THE END

” Shannon ”
by: Ivan Diller
“Ivan Diller writes a monthly column, “Ivan’s Den,” for the
New York-based club guide “Twist Magazine.”
Contact Ivan Diller at: IDiller@aol.com

It’s hard to believe it’s been fourteen years since Shannon’s “Let The Music Play” hit the airwaves in the summer of 1984. The first in a string of Shannon’s hits of the mid-late 1980s, “Let The Music Play” shot to #1 on the Dance and R&B charts, and to #8 on the Pop chart. “When I recorded ‘Let The Music Play,’ it happened quickly,” says Shannon of her early success. “Someone that I knew who was a friend of Mark Liggett found out that Liggett and Chris Barbosa were looking for a singer,” she recalls. “I went down for an audition and Liggett and Barbosa took me into the studio the same day and I laid down the track for ‘Let The Music Play.’”

With the phenomenal success of the single, the teenage Shannon was asked to go out and perform the song on the club circuit. “Funhouse was one of the places I performed in,” says Shannon of the early track dates. “I remember it was with Madonna. She was headlining and I was opening, and people were asking my press agent, ‘Is that Madonna?’” Both unknowns at the time, each has made a tremendous contribution to the success and longevity of dance music.“Let The Music Play” wasn’t the first of the style or sound,” Shannon states. “Jenny Burton came out with a sound with ‘One More Shot.’ We didn’t copy the sound, but other people started to have that same idea at the same time. When ‘Let The Music Play’ came out, people started to take dance music more seriously again.”

“Give Me Tonight” was recorded as the follow-up single to “Let The Music Play.” “It was a takeoff of “Let The Music Play,” remembers Shannon. “We tried to recreate the same thing. We used the same writers, same producers, everything.” Enjoying equal success to her debut single, “Give Me Tonight” was her second smash in a row, followed by “My Heart’s Divided,” also off her debut album, and “Do You Want To Get Away.”

It’s rare for a dance artist to have four singles that are considered classics, while still enjoying success as a recording artist. “It feels great; they have kept me alive all these years,” says Shannon of her early recordings. Today, Shannon’s voice can be heard on the recent Todd Terry hit single, “It’s Over Love,” from his Logic Records album Ready For A New Day, and on the single “Movemania” by Sash!, to be released in the U.K. in October.

In the midst of recording a new album with producers Todd Terry and Sash! amongst others, Shannon hasn’t forgotten the tunes that made her famous in the 1980s. “’Let The Music Play’ and ‘Give Me Tonight’ are both going to be on the new album,” she says. “Todd is re-doing them. We did a whole new thing, bringing the songs into the 90s.” With a track record like Shannon’s, “Movemania” and her next album are sure to be hits!

SAFIRE

1998. It’s a packed house in a small club filled with a crowd in their early twenties and late teens. Like any other night, the crowds know they are there to dance, mingle, drink, exchange phone numbers and who knows, even get lucky. Tonight they know that some where down the line there will be a performance by some woman they have never really seen in person before. Just another one of those “Freestyle” people. As the hours go by, the place is filled to capacity as everyone gets into his or her nightly routine. As the majorities have forgotten about the up coming performance, with one big swift the lights and music come to a complete stop.

The crowds start yelling in anticipation. They think there was a power outage. The anxiety fills the air, as the crowds are unsure of the situation.

Meanwhile, unaware   what is about to hit them, all eyes are centered on a bright white light shining over the stage. Out of the darkness and into the light jumps a silhouette of a girl with two ponytails, who starts swirling and spinning in circles like a character out of a Japanese animation flick. Right before the audience gets a good look at this girls face, she stops and smoothly lays her first words into the microphone ” Let Me Be The One Baby!…..”. The beats start dropping and the crowds start flocking, cuz what’s up on that stage, has come to redefine the new age. The peeps started to jump as the beats started to thump. She yells ” Are you all ready to party with me or what? Let me hear you say Hell yeah! Say hell yeah! I can’t fucking hear all of you all! If this is the place, let me hear you make some noise!” The place blew up with an energy that many have never experienced before. She shined with pride as the crowds moved from side to side.

Back in the mid 1980’s, before the days of George Lamond, Johnny O , Cynthia or an ocean of artist that would classify themselves as “Freestyle” artist, the times where different. The number of Freestyle performers was small, but the noise that they made was larger than life. Before George Lamond, there was his cousin Joey Kidd. Before there was a Cynthia, there was the young lady who introduced Cynthia to producers Mickey Garcia and Elvin Molina, before they turned her (Cynthia) into a star under the MicMac label. Her Name is Safire. Around the mid 80’s at the dawn of the Latin HipHop movement, it would be a time when dance music would have a change of sound and direction. Directly stemming from Electro Funk and early Shannonesque style Freestyle records, labels were quickly picking up artist for the following sound of Dance. Artist that did not hold the already popular Electro Break-dancing sound, but that held the sound that would follow.

In New York, the label that is presently known as Cutting records, was back then already put on the map by its first release Hashim’s “Al-Naafiysh (The Soul)”. Though Hashims record serves as proof of Cutting records and Freestyle’s roots to Electrofunk and HipHop, it would be Cutting’s next investment,  that would until this day grant them the tittle “Latin Dance Capitol”.

Around the mid through late 80’s, the people spawning the Latin HipHop or Dance (as it was called), were mostly independents  from various different labels. Out of all the labels only two labels would become the mega forces of New York’s “Traditional” Latin HipHop. They would be Cutting and Fever Records. It would be the camaraderie between the two, and everything between, that gave life to the Freestyle movement. It gave a sense of unity and “Family” to the producers, artist, singers, and DJs of that time. The same feeling would spread to Miami and Los Angeles, not only felt by those inside the Freestyle Industry but those outside in the public as well. Something that is indescribable and really had to be lived in order to be understood. Although many artists had their positions or tittles, there would be one who solely carried the heart of the movement that once was.

Safire, Cuttings first lady, tore down the doors for Freestyle and all dance artists at radio and club levels at a time when the mainstream and radio still looked down on dance music. She would accomplish this with “Don’t Brake My Heart” and ” Let Me Be The One”. The two records that would forever seal her fate. With her own style and flavor, Safire quickly became a Latin HipHop icon. Her albums would blow up and spawn many hits. One of these hits would be “I will survive”, a Gloria Gaynor classic given an updated sound and was all over New York’s Hot103 and Miami’s Hot 105.

A string of other hits would follow. Along with the previous mentioned hits, she continued to dominate both the clubs, streets and radio levels,  flawlessly with “Love Is On Her Mind”, “Boy I’ve Been Told”, “Love At First Sight”, “One Day (I Am Going To Make It) and her ballad “Thinking Of You”.

It would be the string of hits that all held longevity that would turn her into a legend, besides the fact that she was already one of the first ladies of Freestyle along side Judy Torres, The Cover Girls and many others. But Safire’s contributions did not end there. She was one of the first Latin HipHop artists to spawn Freestyle music videos. The videos would be of “Let Me Be The One”, which helped cultivate and express a certain style and helped Freestyle develop an image. This was achieved with many different angle shots and artistic direction.

Another video would be “One day (I Am Going To Make It), which captures many angles of street life and outside shots. The song would serve as an inspiration to many young kids with a message of “yearning for success” , as Safire sang her experiences. And another video would be of her ballad “Thinking Of You”, who obtained a long artistic shot of Safire. It simply just had a camera shot of Safire singing on a stage. “Thinking Of You” was a ballad with a somber theme of “loss by death”. It was said that the ballad held a theme expressing the results of Aids. Whether or not that is the case, with the growing awareness of Aids, the song would be used in campaigns fighting Aids across the country. In time “Thinking Of You” would find itself crossing over to the adult contemporary markets as well as top 40 radio stations.  These videos gave Safire, as an artist, the exposure she needed. Not only as a “Freestyle” artist, but also as a professional vocalist and a person who served as a role model and contributed to society’s needs.

Safire as an artist grew. But her roots to Freestyle remained strong. She remained an icon for Latin hipHop, as her albums were covered with contributions from every one from Mark Anthony to the Latin Rascals ( Tony Moran and Albert Cabrera) . Her albums were a reflection of her social position and the talent of those who surrounded her. Safire also made her presence felt on the Latin Rascal’s “On The Edge” , a classic song written by Little Louie Vega and India. It is on this record that Safire’s “OOH” & “C’mon”, along with other moans and noises, would popularize that “Safire Sound” that would be epochal in Freestyle mixes and used in other breakdowns and bridges. Safire held the flavor of Freestyle like a bujon cube. She was also a reflection of the Freestyle princesses and honeys that dominated the old skool scene. They   obtained that street toughness with a sweet and confident attitude. (If you are down, they were down.)

On a following album, Safire would once again reach radio levels with another song. “Made Up My Mind” would be another record that would inspire young minds to go after theirs. Another record found on her “I Wasn’t Born Yesterday” album would be a duo she would do with long time friend Tony Moran of the Latin Rascals fame. “Some things Never change” was never commercially released as a single. It remained on the album that sat in hands of Mercury and Polygram. Unlike her first, the album  “I Wasn’t Born Yesterday”  did not spawn as much hits. The material found on the album lacked the longevity that her first records achieved. However, her “I Wasn’t Born Yesterday” album did launch a very important record called “Taste The Bass”.

“Taste The Bass” would play an important part in Safire’s career as well as Freestyle’s musical history. As the 80’s came to a close and the 90’s gave way to House music, “Taste The Bass” would be Safire’s attempt towards a House record. It would put her on the spot light once more, as the record also helped and defined the bridge that was being used to transcend all those crossing from the Freestyle world to the House world. This record, like 2 In A Room’s “Wiggle It” or India’s “Right From The Start” & “The Lover Who Rocks You”, would define the Latin HipHop/House sound. At times many would compare Safire to India, in the sense of the similarities in their musical direction. Indeed, “Taste The Bass” was a cut produced by David Morales (now Grammy nominated), as where rap vocal arrangements were done by Seduction’s, Michelle Visage. Michelle Visage was also found working on another Latin HipHop/House record, TKA’s “Crash”, where Safire’s vocals were sampled and used on the breakdown on that record.

That was then and this is now, 1998. Safire, like many of Freestyles earliest pioneers, took time to build a life. Since then she has grown into one of the industry’s professional women. Within time her skills have developed and she is once more behind the mic. Unlike many that have attempted comebacks, Safire is in the process of continuing to further evolve the music, as well as her recording career. Like many other artists who have branched out in different markets and musical styles, she has also done the same. But unlike many of them, she is presently working in or near the Freestyle arena, as she boast her roots proudly.

She is still making noise with her re-release of “You Said You Loved Me”, a song written by Mark Anthony back when he wrote and sang back ups on a lot of her earlier material. “You Said You Loved Me” was also featured on Sal Abbatiello’s “Freestyle Lives” compilation on Fever records.

As if working on one project was not frustrating enough, while still with one foot in the Freestyle scene, through many connections and a helping hand from buddy David Maldonado Safire has launched into the Salsa world with her album “Atrevida”. Here is where she adds to  the list of artist that took the salsa route like Mark Anthony, India, Brenda K Star, Coro, Lissete Melendez, Crissy I-eece, Luis Demon, Willy Crespo, etc. It is in this album that she sings a Salsa duet with George Lamond on the cut “Valiente”. The song “Valiente” describes a woman’s view of a relationship with a machista boy friend. But this album is not just another album containing Salsa or used as tool to bring in and introduce to the world a up and coming Salsa star (George “Lamond” Garcia).

On this Salsa album she also throws down some Spanish R&B cuts as well as flexing her vocal skills on interludes, as she flaunts her strong street roots (Read: Hiphop) as well as the people behind her.

Indeed, the album dedicated to her father Angelo Cosme holds the sole element, that when combined, creates the Latin HipHop structure. HipHop and Salsa. On this album it can be said that elements of both styles are on the cutting edge.

Now on her husband’s (Kenny Diaz) label Hashboy, Safire has proven herself as a vocalist and artist to the standards of those who say they recognize “Real” music, while she still performs to sold out crowds across the country, singing all her Freestyle hits. Now with the Spanish album out of the way, Safire is currently in the process of building “a bomb”, her English album. Here she will be “Freestyling” her flavors with a mixture of elements spawning from Afro Latin, HipHop, Dance among others. The project will hopefully capture all the best of what Safire is all about. A past Latin HipHop icon introduced to a new generation.

For years many have heard of the artist known as Safire, but haven’t known or felt her flavor in person. In 98, the year of Freestyles fate, Safire has re-ignited. She has come to take away the chance from all those who failed to make the people dance. Safire has been an inspiration for many other artists and singers, not only in Freestyle, but also in all Dance music. For many years Safire has stood as a strong figure of Latin Hiphop, as an icon she remains pure. A figure of what used to be and what could be once more. It would be no surprise to see a whole new generation keep Safire burning. Jonpito

“Robin Fox”
Biography

Robin Fox has talent to burn. She’s a singer, a songwriter, and she loves to perform. Show Robin the nearest stage and chances are she’ll be on it in a flash, warming things up in a hurry. Even it there isn’t a stage, Robin’s apt to give an impromptu performance.In her early days in South Florida when Robin was engaged in the business of heavily promoting herself, she was known to walk into trendy South Beach night spots most any night of the week and without warning hop on the bar and start to sing and dance to her own CD which she kept in her purse at all times.

To this day, Robin keeps a CD of her latest songs tucked away in her purse “just in case.”Says Robin of those early days, “I knocked over drinks and pissed people off at some South Florida’s finest establishments, but I didn’t care. I was out to show the world that I not only was a songwriter and a singer, but a damn good performer too…I love to perform.” The outlandish way Robin sometimes dressed, usually in vinyl dresses and shorts with go-go boots earned her the nickname “Barbarella”, a stage name which she still sometimes uses. As a singer and dancer, Robin has always been a little ahead of the game. At Lexington High in Massachusetts Robin was involved in many musical productions including The Music Man and had the leading dancing role of Zeenita Shin.

www.streetbeatrecords.com

Says Robin of this song: “I See Stars” was written for the trance movement. It’s about love and sex…it’s about spirituality also, and UFO space or time travel. It’s also about loving someone as you would God, or your mother, whose love we deeply need at times when things are rough. Trance music brings us closer to each other and whatever spiritual beings we believe in to make our days and nights happy.”

George Lamond

The afternoon is slow. No different from any other. Thomas, a ten-year-old kid, has just made his way home from school. He recently started a new hobby, collecting old vinyl records. He started this hobby when his older cousin donated to him an old turntable and some crates full of old records from the twentieth century, late nineteen hundreds to be exact. The year is 2021. Vinyl records are hard to come by, despite the many attempts that people took to preserve the continuation of vinyl record usage. In fact record stores are not really in demand since the day people began buying and creating their own music on CD through television/computer Internet web sites. Most kids Thomas’ age do not even know what a record player is, nor do they have interest. Either way, on this afternoon Thomas was looking through an old box that belonged to his uncle whom recently passed on. There he found some pictures and so many things that had no meaning to him, but might have had some meaning since they were kept in a box hidden for so long. At the bottom of the box, to his surprise, he found what seemed to be some old record covers.

He did not know what they contained, so he went over to his turntable and layered down the record. Sounding a bit rough, he started to hear lyrics “…I thought the way you came along; my life will start to change. Instead I saw that I was wrong, My life was rearranged. How I wonder why you just pushed my love aside. You threw me in the gutter and you left me there to lie…”. He then went back into the box and pulled out a picture of the man whose vocals appeared on the record. By this time the needle had reached the end of the “A” side of the vinyl and began to rub against the center paper, making a loud noise. While still staring at the picture, the noise of the friction started to sound like an audience cheering. An audience cheering. At the end, that’s what it sounded like.

Since the earliest form of any recognized genre of music or any other art form, there have always been individuals whom have stood as figures and served as a reflection of a certain period or purpose. In the world of Dance music, specifically Freestyle music, there has been the presence of one man who combined talent, style, and pride in his work. It is the combination of these three elements that have played a key factor in converting him into a legendary star.

Born in the U.S capitol, Washington D.C, George Garcia would achieve in his lifetime what many others only dreamed about. The “American” dream. In this case dreams of apple pie and arroz con gandule.

While at a young age, growing up in the Bronx within a family of eight members, Garcia showed an interest and expressed his talent in art, specifically with sketching and drawings. Convinced that art might be a suitable direction he might take up interest in as a field of study and career, with help and support from his family, George enrolled in a New York High school that specified in Art and design. There he began his studies aiming towards that field. While majoring in graphic arts, the life and world that surrounded young Garcia would quickly conquer his heart and change the course of his life like the winds of destiny.

Although George had a good head start on the preparation for his future, he did take the time to live out his youth just like the rest of the neighbor-hood kids. In fact, he even became good at certain things a little better than the rest of his peers. He became recognized in his area as a person who mastered and practiced the art form of popping, locking, and dropping. The young b-boy also carried yet one more talent, the gift of song. The young tenor polished and flexed his skill and even performed at local shows. In time, besides acquiring a taste for the stage, he also became a regular at various thriving clubs of the New York Freestyle scene of that time.

While still at a young age and facing the temptations that the street offered young kids, and still does to make a quick buck, he kept focused on his future. It was his future that kept him in line as well as making him make the right decisions in his life. None the less George Garcia was more than just another kid on the block or just another club head. He carried Freestyle in his blood line through other family members.

In time this would lead him to sing back up vocals on “Everything I Own” and “Counting The Days” for his cousin who was better known as Joey Kid. Around the same time he would become a known figure through out the Music Community of New York and would regularly lend his voice for background vocals for various other artists. Within time he would team up with producers Chris Barbosa and Mark Ligget and sign to their independent label, Ligosa Records, for a recording project. Barbosa and Ligget were no strangers in the Freestyle and Dance Music world. Both already had credited backgrounds for their work on Emergency records in New York during the early 80’s.

Through Emergency records, they contributed to the Dance music world and Freestyle the biggest breakthrough for Dance music at that time, Shannon’s “Let The Music Play”, which was one of the first Freestyle records ever recorded. The combination of Ligget and Barbosa’s production work, background, and George’s vocals, would with no surprise equal success for the label whose name is a combination of Ligget (LIG) and Barbosa (OSA).

In 1989 at the age of 18, Garcia recorded “Bad Of The Heart” and was known as Loose Touch. With a good response from the public, Barbosa and Ligget shopped the record around while gaining the help from David Jurman who worked at Arista records at that time. Jurman later transferred to Columbia Records and “Bad Of The Heart” and George were picked up. Columbia Records re-released “Bad Of The Heart” and its follow ups “Without You” and “Look Into My Eyes”, which could all be found on his first album entitled “Bad Of The Heart”. The album held the production work of both Barbosa and Ligget and executive production from David Jurman himself and Brad le Beau.

Although George got picked by the major label Columbia Records, he would face certain changes that went with the turf. Like many other “Latin Freestyle” artist that were being picked up by major labels, the labels did not know how to market Freestyle or English speaking Latin artist. It was an unknown frontier and some felt that they needed to make changes before taking certain risks. Different labels took different actions, but most labels changed the name of the artist in hopes that another name would be well suited and accepted by the mainstream public. The masses would not know of George Garcia, but of his new name that would forever go down in Dance music history as George Lamond.

With his album “Bad Of The Heart” George Lamond rose to fame and was part of a new generation of faces in the Freestyle scene that would evolve the image and sound of the Latin Freestyle genre of the late 80’s and early 90’s. A new generation simply called “Freestyle” artist different from the previous “Latin HipHop” artist that prevailed from the early to late 80’s. As a vocalist, George Lamond became one of Freestyle’s biggest assets and proof that Freestyle artists would indeed continue to be talented. When it came to George Lamond, vocal talent was only one trait. Besides originating his own vocal style, George Lamond also flaunted a sence of fashion. At a time when the Freestyle genre was moving to its next level, George provided a new style and image where it was in to be a bit more clean cut and dressy than the previous years. Bieng a bit more elegant in his way of dressing only inhanced his physical apearance, which many of his fans found appealing.

With a good response from his first album, George was given the option for a second album that was entitled “In My Life”. This was due to the fact of the success of “Bad Of The Heart”, “Without You”, “Look Into My Eyes”, ” True Love (Never Dies)” a duet with Micmac recording artist Eileen Flores, as well as the “Feliz Navidad” project that also featured Nayobe, Brenda K. Star, The Cover Girls, Willy Chirino and various others. Besides the “Feliz Navidad” record, he also scored with his X-mas solo “All I Want For Christmas Is My True Love”. Although he had made the previous records hits, they were no match with the duet/ballad that was recorded with Brenda K. Star “No Mater What”, which not only hit big in the American Market but rocked the Spanish speaking market with the Spanish side of it “No Morira”. These were the basic records that made the name George Lamond a household word and an International success. George Lamond, in such short time, achieved global status and became the first Hispanic Freestyle solo artist to not only be fully recognized by the American music industry, but also crossed over to so many different markets ranging from adult contemporary, R&B, top 40, Dance, and Spanish. One day he would be performing for Spanish television and the next night blow the roof off of Harlem’s Apollo Theatre for a predominantly African American audience. Indeed something that not all-Freestyle artist could claim to have achieved.

The “In My Life” album was recorded one year before its official release. During this time things were changing. Music style was changing. The style of dress was changing. Most record companies where interested in filling the big demand for Hip-Hop Rap and House Music. Most labels released their artist if they could not adapt to that direction. Unfortunately for so many Freestyle artist who signed to major labels, the executives thought that it would be wise to approach a new direction. Many saw the successful response that Freestyle had with a certain population but decided to offer artist other material believing it would apply better to a much larger population. Most labels that had the financial funds to promote a good record and make it a hit did not back up Freestyle material. Instead put the promotional muscle into material the major labels provided themselves. This type of situation was common among Freestyle artist signed to majors, especially those with a talent that would become an asset. It is believed that it was the case with George Lamond.

“In My Life” was released and spawned “Where Does That Leave Love” which contained a traditional Freestyle version as well as an Underground House version, the ballad “Baby I Believe In You”, “Distant Heart”, “I Want You Back” and others. However with the exception of “Where Does That Leave love” and “Distant Heart”, the rest of the album contained Ballads, covers and non-freestyle material. This was good for people who obtained an open mind and could soak up the material, but George Lamond lost at least half of his supporters. To make things worse his material began to bore the remaining population who was already into more underground sides of Deep underground house and began viewing him as a pop artist, not a Dance artist. For the remaining few, he was seen as a sell out to his genre and even if he could transplant to another genre, R&B, he would of not been “REAL”. His image of sophisticated “pretty boy” would not of gotten far with the new HipHop/R&B movement. Besides losing major support, some pockets of people in the public and recording industry alike began to see him as an artist who was stuck on himself.

Many criticized that he would fall at the same rate of speed as he rose. Others cared less to even state a concern. 1992 saw the drop of freestyle from radio and artist dropped from major labels. George was no exception. He would be dropped from Columbia and his reputation would be dragged through the mud as the jealous and cold hearted would snicker with joy and enthusiasm. Others believed that if it was true that the artist was stuck on himself, that bieng dropped would build some kind of character that would be of some use for the future.

Since then George Lamond went back to the Ligosa camp and remained with the small community of artist that would hail from the Fever camp. He would continue to do shows and fill clubs. While taking the time to make his personal life a priority, George passed up many offers from various record companies and offers to become a member of other groups. Almost with interest to leave the Music industry and pursue an interest in the field of culinary arts, he was beginning to gain back the respect he had once lost from his public. Soon after, he would make a move that would grant him a tittle.

Not far after the “Death Of Freestyle” in 1992/93, A new label with Old skool blood emerged. At a time in Freestyle when a new fleet of labels dominated the Freestyle scene and flooded the market with cheap sounding sound-a-likes, as well as forgetting the genres roots, the Latino presence and contributions to Freestyle and Dance music would be overlooked and wiped out. This new label would become the last of the old and first of the new labels to continue to focus on the importance of talented Hispanic artist. After seven years with TKA and continued success with Kayel as K7, producer Joey Gardner opened his label Timber! Records. Although the label launched its attack against a de-functional Freestyle scene with a 7-volume compilation of records only known to “True” Latin Freestyle purist, the next step was to sign some artist. With Kayel fading out of sight after the K7 success, the crown of New York’s Freestyle fulcrum held by him, would through Joey Gardner be split in two. One half would go to Cynthia, which automatically made her “Queen” of Freestyle as she conquered ground with “How I Love Him” (where Kayel himself appeared on). The other half of the crown would go to the male figure. In this case George Lamond, as he signed to Timber. This basically became his crowning as the “King Of Freestyle”.

Although many give tittles like “King” of something to pop artist who received over rated exposure, in this case the term “Freestyle King” that Lamond carried was a tittle different. It described that he is the best figure to represent the Genre of Freestyle as a talented artist, as a second Generation Hispanic, and as a reflection of the people who have supported the genre since the day it began. A tittle that was not only passed down to him, but supported by the last few purists in the public and industry alike.

It has been three years since that date. Within those years Lamond has showed his love and devotion to Freestyle and Dance music and won back all the respect he had once lost. He achieved this with his previous record “Its Always You”, which flattened out a foundation for his next move. 1998 is the year and Lamond is ready to move on to the next level. He will be spawning two new albums. An English Dance album, “My Roots”, wich is supposed to hold “Freestyle” material including a remake of the now classic “Without You”. Also a Salsa & Tropical album that should follow the same success that India, Brenda K, Luis Damon, and various others have achieved. On his Spanish album he will have the presence of Sergio George and Ricky Gonzales. Sergio George bieng the one who in the last current years took Lamond’s “No Morira”, the Spanish version of “No Matter What”, and brought fame to DLG (Dark Latin Groove”). Already Lamond has made his vocal appearance on Safire’s Salsa album, on the cut “Valiente”, and proved that he does have the proper voice for that genre. None the less, both albums are believed to do well.

Looking back, it has been a long career for George “Lamond” Garcia. He rose from nothing, reached the highest point and fell. He stuck with what he believed in and is now on the way back to stardom. Now a father, songwriter, and gifted vocalist, Lamond has now become an Icon that would serve as an inspiration for a generation of younger artist to come. In his life Lamond has seen the ups and downs and gathered the knowledge that needs to be known to survive in the Music industry and to survive as an artist.

Now as he goes back to his roots, he will take that with him and use it to his advantage to take things further. George Lamond for many years brought energy, style and talent to the world of music and it seems that he will continue for many years to come. He was once and is now again a reflection of the music as well as the purpose.

Jonpito

” Lil’ Johanna”
INTERVIEW
by: Jorge A. Ojeda

One of the youngest Freestyle artist to make her name known in the business has been Lil’ Johanna. Her melodic style of fresh beats and sweet vocal performance has captured the hearts of so many Freestyle fans today. Backed up by producer Tony Garcia from High Power Records (Lil’ Suzy, Reinaldo fame) this Freestyle Empress continues to captivate the hearts of many.FMC = (Freestyle Music.Com) Interview by Jorge A. Ojeda. LJ  = (Lil Johanna)

FMC -Who is Lil’ Johanna ? LJ – Lil Johanna is a 17 year old teenager who is currently a student with honors and scholarships. She lives with her mother and two sisters. She is of Puerto Rican and Spanish descent. She loves to sing, dance and currently has her own television show in New York City called the “Lil Johanna Show”. In short a normal and happy girl. FMC – How did you get started in the music business?

LJ – I never knew it until my mother noticed it. When I was 11 years old I was singing the song “The Little Mermaid”, my mother decided to have a demo recorded and she sent it to a local radio station, and that’s how it all started. FMC – Who is your favorite artist, or which one has inspired you to sing? LJ- For me Selena has been my favorite singer. Her simplexes gave me great inspiration. She was someone very special, and I think she touched everyone with her personality. She was also a great singer, and one day I would love to achieve her level as a performing artist. She was very noble, sweet and full of charisma.

FMC – What is your favorite song?
LJ – If I had to pick, I would say all of Selena’s because they filled me with lots of nostalgia and have inspired me as an artist.

FMC – What was your first release and tell us how you felt when it was released ?
LJ – My first release was “Take Me In Your Arms Again”, it was a great hit for me. I was very excited and happy when it was released. It was a dream come true. I couldn’t believe it when I went to the record stores and there I was, and on one noticed that I was the artist on the record shelf.

FMC – Tell us about the album, what it was all about and who produced it?
LJ – My album is made up of 14 tracks, all of them very well produced and selected for the album. In addition, the tracks are both in English and Spanish, a tribute for Selena. The production was done by the one and only Mr. Tony Garcia of High Power records, and distributed through Warlock Records.

FMC – How was it working with producer Tony Garcia?

LJ – For me it was a great experience to work with him. I learned many things from him. He is a very patient person, and he gives you the confidence by making you feel relaxed and at eased.

FMC – How old were you when your album was released ? LJ – I was 12 years old when I did my first album. FMC – Did you feel a sort of connection with Lil Suzy, since your name is Lil Johanna & you were both first produced by Tony Garcia, and even one of your songs was titled “Take Me In Your Arms Again” ?

LJ – Well, when it comes to the name of the artist containing the word Lil’, I think it was just a way for Tony to differ from what’s small and big. I think the song “Take Me In Your Arms Again” was not intended to make anyone feel bad, but just a sequel or second part.

FMC – What made you want to pick the Freestyle genre as your style of music?
LJ – The truth of the matter was that I was to young to know about the music. When I did my demo, it was done in this style. Later, I met Tony and liked his music and his interest in helping me out as an artist, and that’s how it all got started.

FMC – How old are you now?
LJ – I am 17 years old.

FMC – So, what’s next for you? What does the future have in store for Lil’ Johanna ? LJ-  Well currently I have my own television program called the “Lil’ Johanna Show”. Here I interview artists, well known from all styles of music. I present music videos, record release parties, and the club scene. Everything related to the music business. FMC- Are you working on something new, and is it going to be Freestyle oriented? LJ – Probably for the year 2000, if God permits. I have big plans, but they will be revealed as things start to happen. But, I will let everyone know.

FMC – Are you working with any new producers and labels?
LJ – Right now there are many producers, we are currently in negotiations.

FMC – What producers would you love to work with?
LJ – There are so many great producers, I don’t think it’s right for me to specify a few because one does not know with who they will be working with. But, I guarantee it will be with a great one.

FMC – Are there any future shows planned for you? LJ – Well, there are always many shows here in New York and I take part in them. But, I would love to do some shows out of New York. FMC – What advice or message would you give to future artists? LJ – My advice will be to pursue your goals and fight in what you believe in and love. We should all understand that this is not easy, but anyone can obtain their goals with lots of talent and perseverance.

FMC – Are there any other goals you would like to achieve that do not involve music?
LJ – Something I would love to be is a doctor. I think it’s an interesting thing to be a doctor and a singer at the same time. Can you imagine? I haven’t seen a doctor sing to their patients.

FMC – How do you compare yourself to other artist, past generations and present?
LJ – I think there have always been great artists and I only compare myself with how different we all are as an artist. Every artist has there own personality and style. In the past there have been many great stars and in the present there are many great stars too. There is no comparisons. There has always been great talents.

FMC – If you had a chance to make changes in the industry today, what would you change?
LJ – I would love it if they give more opportunities for Freestyle music. If only the industry would open the doors wide for the genre. Freestyle music is a happy and healthy format of music that comes from the heart, which in the other hand there are other forms of music that do nothing for the minds of young people, in creating positive things in life. Some forms of music help in destroying their minds. There has to be something to help make this music be heard and present. This will help in giving attention to young Latinos who are in search of opportunities to express their talents.

FMC – In conclusion, what would you like to say to the Freestyle/ Dance Community? LJ – I would like to say that keeping the community united, helps to build a strong force that’s hard to mess with. Let there be a strong support for the Freestyle Music Community, so that we can continue in working together to give people the music they deserve love and hear. And that, “Esta Chiquita….Lil’ Johanna, Los Quiere Mucho…. I would like to thank everyone for their support, am I’m very happy they have enjoyed my songs which I made with great pleasure for you. You all have a friend in me. Remember, all of us together can find a way in making the Freestyle genre last for generations to come. We are the key power.

Thank you everyone again, and may God bless you all, from your friend today and always ….Lil’ Johanna.

JELLYBEAN Clubland. The word itself has so many meanings and definitions. It describes a cultural tradition that has been passed down from generation to generation since the 1920’s, but is mostly recognized for the past three thriving decades. Clubland is the Ground Zero alternative for the inner city populations. A place where they can go to escape the stress and routines of everyday life. It is our playground and our way of life. It is our heart beat. It’s reflections are like beams of light that bounce off the mirror ball.

Each reflection of light is like the reflection of a soul of those who have forever left their mark in Disco (Electronic Music). Each reflection tells a story. Today the mirror ball reflects some light on a story. We begin with one word, Jellybean

Many have heard the name , others the sugar coated stories that go with the reputation and image that the music industry has given him and quick to recognize. The world hears stories about the super producer who has remixed and produced compositions for many such artists as  Paul McCartney to Billy Joel among the many other celebrities as well as television and movie soundtracks he has also worked on.

John “JellyBean” Benitez, though many successful people can relate to his success, more of the ordinary people could relate to his life. Raised in the South Bronx by a single mother, Benitez grew up no different than any other inner city youth. Facing the same obstacles and temptations other youth faced , as he grew older he began to see more and more of the friends who surrounded him turn from herb puffing junkies to heroin addicts who never got to see the day of his success. After having attended De Witt Clinton and John F. Kennedy High Schools and dropping out , in order to escape the world that surrounded him, Benitez relocated to Manhattan with his older siblings

It was there in Manhattan were he received his first inspirations to become a DJ after attending one night at Manhattan’s Sanctuary. As time past, Benitez took two turntables and built his own lil panel. While spreading the word about his experience , he convinced certain clubs to pick him up after he submitted demos of his mixing skills. By the late 70’s Jellybean was already spinning in the top clubs of New York during the peak of that decades Disco era. The legendary Galaxy 21, Studio 54, Les Smouches, and Infinity among others. Besides spinning at these clubs, he also was spinning at the original WKTU in New York.

As the 1970’s Disco era came to an end, the thriving underground dance would resurface within two years of the 80’s decade . The early 80’s HipHop movement took a strong toll as New York would be its capitol. Within this many different clubs as the Roxy and Roseland were responsible for delivering the sound to the youth of that time. Already known for production and remixes for early E-Funk records such as Rockers Revenge “Walking On Sunshine” along with other remixes for the first batch of Freestyle records under the belt of producer Arthur Baker, he also was the main DJ at the Funhouse. The Funhouse   like Roseland, would be one of the first Latin-HipHop clubs ever to exist packing in New York’s large Latin youth which was a predominant number of Hispanics along with a reasonable number of African Americans and Italian Americans.

It was exactly the time when he spun at the Funhouse that some crazy girl made her way to the DJs booth and was able to slip in a demo tape into the tape deck while the crowd was still dancing. Their   reaction was unbelievable. This is the point in history that Jellybean Benitez met Madonna and the course of history changed forever. Their friendship grew into a serious relationship that lasted for at least two to three years. Eventually in that time Jellybean would produce “Borderline” and “Holiday”. The success of these tracks  not only put him and Madonna on the world map, but also became one of the major records to put disco back on the radio after a long time of there not being any.

After sky-rocketing into the music Industry those early years, Benitez decided to go with his first solo album. Here while still rooted to the post Freestyle scene , Jellybean came out with two early Latin HipHop records. “Sidewalk Talk” which featured Madonna on Vocals and “The Mexican” , who both turned into major break-dancing jams and could still be heard to this day in Electro TripHop sets. As the 80’s decade continued, Jellybean would become one of the major forces in the movement of that era. He would later produce The cover of “Dancing On The Fire” provided by India as well as “Mirage” . He would be a legend along side Lil Louie Vega, The Latin Rascals, and the long list of Freestyle producers.

As the 90’s decade began to move in, Jellybean , like many other Dance music producers began to experiment with the House sound. By 1990 he would release his second album entitled “Spilling the Beans”, which would be very popular in other markets. After the success of that album, like many others, he never returned to the Freestyle scene. As years passed and the 90’s began to be in full swing, he has kept himself busy building an empire besides the continuation of landing movie soundtrack deals and deals with television shows.

By the Disco boom of the mid 90’s , Jellybean came back into full swing to the Dance community equipped with his own Label ,Jellybean Recordings, publishing companies, and assets worth over 17 million dollars (and growing). Already causing an impact on the Dance scene while his label delivers scorchers like Pulse’s ” The Lover That You Are” feat. Antoinette Robertson, as for others on his label like Karel and Daryle D’Bonneau.

Besides being one of the supporters of Ellyn Harris and the Committee for The Advancement Of Dance Music (CADM) , who basically put Dance music as a Category in the 1998 Grammy’s, he has another quality that many do not recognize. Like many Freestyle producers of the 80’s decade , they created opportunities for young Hispanic youth to get a break in the music Industry. Jellybean has not forgotten his roots. With all the success he already had, he also now opened his H.O.L.A Records. H.O.L.A. (Home Of Latino Artist)  a label he opened to continue to give opportunities to young inner-city Hispanic youths.

Out of this label he hoped that it would serve as a voice as many young talents as R&B singer Veronica, The Sweet but ruff Hurricane G, the reggae Espanol/R&B of Reign, and the Latin-HipHop /Meren-house kings of Proyecto Uno, would call the label home and put it on the map. Although JellyBean has had every type of music that young Latinos have mastered, he however has had no Freestyle artist on his label yet. A genre that has more Hispanic roots musically than all other forms of Music found on the H.O.L.A imprint . He has been able to capture the image of Latin Hop-Hop on all his artist, however he has not captured the Sound of Latin HipHop of the Late 90’s as a new generation of Latino’s and Latina’s start singing over Electro HipHop beats and mold the new sounds into Latin oriented sounds that compliment and can equal the level of the now classics that all began the same days JellyBean began his Freestyle career. The genre that turned him into a legend.

As the decade begins to shift into a new millennium and major record companies continue to pick up material from DJ’s who sample the now classic “Mexican” as for other classic Electro records, it is not known exactly what will be the next move for Benitez and his labels as other labels already have begun to take interest in picking up Latin HipHop artist again. Until then no one knows what could happen, but if ever the day comes that Jelly Bean decides to go back to his roots, which now he is not far from, he might be the one to discover and blow up the next artist who could have the traits of Lisa Lisa, Lisette Melendez, and Jocelyn Enriquez combined. A move that will not only be a major impact for a new generation of Freestylers or the Dance community, but a move that would be the sole purpose of what he intended his label to be, a voice.

Jellybean, like many others, has the opportunity to do so much. But whether or not he chooses to take interest in a Latin HipHop direction (which would be so easy and so close), he can never be striped of the contributions he has left in the past.

Like a mirror ball, the ball rotates and shines another beam of light, replacing the previous one. When will the world see another Jellybean is not known . That’s  for those  who live in the present to live and witness. Until then they can remember one of the brightest reflections the mirror ball of life has ever reflected on the walls of the Discotech of life we live in. That is the light of Jellybean. A man who has risen from the bottom and now stands at the top. A man who can claim that he did see it all. A legend in Freestyle and Dance music. A reflection of light at his own right.

Jonpito