Reading this article was a revelation, an eye opener and a mind blower!
After 30 years there are only so many details that anyone can remember especially about an event such as this one. I rememmber things like Stevie Wonder surprise appearance. Or that yesteryear's Ralph Mercado
(a promoter that usually spent as little as possible to maximize profits) went over the production budget with things like a specially built runway to the stage. But overall, what I remember most was the glory of it all and the world-wide impact it all had on the music, my magazine and me personally.
The things that were furthest from my mind were the many people behind the scenes that were solving and overcoming the many hurdles and problems involved in a production like this. But that was the nature, the culture of Latin NY magazine. People doing things they had never done before and working as a team. Folks there is a lesson to be learned from all this. Anyway, I guess I must have been too self absorbed to remember (or ever knew), and for that I must apologize to everyone, I mean everyone that was a part of this historical event.
Reading this article was not only a revalation, but an eye opener and a mind blower.
Above: The Awards Trophy and medallion that was on it. Only one medallion exist which you can bid on. See Collector's Corner.
BEHIND THE SCENES
BY PABLO GUZMAN
When most people come to a stage show. they often think that the two or three hours spent in the theater equals the work behind the production. As we found out this is definitely not the case. Work on transforming the Latin NY Music Awards from an idea of Izzy's and Carlos De Leon into an actual stage presentation began two months before the event. As a matter of fact, we Call even go back to October of 1974. That was when we first ran the Music Poll. So our first task was to collect and tabulate the thousands of ballots sent in,
The response to the idea by phone and mail, was so great that we set up a team to actually handle the event. Truthfully, impetus was gained from reports coming back from certain sectors who were sure "those guys will bomb." Our team consisted of Ralph Mercado and Ray Aviles, Producers: lzzy Sanabria., Co-Producer and Artistic Director; Pablo Figueroa and myself, Co-Directors; Louie Ramirez, Musical Director; Leticia and Ralph Lew, Publicity.
Our first hurdle was coming to grips with the budget that would define within what space we would work. Without going into the sordid details, let's say it was ridiculously low. This meant we would have to double up on creativity imagination, sweat -- and go without pay. Next, each of us had to deal with their special tasks; Ralph and Ray had to make sure the nominees would be present, including those from Puerto Rico. It had always been our plan to keep the "winners" in various categories secret till the night itself when the names would be disclosed from the stage. The whole envelope routine, you know.
Louie had the job of assembling a band of musicians that could swing in various styles of Latin, read his charts as opposed to just reading), and come together as an ensemble with only two rehearsals and no sound check since we could only afford the sound system for the awards night.
Ralph and Letty got to work on the media, Izzy directed the Latin NY art department (Victor, Richard, Willie Chico, and Freddie, in the design of posters, flyers, programs, and the awards themselves. At the same time, we were getting out Latin NY Magazine (Carlos DeLeon taking up much of the! work to free Izzy, who also had to do commercials and interviews which Letty set up),
LATIN NY STAFF AT THE OFFICE
Top left: Illustrators, RICHARD LEONARD and FREDDIE SOTO checking pages of the magazine before going to press.
Top right: Publisher, Izzy Sanabria, relaxing?
Middle left: OUR HEROES who saved the Awards Night by their diligent work. Office manager, P.J.SIERRA and our cracker-jack salesman, LOUIE DE LEON.
Middle center: Award Night announcer/cuer, MARLENE CINTRON.
Middle right: TONY PABON, who answered calls and coordinated equipment and money pick-ups, with our advertising manager, GARY ELTER, who did a fantastic Job of selling ads for the magazine strictly by telephone.
Bottom left: Our associate art director, VICTOR DIAZ, who together with illustrator WILLIE ESPADA bottom rightl, worked right through the night to finalize the production on the magazine and Awards Night program production.
Looking over Victor's shoulder is our Gal-Friday MARIA CRUZ who stuck it out with us thru the night setting type. MARIA also coordinated and assisted with the cueing during the Awards Presentation.
LATIN NY ORCHESTRA
LOUIE RAMIREZ -musical director, bass-ANDY GONZALEZ, piano EDDIE MARTINEZ, bongos MANNY OQUENDO, conga-FRANKIE MALABE, drums-MIKE COLLAZO, Tres-HARRY VIGGIANO, saxes: MARIO RIVERA &BOBBY PORCELLI, sax & Flute-GONZALO, trombones-SAM BlJRTIS and GARY LIST, trumpets-RAY MALDONADO, TONY COFRESI and HECTOR "Bomberito" ZARZUELA, vocals- RAY De La PAZ & EDDIE TEMPORAL.
THE BIG SIX
Pictured above from left to right: RAY AVILES, Co-producer; LOUIE RAMIREZ, Musical
Director; IZZY SANABRIA, Co-producer / Host; CARLOS DE LEON, Editor; PABLO GUZMAN, Director; RALPH MERCADO, Co-producer . . . and What Does All This Mean ???
THAT (1 ) OUT OF (16) PEOPLE IS CLEAN SHAVEN & CLEAN LIVING ! GUESS WHO ?
ENTIRE LATIN NY STAFF AT THE VICTORY PARTY (BARNEY GOOGLES)
PRESENTING IZZY SANABRIA WITH '"OUR HERO" AWARD).
Left to right: GARY ELTER-Adv. Manager, MARIA CRUZ-Technical Editor & Typesetter, FRANK BELLO-Editorial Assistant, and Writer, LETTY GONZALEZ-T-Shirt Sales P. J. SlERRA-Office Manager, EVELYN PADIN-Typesetter and who Coordinated the ladies, PA8LO GUZMAN-Director, IZZY SANABRIA-Publisher & Co-Producer, TONY PABON-Circulation, CARLOS DE LEON Editor, LOUIE DE LEON-Salesman, STEVE RIVERA ran the slide projector, Top row: RICHARD LEONARD-Artist (making with the bunny ears), VICTOR DIAZ-Artist, GARY "Kung Fu" FERNANDEZ-Artist, WILLIE ESPADA-Artist/Designer and TONY CARRION-Associate Editor.
Pablo and I got to work on the script and staging. This included working With Michael Wright, Stage Manager of the Beacon Theater, and their great staff, in setting up lighting and sound cues, use of the curtain, operation of the pit, etc. We decided to break up the show into segments of 30 minute length, each segment to be hosted by one of the Latin DJs. This was fine on paper, but it didn't quite work out. A constant problem in events like this is dealing with egos. The team and those working With us managed to subordinate individual wants when they conflicted with the overall good of the show. Unfortunately, not everyone else deals the same way. At First this presented hassles, but we soon decided that if any work has to get done that had to go.
Three weeks before the event, Pablo had to go to Puerto Rico to fulfill a prior commitment, He tried to work some way out of, or around it, but couldn't. This meant I had to build upon the skeleton he erected alone. My response was predictable: I went bananas. Louie and lzzy were of great help in making sure we all shared the load, Two weeks before the event, things really got intense ("it's really gonna happen!"). The script had to be finalized for rehearsal. Some nominees in key categories would be absent due to unbreakable engagements (Hector Lavoe, Celia Cruz). The trophy design hadn't been completed yet. Presenters hadn't been con contacted. The band hadn't been in rehearsal. Everything would have to come together soon, or else.
The Beacon Theater has a pit adjacent to the stage that can be raised or lowered. We wanted to use it to present the various Bands of the Year (New Band, Charanga Conjunto, etc.). A whole strategy had to be worked out on its use. Besides lifting or lowering it, a sub sound system had to be built on it, along with logistics to set up and dissemble the various bands. It was only two days be fore the show that we built a ramp staircase from the audience over the pit to the stage so that winners could run up to receive their awards. That alone killed what was left of the budget.
Carlos and I first contacted Stevie Wonder two months before, through the aid of Charlie Collins (thanks, Charlie). During rehearsals for his new album (which is gonna be a smoker by the way), we managed to chat during breaks. Steve related to the presentation on the right for Latin music' and agreed to lend support, perhaps appearing if possible. But the album and Yolanda's pregnancy would have to be taken care of first. It wasn't until 3:00 P.M. on the day of the show that Steve contacted us, through Josette \/alentino of his organization (whom we deeply thank for maintaining ties with us), to say he'd be down (and congratulations to Yolanda and Steve on the birth of their daughter!)
With all the running around on flying musicians in, getting posters out, writing up the special segments (Hall of Fame, Critics Awards, Introduction—History of the Music), would you believe that we paid little attention to how the work was going on making the trophies' And sure enough, no one bothered to find out about them till the last minute. But, Latin NY magazine has heroes everywhere, and we will not let them be unsung. The night before the show, P.J. Sierra and Louie De Leon (take a bow, fellas!) of our Business Department, single- handedly tracked the awards down, in a quest through 3 boroughs, until final success was achieved.
When it became clear that some winners couldn't make it, we said "Wow, people will be disappointed." To compensate somewhat, we hit upon the idea of the slides, action color shots that would be projected of absent winners. Steve Rivera, with no experience, came in on time as projectionist.
To free some of my load, we needed someone to double up as an announcer and cue-giver to the guys on the lights. Marlene Cintron performed this double job beautifully. Next we needed some one to handle continuity, to keep track of arrival and departure of on-stage presenters, segments, winners, etc. Maria Cruz, under much pressure, took care of mucho business with that task.
As people who saw the show know, Louie Ramirez directed what many believe to be the finest big-band aggregation of any type in the city. With only two rehearsals, those cats cooked with a tightness that said years, not days. In a music show, the key area is, of course, the music, and Louie gets a well (deserved hand for his skillful blending of the many elements included. Also, we must thank Randy Ortiz, and Ray Castro, of Seguida who volunteered their expertise in working with the house engineer on the sound system so that the Latin NY Orchestra could be heard properly.
And while we're giving folks their due, let's not forget Cassie of RMM who kept track of the logistics between all of the parts.
Now what is the worst thing that could happen to a show? Nobody showing, right!? And because this was more than a show, because this was a statement serving notice that we'd arrived.
The industry in general and in particular m were watching to see if we would bomb after all. Because selling tickets is their yard- stick.
So imagine how we felt to learn that morning that only 40% of the tickets had been sold! Our people have a tendency to buy tickets at the last minute. But this combined with the heavy rains that broke loose would kill us. And here's where the real heroes came in like the cavalry. We sold another 50% of the seats that day, meaning that with the rain, we still sold out 90%! It was our people, who supported the Awards by voting, who finally made the difference by attending.
It was a memorable night (as was the party at Barony Google's later, thanks to Tony Raimone and Marty Arret). Images of Adalberto Santiago and Louie Ramirez showing Stevie how to play Guiro, of Sonora Matancera and Machito, Graciela and Mario Bauza on stage together to accept our Critics Awards, of Roberto Roena's impromptu dance after accepting his award (the only cat I've seen who dances Salsa as lames Brown does Soul), of Puente's incredible Timbale solo upon accepting his second award (it was that kind of a night), of Liz Torres' Iris Chacon take-off, of the crowds wild response to the surprise provided the first time we used the pit and Tipica Novel and the Novelettes (Great idea) seemed to appear out of nowhere, of Bobby Capo presenting the Composer's Award, of Izzy and Lourdes dancing the different steps through the years, will never leave anyone's mind who was present. It was history, and we hope you've seen some of what went into it. Plus a iot of love.
Now, as we say around here, "WAIT 'TIIL NEXT YEAR"
A FEW WORDS FROM MR. SALSA - IZZY SANABRIA
