous 2011!!

Felicidades,

EditorEditor

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Club Dj Market Focus: Los Angeles

DJ RUBIN ZHe is a self-taught, passionate DJ who started off playing Pop en Español records in the early 90’s - now he is one of the resident djs for the very popular Club Papi parties up and down the West Coast. Let’s chat with Rubin and find out how his passion for music and Pop en Español began and grew.

Rubin, why don’t you please share with me how you began your career as a DJ?I started as a mobile dj during the early 90s just as Pop en Español began to make inroads into the US radio market and new latino club scene.Dance en Español is and has always being my passion. I have continued to support the movement as it has transformed from the early 90s up to today.

Many djs have come and gone and only a handful of us remain who are truly devoted to Pop en Español.

How long have you been DJing?I have been djing for over 20 years in the latino market.

When did you know you wanted to be a DJ?Music is my passion. I love to see the impact music has on people. I see how DJs can make a night awesome or not so great, and that’s when I knew that I wanted to DJ big events and enhance people’s club experiences. I want to make people dance and feel the music and energy. This has become my obsession.

This began when I was 10 years old. I would save my lunch money to buy 12-inch Pop en Español records. As I was growing up, I thought I was going to need them when I officially became a DJ. In the 80s, my family had a bar with a jukebox and it was my job to select and rotate the music which made it a total success with customers. That was my “unofficial” (and unpaid) first DJ gig. My music selection always made a positive impact on the customers, as they enjoyed the music, they purchased more drinks, which made everybody happy.

Was there a DJ who inspired you or mentored you as you were getting started?I am self-taught on DJing and mixing. However, I always admired the styles of such big- name djs like Ralphie Rosario, Victor Calderone, Junior Sanchez and locally, Richard “Humpty” Vission.

What clubs do you currently DJ (or do radio remotes)?I am currently working as a Club DJ for one of the biggest Latin Club Events on the West Coast -Club Papi Productions. I always work at the Cocobongo and Cafe con Leche events. All 3 clubs run different music formats but all cater to the latino market.

What is your favorite Latin club track at the moment? I have two favorites: Fedro’s “Yo No Naci Para Amar” and Selena Gomez’s “Un Ano Sin Ver Llover” both remixed by Master Lujan, Manny Lopez, Morales, Jon B, and Yaxkin.

If you could change one thing about the industry right now, what would it be?More support to the Dance/Pop en Español scene. There are no incentives for big name DJs to remix Pop. If there are no decent remixes of pop then the Club DJs have no choice but to play Anglo or electronic dance music. There is no David Guetta or LMFAO music of Pop en Español.

The record labels need to be more supportive to dj/producers or remixer/producers and financially support their work. The club scene would improve greatly since djs and remixer/producers know what club goers are hungry to hear. They are starving for higher quality remixes of some of their favorite artists’ music. My job as a DJ is to deliver the best music to my crowd, but I need to be equipped with the best quality material to achieve this - Our customers deserve it.

a jukebox and it was my job to select and rotate the music which made it a total success with customers. That was my “unofficial” (and unpaid) first DJ gig. My music selection always made a positive impact on the customers, as they enjoyed the music, they purchased more drinks, which made everybody happy.

The record labels need to be more supportive to dj/producers or remixer/producers and financially support their work. The club scene would improve greatly since djs and remixer/producers know what club goers are hungry to hear. They are starving for higher quality remixes of some of their favorite artists’ music. My job as a DJ is to deliver the best music to my crowd, but I need to be equipped with the best quality material to achieve this - Our customers deserve it.

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DJ MIKEPlease provide me with a brief background of yourself and the dj positions that you currently hold.For the last 10 years, I have been the resident DJ on Saturdays at the Arena nightclub in Hollywood. In addition to that residency, I have been working for Club Papi promotions for over 10 years.

If I had to describe myself as a DJ, I feel that I’m a bit different in that I’m Anglo, by descent, but I play mainly for Latin crowds. This began when I worked at a club called OZZ in Orange County, about eighteen years ago, believe it or not. I dj’d there for eight years, but it’s where I started djing and where I learned to play Latin music.

Why don’t you share the experience at Ozz and how you began spinning Latin music?When I first started DJing at Ozz, it was a typical Anglo club crowd. Eventually, the crowd evolved into a Latino crowd, and I would receive requests to play Latin tracks, songs that I, frankly, was completely unfamiliar. I started to shop at a Latin record store, and asked the store attendant to suggest a hot latin song that I could play at his club.

The store clerk gave him La Sonora Dinamita’s “Amor de mis Amores”, a Colombian Cumbia classic. When I played the track later that night, and the crowd went completely crazy. I had never seen them react like that before, and it inspired me to seek out more Latin tracks and play more Latin music for my crowd.

Each week, I went back to that Latin record store, quickly built up a Latin music library for myself. I also visited Latin clubs regularly and observed what was being played and what types of music reacted with the crowds. Soon, I began picking up on the different genres of Latin music, from the cumbia to merengue to salsa as well as Latin pop.

Steadily, I taught myself how to mix the various styles throughout my nights and based on his crowd responses. Now, even though my crowd looks up at the booth and sees a “white boy playing salsa”, they are still receptive to what I play and respond with appreciation on a regular basis.

Club DjSo you essentially taught yourself how to play Latin music, what was that like and how does the response differ from a Latin crowd as opposed to a Latin crowd?It was very interesting, you know, I also taught myself how to DJ. I took piano lessons as a kid, for eight years, which provided me with a solid foundation in music. That foundation allowed me to feel the music and the rhythms, and I think that’s what really helped me, especially when it comes to djing Latin music. When you play Latin music, it is really important to “feel the rhythm” and develop an ear for sounds. I can feel that when I hear a record, that I can tell whether or not my crowd is going to like it. It’s definitely something that you have to develop over time and experience.

With Latin crowds, they tend to like (or want to hear) things that they’ve heard before—mainly things that they have heard on the radio, so sometimes they are not as “open” to hearing newer things like the Anglo crowd. On the other hand, when a Latin crowd hears a song that they “love”, they respond by screaming and jumping up and down. Often times, I can bring down the music, and the crowd will be singing the song, which is really cool, and you don’t always get that type of response with an Anglo crowd.

I also make sure that the energy always “stays up”….and I think that’s what motivates me.

Some djs play for the money, some djs do it for the fame and notoriety, but I do it because I really love the music. I really have grown to like and appreciate all styles of Latin music.

[To get the full story from DJ

Mike please go to our website www.

latinmusicclubreport.com]

Each week, I went back to that Latin record store, quickly built up a Latin music library for myself. I also visited Latin clubs regularly and observed what was being played and what types of music reacted with the crowds. Soon, I began picking up on the different genres of Latin music, from the cumbia to merengue to salsa as well as Latin pop.

Steadily, I taught myself how to mix the various styles throughout my nights and based on his crowd responses. Now, even though my crowd looks up at the booth and sees a “white boy playing salsa”, they are still receptive to what I play and respond with appreciation on a regular basis.

really have grown to like and appreciate all styles of Latin music.

[To get the full story from DJ

Mike please go to our website www.

latinmusicclubreport.com]

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]

Club DjDJ PEDRO “EL SABROSO”DJ Pedro “El Sabroso” was originally born in the Dominican Republic, but when he was about five years old, his family moved to Puerto Rico, where he lived the remainder of his childhood. When old enough, he moved to Los Angeles in 1985.

He left LA for a short period in 1993, and moved to Louisiana, where he began a career as a DJ. His first DJ gig was at a club called Jitterbugs, and worked there until he returned to LA in October 1994.

His first DJ gig in LA was at a club called Narumba Nightclub in 1995. He soon began spinning regularly at the Grand Avenue Nightclub, where he held a residency for six years, until it closed in 2001. He also spent fifteen months spinning at the Conga Room two nights a week in 2001.

Pedro also had the opportunity to spin at various artist concerts and special events to supplement his regular DJing. He often spun for many of Latin music’s biggest artists-- one of his biggest honors occurred in 1996, when he was asked to spin for a special Celia Cruz concert event at the legendary House of Blues.

After the closing of Grand Avenue nightclub and during his gig at the Conga Room, he was asked by The Mayan club in August of 2001 to spin once a month on Saturdays for a year— that year has led to nine prosperous years at the landmark club, where he still spins today.

Let’s speak now with DJ Pedro and find out more about how he has developed his career as a DJ and his longtime affiliation with the Mayan nightclub.

Pedro, was there a DJ (or another person) who inspired you or mentored you as you were getting started?My wife’s grandmother actually took note that I usually dj’d all of our family events—she pulled me aside and said, “people really like your music, why don’t you make some money out of this?”

Her support really pushed me to pursue the career of djing and I owe her a lot for pushing me in this direction.

What clubs do you currently DJ?I spin at the Mayan as the resident DJ, where I have been for nine, almost ten years now. But, I also still do special concerts and events, as long as I get the Mayan’s permission, but they are really great about that.

Last month, I dj’d for Gilberto Santa Rosa and next week I am djing for Los Torros Band from the Dominican Republic. Three weeks from now I will be Djing for Tito Nieves. When you spin parties of this nature which includes an artist, what exactly is involved—is it mainly djing during a concert event?When they hire me, they hire me to be the DJ for the night—but it is usually for dj support during concerts.

It sounds like you have worked for many artists in this capacity—which of those would you say, was probably the most memorable in your mind?I would have to say when I worked with Reuben Blades at the Mayan. I remember the night of this event, I arrived about 30 minutes early, and when I opened the door, his band blew me away!! His band is so powerful, so strong and so clear…before I opened the door, I thought someone was just playing a CD!! Then I was like, WOW!

When you spin at the Mayan, what styles of Latin music do you play?When I first began spinning there, it was specifically salsa music. Then, we changed things up a little bit, by playing some reggaeton—but the principal style was salsa. As times changes and music changes, we have evolved to a “Tropical” club, where I spin salsa, merengue, cumbia, bachata, reggaeton…that’s what I do. I also work with a

DJ that plays an occasional Top 40 set.

[To get the full story from Pedro “El Sabroso” please go to our website www.

latinmusicclubreport.com]

Pedro, was there a DJ (or another person) who inspired you or mentored you as you

My wife’s grandmother actually took note that I usually dj’d all of our family events—she pulled me aside and said, “people really like your music, why don’t you

Her support really pushed me to pursue the career of djing and I owe her a lot for

bachata, reggaeton…that’s what I do. I also work with a DJ that plays an occasional Top 40 set.

[To get the full story from Pedro “El Sabroso” please go to our website www.

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Record PoolTONY ORELLANATony Orellana, aka Tony O, has been often called the “god-father” of the Bay area Latin deejays. His extensive knowl-edge and background, which cover many genres of music, provided him with many opportunities to work with a host of heavyweights in the music industry.

In addition, Tony O has worked in the hottest of Bay Area radio mixshows such as WILD94.9FM, 106.1FM/KMEL, 105.7 La Kalle/Univision, as he developed into a power-house DJ. He has accomplished many achievements dur-ing his long journey. Now, a club owner of the infamous historical Latin club, Roccapulco, which endures and keeps the latin music going by spotlighting International artists to his venue. Let’s converse now with Tony O, who also adds the dignified honor of being the only Latin record pool in operation on the entire West Coast, Ritmo Internacional Record Pool. Hi Tony, pls tell me when you started DJing?I started djing when I was 17 years old, like many djs, spin-ning at family parties, Quinceañeras, weddings and other events, in addition to the typical house parties with friends.

When did you first join a record pool?I joined Souldisco Record Pool in 1987, which serviced main-ly Anglo/American music.

When did you become director of the record pool?I took over Ritmo Internacional Record Pool in 1991, and still run the pool today.

How many members do you have in the pool?At the current time, we have 25 members, including 2 members in LA, DJ Pedro “el Sabroso”, who spins for Club Mayan L.A., and also DJ Frank.

What’s your biggest challenge in running a record pool?It has been challenging to obtain the record labels support, and convince them the importance of what a record pool dj provides to them on “the streets”, especially in markets that don’t have a radio station to break the music.

Why do you feel its important for a DJ to be a record pool member? It introduces deejays to new and developing talent, as well as allowing them to break new music which helps the industry grow in general.

How do you feel technology has changed record pools?Well, deejays like myself are certainly missing the actual CD, because of the sound quality. But I totally understand how the label had to cut out the CD servicing to pool, due to cost-cutting. But we do miss that configuration!

What Latin club record shows the most promise which your pool has been serviced in the last month based on member response?I would have to say Hector Acosta “Me Duele la Cabeza”, a great Bachata tune. Also, the Don Omar featuring Lucenzo record, “Danza Kuduro” and Nelly Furtado’s “Fuerte”.

What Latin label has remained most consistent with the pools?JN, Universal/Machete and a few of the independent la-bels. Also, I would be remiss if I didn’t mention promotion companies, like Granda Entertainment.

If you could change one thing about the industry right now, what would it be?I would request more support from the record label for the record pools. I would like to stress that they shouldn’t for-get that record pools break records in areas where there are no radio stations that support certain types of genres or formats of music.

Thanks so much for your time, Tony- we really appreci-ate it!Anytime, Frank…glad to do it!

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Radio/Mixshow DjDJ EDUARDODJ Eduardo is a Mexican native who moved to L.A. in 1989. He has been a DJ for over 20 years, starting back in Mexico, but his big break arrived when he first moved to L.A. He began working in radio in his native Mexico, and now heads the mixshow programming for the popular SuperEstrella 107.1FM in Los Angeles, where he’s worked on mixshows for the last ten years.

Eduardo, please provide me with a brief background of your life, including how you broke into the music industry and what led you to become a DJ .I began working at a radio station back in Mexico, but was

not a DJ at the station. When I moved to the US, I brought along a lot of music with me, and that

would prove to be the smartest thing that I could have done. I started networking, making friends around town, and one

day, someone asked me if I could DJ in this busy nightclub that I used to

frequent. The resident dj had not showed up, and they needed

someone fast. I hesitated, but quickly agreed, knowing that I could improvise, utilizing all the music that I had brought

with me from Mexico. That night, I brought all that music

and played to a packed room of 1500 people. The crowd responded well and after that night, I soon began spinning as a dj full-time.

What was DJing like when you were getting started?When I first started DJing, it was very difficult, because the technology was not quite as advanced as it is now, and because I was mostly playing “rock en español”.

We mixed using CD players, which were not equipped with pitch control. That

made things really difficult, due to the fact that you really had to mix by “ear”—

especially when you mostly dealt with rock en espanol, and not house or electronic

music. We had to make “cuts”, i.e., sharp edits-- when you mix that way, you HAD to

have a good ear.

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Little by little, things started to change technologically, and that made things a bit easier and I really began honing my craft as a DJ.

I know that SuperEstrellas is a very unique radio station, in that it does play a lot of uptempo/dance music and does not necessarily typify to one format - How would you say that the mixshows are structured at SuperEstrella?It’s very interesting, you know. When I first started at the station, we did 20-minute mixshows at noontime called “Hotmix”. We kept it going for a while, and then we changed things up a bit, doing a “Traffic mix” in the mornings, from 8am-8:30.

I have always worked on the mixshows for the weekends, both on Fridays and Saturdays, from 9pm-2am, which we call “SuperEstrella LIVE”, and is usually a live remote broadcast. We have five different djs, one of them being me, and each one takes an hour and mixes music. It’s different every week.

I love that…more stations should be like yours—but that’s what makes you guys SUPER!

But aside from the mixshow ingredient and the uptempo music, what would you say is the secret to what sets SuperEstrella apart from all the other Latin radio stations and makes you so successful?I would say that we play a great selection of new music and old music. We have a really good blend….And it’s comprised from music from all over the world, not just Latin music.

I think that the ability to play whatever we want is what really makes us unique. There are certain stations that play only one kind of music - some that only play hip-hop and some who will play only cumbia and stick to that - we do not. We go up and down, and segue from one side to the other and it’s really a surprise, sounds really fresh and altogether.

So outside of the radio station, what clubs do you DJ at in L.A.?For the last three years, I have been working for Club Papi at various clubs around the city. We rotate between three djs, and we play at different clubs around town.

What is your favorite club track (Anglo or Latino) at the moment? One of them is “Hey Hey” by Dennis Ferrer, which is something that we play on Estrellas and is big all over the world. Another one like that is the “We no speak Americano” track. On the Latin side, I really like Maria Jose and Enrique Iglesias.

But sometimes, I really like to surprise the crowd with a “forgotten hit”…something you never think that you’re going to play again from the 70’s or 80’s…

Please give me an example of record that you would pull out of the past to get a BIG reaction on the dance floor?Hmm… I think maybe an old Madonna song or a classic disco record. Yeah…couple like that and it really makes the crowd go crazy—it’s really interesting to watch their reactions!

Do you think that records like the ones you mention are easily “forgotten” because there is always a continual “search” for new music?Yes I agree…and there will ALWAYS be new music….but I do think that djs should make it a habit of playing some older music.

What song ALWAYS gets a Big reaction on the dancefloor (Anglo or Latino)?It’s a rock en espanol record…..Mana/”Oye mi Amor”…it’s like WOW….even the Anglo crowd goes crazy for it. It’s a pretty fast record, upwards of 150-160bpms, but it always gets people going and singing on the dancefloor.

If you could change one thing about the business right now, what would it be?As far as the business goes, there’s nothing that I can change. My job as a DJ, is to make people dance. Seeing everybody having fun, dancing and enjoying the music, that is my ultimate goal.

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Club PromoterJAMIE AWADHi Jamie, Let’s begin please with a brief background about yourself.I was born and raised in San Francisco and I moved to LA six years ago. Before I was a Club Promoter, I was a Deputy Sheriff for the San Francisco Police Department. Then, my love for the clubs inspired me to start Club Papi in San Jose in 1996. We soon branched out and our first Club Papi event in LA was in 2000 at Circus Disco. We also have another event that happens every Thursday in LA called “Pan Dulce”, at Mickey’s in West Hollywood, which began about a year and a half ago.

How did Club Papi originate?Club Papi actually originated at a club in San Jose Thanksgiving weekend in 1996. I had been working with another Latin promoter at various clubs, and decided to branch out on my own and start Club Papi. While I was launching Club Papi, I was also working as a deputy sheriff in San Francisco. It all initially started as a hobby, and that first event, knock on wood, was a huge success, with a 2-hour wait to get in and over 1000+ people in attendance at the party, which has motivated me to develop it into the success it is today.

San Francisco was the 2nd city that we launched Club Papi in, with L.A. as the third city, in February of 2000. The funny thing about the grand opening night in L.A. at Circus, was that the city was experiencing the worst rainstorm in 25 years. It rained all day, all throughout the party.

The capacity of the club at that time was 1800 with an additional capacity of 500, if the patio was open. We did 900 people that night, which got people talking, especially with the storm trying to keep people away. The LA Club Papi parties became our “flagship” event, as we routinely draw about 2,500-3,000 people at each party.

Were you originally the “mastermind” behind Club Papi or were there other partners involved? I am the creator/owner of Club Papi, but we had/have an incredible team of people behind-the-scenes who promote for us, our DJs, our staff, who help every week to make Club Papi successful.

What would you say is the mission statement of Club Papi? If you come into one of our events, it’s like this—“Check all your issues about your bad day at work, your stress about school, and whatever else at the door, and just come in and have some fun, because you are here to PARTY! Enjoy the music, the dancers, the atmosphere, and for a few hours, just lose yourself in the “world of Papi”…(laughs).

Tell me Jamie, when did you first know that the clubs (and promoting) were your passion?I could tell you that the first time I ever went to a gay club when I was almost 22 years old, in 1992 and I walked in through the door of the club, it hit me….this is what I wanted to do.

I had a really good friend who worked the door at the Box in San Francisco, which had a legendary dance party on Thursday nights, and when I walked in there, I was blown away. I went up to him later that night and said, “I’m gonna do this someday”, and he sorta laughed at me in disbelief, but when we see each other now, he says, “You always said you were gonna do this…and now look at you! Look what you’ve created!”

What is your personal mantra and what is the lure that you conceptualize in your mind as the Club Papi experience?We serve a “niche market”…which is the Gay Latino market. You know, I go to other clubs, and it’s rare that you can find the same (or similar) energy that you find in a Latino club—it’s just an excitement, it’s different, intangible—I can’t explain it, they’re such a powerful energy, they’re just so happy to be there. That energy is what has driven Club Papi over the years—and we have customers that are now in their 40s…they may not go out as much, but when they do come out, they know that they are going to have a great time. That “legend” of Club Papi so to speak, has made its way down to the younger generation of Latinos, like the 18 year-olds, who can’t get into Club Papi until they’re 21, but are “dying to get in” because they’ve heard about the experience and the great energy and that’s what helped to build up our brand.

Who would you say is the best artist that you’ve ever worked with doing a club promo with Club Papi and why?Hmmm…that’s really difficult-- They each in their own way have really helped us and in turn we have helped them. I will give you two answers to this question…Working with Gloria Trevi once she had been released from prison and doing the 20+ shows that we did with her, was probably the most gratifying moment or experience, because it was the gay community that has propelled her back into popularity to the level that she’s at now. She’s such an amazing artist and has such a great repertoire of music, that she would have eventually found her way back to the top, but it may have proved to be a much more difficult path for her—her collaboration with Granda Entertainment and Club Papi proved to be our most satisfying artist, especially with the level of success that was achieved from our partnership with her.

And, the great thing about Gloria is her acknowledgment of what the gay community has done- she’s said it to us, she told the press, she’s mentioned us in interviews, etc. Most artists might not be “as vocal”, but she recognizes it and is

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appreciative of the love and respect we gave her.

I think I have worked with you under my various work affiliations for about 15 years now….What do you think your key to your longevity has been?The key to the longevity of Club Papi is my continued passion to promote it and about making sure we deliver the customer the best club party in town. I try and communicate this to my entire staff, from my dj, to my bartenders, my dancers, and my door people--- I tell them all the time…we have to present each week like it’s our “last event”, so to speak. You have to operate with that mentality because if the customer has an incredible time and feels like we go the “extra mile” for them, they’re going to keep coming back. Especially in this economy, people only have so much money to spend. It used to be ok if you had a couple of “down weeks”, and customers would say, “oh, it’s not so crowded tonight, but I’ll be back next week”. But now, in this economy, a couple of bad weeks can pretty much mean the end of your party. If people only have limited funds to spend and they think your party is going downhill, they say to themselves, “Naw, I’m not going to go this week-- I’m not gonna risk spending what little money I have”.

We’re really focused now on the customer experience right now—making sure that the experience they have be “the best that it can be” at each of the parties. I think that we’ve done a pretty good job so far of delivering that to our customers and riding out this tough economy. Admittedly, we’ve had some down events, here and there, but nothing catastrophic.

You’ll have to forgive me…I’m doing this from memory…but aside from San Jose, San Francisco, L.A., San Diego, in what other markets does Club Papi operate?We do events in Chicago, Dallas, Houston, Miami (on occasion with Score nightclub), Seattle, Tijuana (Mexico) and a really big circuit party weekend during Thanksgiving in Puerto Vallarta, Mexico, called “Vallarta Fever”, which has been a really big change for us, as well, moving into the circuit market.

What makes the circuit event different than the weekly party for you?In our weekly parties, you’re going to get a “mish-mash” of all different types of Latin music, from cumbia, merengue, salsa, Spanish Pop, hip-hop and dance music. But, in Mexico, it’s much more about the dance music, house music, tribal—which is reflected in the DJs we bring—the Tony Morans, the Abel Aguileras, Brett Henrichsens, those top-notch DJs and performers, like Crystal Waters and Robin S.

Who would you say is the best artist that you’ve ever worked with doing a club promo with Club Papi and why?Hmmm… that’s really difficult - They each in their own way have really helped us and in turn we have helped them. I will give you two answers to this question…

Working with Gloria Trevi once she had been released from prison and doing the 20+ shows that we did with her, was probably the most gratifying moment or experience, because it was the gay community that has propelled her back into popularity to the level that she’s at now. She’s such an amazing artist and has such a great repertoire of music, that she would have eventually found her way back to the top, but it may have proved to be a much more difficult path for her—her collaboration with Granda Entertainment and Club Papi proved to be our most satisfying artist, especially with the level of success that was achieved from our partnership with her.

And, the great thing about Gloria is her acknowledgment of what the gay community has done- she’s said it to us, she told the press, she’s mentioned us in interviews, etc. Most artists might not be “as vocal”, but she recognizes it and is appreciative of the love and respect we gave her.

[To get the full story from Jamie Awad please go to our website www.latinmusicclubreport.com]

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Industry Executive

LEILA COBOHow long have you been in the music industry? Too long! Well, I’ve been covering the Latin music industry in Billboard Magazine for the last ten years. Prior to my tenure at Billboard, I was the Pop Music critic at the Miami Herald for two years. I’ve been involved in music in one aspect or another my entire life. I’m a pianist and I began playing at six years old, taking lessons—including theory, harmony, etc., at the conservatory in my native California. I also have a degree in piano performance from Manhattan School of Music. I am married to a pianist and recording artist, so I suppose that encompasses in one way or another, my whole life.

Please tell us about your current position and a brief synopsis of what your job encompasses.I’m the executive director of Latin content & programming for Billboard. In my post, I oversee all Latin coverage for the magazine and our websites. I also program the annual Billboard Latin music conference.

When did you realize that music was your passion in life? As I mentioned, music has always been part of my life, from a very early age. My mother is a very good amateur pianist and my brother, Ricardo Cobo, is one of the top classical guitarists in the world. Because of these early influences, music was always a passion and I started performing in public at a very young age, and professionally at 16. Although music has and always will be such a major force in my life, I remain torn between music and writing.

Is there a particular Latin song or artist that inspires you? (from childhood or currently)?Many, many, many….but one that stands out in my memory is Ruben Blades’ “Pedro Navaja”.

It struck a chord with me in a surprising way-- It told a great story, and I loved the way he based it on “Mack the Knife” (a fact that I learned later on, but when I found that out, I then realized why the chord progression hooked you so immediately!). I loved how intriuging and sophisticated it was-- and, on top of all that, it was an irresistible dance track!

I was also inspired by Celia Cruz as a woman of immense talent and energy, who worked so hard and reached the most disparate audiences. She was amazing.

Today, I would say that I admire many artists: Maná and Marco Antonio Solís, among others. I admire Arthur Hanlon as a pianist in a world dominated by singers—he continues to be so incredibly creative and inventive. Also, Pitbull’s knack for identifying hits and incorporating them into his own material amazes me-- The man is a hit-making factory!

What have been one of your proudest moments in the industry? Every Latin music conference is of great pride to me, because we really bring together the best and the brightest—I truly feel that they leave their egos at the door for the sake of the industry.

I also feel we have strongly supported regional Mexican music in our pages of the magazine as well as our conferences and have given it the well-deserved respect it deserves as the top-selling Latin music genre in the country. I don’t think any other mainstream publication has stepped up as we have for regional Mexican music.

And I love it when any of the artists that I have supported from the onset end up doing very well: Juanes, Wisin & Yandel, Chino y Nacho, Espinoza Paz come to mind.

On your career path, was there a particular DJ influence who inspired you in some way, with respect to educating you about Latin club music or new Latin talent? I can’t think of a particular DJ right now, but Joe Granda

and Brad LeBeau have always been very enlightening on the subject.

To be honest, the importance of the DJ was something that hit me when I moved to Miami and started writing for Billboard. That’s when I realized that DJs not only make you dance at a club or a party, but that they can break songs in ways radio cannot and that they are very often the vehicle for a new song to enter into fans’ ears and finally, into radio. This was a bit of a revelation to me, especially how many songs are initially worked to DJs as opposed to radio because they are so much more inventive and daring. I think that, particularly today when radio formats are so tight and when so many stations are playing recurrents, DJ’s are an essential element in discovering and developing talent. Plus, no one, no one has that direct contact and immediate feedback that DJs have.

Which genre of Latin music is your personal favorite and why? I’m most definitely a pop person. But I retain a wealth of reggaetón, dance and tropical music in my iPod….and I love anything with a Colombian beat!

What Latin artist or song by a new/developing artist do you see the greatest potential? I like singer/songwriter Vicente Garcia and Chocq Quib Town very much. In fact, there is so much music coming from Colombia, it’s hard to pick a favorite. And I really like Chino y Nacho….did I mention how MUCH?!? (laughs). They are completely surpass the typification of “the duo du jour”-- I think there’s a lot of talent and substance there.

Is there a particular Latin talent (based in L.A. or breaking from this region) that you have heard about recently or seen performing locally that you feel has that ‘magic’ that will eventually make them a star? From Los Angeles, I’ve been more privy to development in the regional Mexican market. I recently judged a talent competition for Wrigley’s and was impressed by a band called El Frente, although I think they’re Boston-based.

What do you think is missing in the business right now? Guts and commitment. And support from radio and retail, both of which are sorely lacking.

I feel labels have been blamed for everything that is wrong, and that’s a very simplistic approach. There needs to be a support system in place to develop and carry a new generation of acts. I realize this is a business, but that kind of support is a long-term investment.

Thanks so much for your time and insight on the industry, Leila… we truly appreciate it!

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Cover Story

SHAKIRAThis issue’s cover artist, Shakira, returns to the top of the Latin and Club charts with “Loca”, the first single from her ninth studio album, Sale El Sol/The Sun Comes Out.

Sale El Sol, which has already topped the Billboard Latin Album chart and debuted at #7 on the Billboard Top 200 Albums chart, marks a return to the eclectic approach that defined Shakira’s music and established her unique sound and style. “This album has three directions,” she explains. “There’s the romantic direction, which I hadn’t tapped into for the past three years, but it suddenly came to me and I couldn’t hold it back. So it’s got songs that are very intense, very romantic. Then there are songs that are very rock and roll. I started my career as a rock artist and then I kind of crossed over into pop, so it’s been fun to re-encounter that side of my artistic personality”.

“And then there’s the Latino, tropical side of the album,” she continues. “I grew up listening to merengue—that was a big part of my life, and I was missing it. I went to the Dominican Republic, the source of merengue, and I started working with El Cata and producing songs like ‘Loca’ and ‘Rabiosa’ in this tiny studio in the middle of nowhere. It wasn’t planned, I was just following my instincts. So this album is very genuine, and very personal as well.” A similar spontaneity led to the video for Shakira’s new single “Loca,” which features UK star Dizzee Rascal and Dominican artist El Cata (on the English and Spanish versions, respectively).

At the last minute, she scrapped plans for a studio shoot and took to the streets of Barcelona with a handheld camera. “The spirit of the song is all about freedom, being yourself and not holding back,” she says.

“Loca” which has had a host of remixes, led by the very popular UK production team, the Freemasons, has achieved the #1 position on the Latin Music Club Report Top 20, Billboard Dance Club Songs, Billboard Latin Pop Airplay, Billboard Hot Latin Songs.

For Shakira, the title of the new album provides the key to her current outlook. “I was a little bit down at the end of last year, but as soon as this year started, the sun started shining for me,” she says. “I find myself smiling more often, I feel more free and liberated. She continues by saying, “You go through difficult moments, everybody does, but there’s always the sun inside of us that never extinguishes, and it has come out for me. And, hopefully, it will be a long day in the sun.”Shakira recently received her first American Music Award for Best Latin Artist. She is already on the road supporting this album, shaking things up worldwide. The followup single, “Sale el sol/The sun comes out”, will be released shortly to showcase the current tour, which is produced by Live Nation. Please check out the Live Nation website for upcoming dates on the tour.

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ChartsNational Top 201234567891011121314151617181920

ShakiraHector AcostaAlexandra FT. DanielJanny MarcoJ BalvinRita IndianaEl Gran Combo De P.R.Tali & MessiahChristian ChavezAventuraNelly FurtadoWisin Y YandelGilberto Santa RosaSusie HansenJaydazh FT. KOFedroTito Puente Jr. Y Orq.Ivy QueenSpanish Harlem OrchestraSonora Carruseles

Loca (Remixes)Me Duele La CabezaVamonosEntre CejasElla Me CautivoEl JuideroEs La MujerLos VocalesAlmas TransparentesLa CuritaFuerte (Remixes)Estoy EnamoradoVivir Sin TiRepresentante De La SalsaElla Quiere Su NuvoYo No Naci Para AmarCharanga Pa’ NYLa Vida Es AsiLa Salsa DuraMaestro De La Salsa Dura

Sony MusicVene MusicJ&NJanny Marco EntertainmentEMI LatinPremium LatinSony/BmgCrossover PromotionsCapitol LatinPremium LatinUniversal LatinoMacheteSony/BmgJazz CalienteDon V RecordsWEASalsalsaMacheteConcord Music GroupMiami Records

#1Shakira went from “Pick Hit Of The Month” on our last issue to the #1 spot in just a few weeks with her urban-infused Merengue single “Loca,” which features remixes by world-renowned DJs/Producers such as Freemasons, Static Revenger and Louis Brodinski. “Loca” is the first single off her seventh studio album “Sale El Sol”, released on October 19th, 2010 in the US. The song is available in two forms: a Spanish version featuring Dominican Merengue artist El Cata, and an English version featuring the UK’s number one rapper Dizzee Rascal.

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pick hit of the monthFeeling compelled to create and perform the Dominican music of her soul, singer and songwriter Sohanny has released her first single, the urban merengue club smash entitled “No Es Normal,” which is igniting dance floors from New York to Los Angeles to Santo Domingo.

Produced by Grammy award winning producer Richy Peña (of “Mi Niña Bonita” fame) and featuring one of the hottest new artists in the genre, Fuego; “No Es Normal” firmly establishes that the beautiful Sohanny is on the verge of becoming Latin music’s hottest rising star.

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Gilberto Santa RosaTito Puente Jr.Spanish Harlem OrchestraTito Puente Jr.Joe Canta

Vodka Con LimonAgua Limpia TodoLa Salsa DuraCharanga Pa’ NYSe Humilde

Sony BmgSalsalsaConcord Music GroupSalsalsaVenco

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Daddy YankeeChino Y NachoShakiraOmegaTony Dize

La DespedidaNiña BonitaLocaRatataEl Doctorado (Remix)

El Cartel RecordsMacheteSony LatinPlanet RecordsMachete

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Jking Y M. Ft. Zion Y LennoxBaby R. Y Gringo Ft. Plan BZion Y LennoxJ BalvinWisin Y Yandel

Cuando Cuando Es (Remix)Ella Se ContradiceComo CurarElla Me CautivoIrresistible

MacheteEme MusicPina RecordsEmi LatinMachete

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Prince RoyceAventuraHector AcostaFrank ReyesJoe Veras

Corazon Sin CaraEl Malo (Rmx)Me Duele La CabezaY Te PiensoAtrevete

Top Stop MusicPremium LatinVene MusicZamora Music GroupSony Latin

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Jenni RiveraVicente FernandezJuan Jose MesaBanda El RecodoPee Wee

Ya Lo SeEl Hombre Que Mas Te AmoCorazoncito MioMe Gusta Todo De TiUn Beso

Fonovisa Inc.Sony US LatinCafe Records, Inc.Fonovisa Inc.EMI

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ShakiraChristian ChavezNelly FurtadoFedroTito “El Bambino”

Loca (Remixes)Almas TransparentesFuerte (Remixes)Yo No Naci Para AmarTe Pido Perdon

Sony LatinCapitol LatinUniversal LatinoWEASiente Music

salsa

merengue

urban

bachata

cumbia

pop remixes

Top 5 Genres

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Record Pool Charts12345678910

ShakiraNelly FurtadoZion Y LennoxEl Juidero Hector AcostaAventuraDaniel Moncion740 BoyzJanny MarcoJaydazh Ft. KO

Loca (feat. El Cata) RemixesFuerte RemixesComo CurarIndiana Y Los MisteriosMe Duele La CabezaLa CuritaPerdoname/VamonosLa VictoriaEntre CejasElla Quiere Su Novio

SONYBMGUNIVERSAL MUSIC LATINOPINA RECORDSPREMIUM LATIN MUSICVENE MUSICPREMIUM LATIN MUSICJ&N RECORDSPAPA GRANDE RECORDSJANNY MARCO ENTERTAINMENTDONV RECORDS

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Shakira Luis OmarTobyloveAventura Feat. SensatoAlexandraTito Puente JrTali & MessaihD’Amante Los LunaticosJ Balvin

Loca RemixesY Yo Le DijeTe Parece PocoEl Malo RemixesVamonosCharanga Pa’ NYLos VocalesDime Que Te GustaEl Zig ZagElla Me Cautiva

Sony Latin/BMGIndieIndiePremium LatinM.P/J & NSalsalsaLa Reina RecordsIndieImportEMI Latin

Hector Acosta El ToritoAlexandraDomenic MarteJ BalvinJanny MarcoShakira featuring El CataXandroJenny ColónWisin Y YandelPapi Sanchez

Me Duele La CabezaVamonosMia Nada MasElla Me CautivoEntre CejasLocaBesameMentirasEstoy EnamoradoTe Voy A Da’ Banda

VenemusicM.P. / J & NEBJ MusicEmiJanny Marco EntEpic/ SonyFioralex LatinMuziqMacheteSanchez Family

Christian ChavezHector Acosta El ToritoShakiraEnrique Iglesias ft. PitbullAventuraSusie HansenJay Dazh Feat. KOLa IndiaIvy QueenEddy Herrera

Almas TransparentesMe Duele La CabezaLocaI Like ItLa CuritaRepresentante De La SalsaElla Quiere Su NovioEstupidaLa Vida Es AsiLo Perdi Todo

Capitol LatinVenemusicSony LatinUniversalPremiumJazz CalienteDon V RecordsTop Stop MusicMachetePremium

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Gilberto Santa RosaDon OmarJowell & RandyOmegaJ King Y Maximan F. FuegoDaniel & AlexandraChino Y Nacho Ft Roberto AntonioDNC Ft. Sensato (Del Patio) & Julio VoltioCharlie CruzEnrique Iglesias Ft. Wisin & Yandel

Vodka Con Limon Danza KuduroLoco (Mambo Version) Si Quieres, Tu No QuieresCuando, Cuando Es (Remix) VamonosTe Estoy BuscandoLa Fila IndiaNecesito Mas De TiNo Me Digas Que No

Sony MusicVene MusicJ&NJanny Marco EntertainmentEMI LatinSony MusicSony MusicVene MusicJ&NJanny Marco EntertainmentEMI LatinSony Music

Ritmo Internacional Record Pool - Antioch, CA - Director: Tony Orellana

Urban Tropics Record Pool - East Northport, NY - Director: Manny Soba

VA Latin Promotions Record Pool - Sterling, VA - Director: Alex Valatin

Latinos Unidos Record Pool - North Arlington, NJ - Director: William Otero

Majestic Latin CD Pool - Miami, FL - Director: Raymond Hernandez

Record Pool Charts12345678910

ShakiraJBalvinEddy K. A&C La Banda Daniel & AlexandraJanny Marco Susie Hansen Carolina La O Hector Acosta “El Torito” Tali & Messiah

Loca (Remixes)Ella Me Cautivo Yo Te Buscare (Salsa Remix)En Blanco Y NegroVamonosEntre CejasRepresentantes De La SalsaQue Queda De Este Amor (Salsa)Me Duele La CabezaLas Vocales

Sony MusicEMI Music ColombiaPremium LatinEC RecordsJ&N Rec.Janny Marco Ent.Jazz CalientePeer Southern Prod.Vene MusicLa Reina Records

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Angel & KhrizIvy QueenJencarlosDavid CedenoMambo 7 Y Los AsesBascurEnrique IglesiasFedroFiesta OrchestraJuan Luis Guerra

Ayer La ViLa Vida Es AsiBuscameI’ll Be ThereI Love YouSon ModaCuando Me EnamoroSolo Un DiaDesilusionBachata En Fukuoka

UMLEMacheteBullseyeEvelynaIndieCalleUniversalWarner LatinaCarambaCapitol Latin

ShakiraRita IndianaDj Mdw Ft. Raul SotoLa Spanish Harlem OrchestraHector El ToritoAlexandra Y Daniel MoncionDonbi Ft. MaffioFedroGilberto Santa RosaEl Gran Combo De Puerto Rico

LocaEl JuideroNo Speak AmericanoLa Salsa DuraMe Duele La CabezaVamonosSi La Vida Me Da LimonesYo No Naci Para Amar (Remixes)Vivir Sin TiEs La Mujer

Sony LatinIndieIndieConcord Music GroupCrossover PromotionJ&N RecordsIndieWarner (Wea)Sony MusicSony Music

Gilberto SantarosaTito Puente Jr.Joe CantaCharlie CajaresSpanish Harlem Orq.El Gran Combo De Puerto RicoDante VargasSiglo XXISwing CallejeroLegacia De La Salsa

Vodka Con LimonAgua LimpiaSe HumildeInspector GadgetLa SalsaSin Salsa No Hay ParaisoMiguelitoRumberos y SonerosVieja LocaYa No Mas

Sony SalsalsaPromo/MP3Promo/MP3ConcordeSonyPromoPromoPromoRP

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Nelly FurtadoShakiraChristian ChavezMikael DevanteRay GuellShakira ft. PitbullGuary Y CleytonYankel Y ValdyGilberto Santa RosaMala Fe

Fuerte (Remixes)Loca (Remixes)Almas TransparentesA Llorar A Otra Parte Love is The Answer (Remixes)RabiosaAsi No Te QuieroPecado De AmorVivir Sin TiQue Me De Cabeza

Universal Music LatinoSony Latin/BMGEMI/Capitol LatinIndieRG Sony Latin/BMGIndieIndieSony MusicIndie

masspool dj association - Revere, MA - Director: Gary Cannavo

Mixxhitts DJ Pool - Clermont, FL - Director: Danny Peguero

DJ’s Latinos Record Pool - Medford, MA - Director: Antonio Ortiz Jr.

Northeast Record Pool - Boston, MA - Director: Justin Testa

Record Pool Latino - West Palm Beach, FL - Director: Tony Torres

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