SALSA Time!!

Salsa is a partner dance form that corresponds to salsa music, however it is sometimes done solo too. The word is the same as the Spanish word salsa meaning sauce, or in this case flavour or style.

Salsa is danced on music with a recurring eight-beat pattern, i.e. two bars of four beats. Salsa patterns typically use three steps during each four beats, one beat being skipped. However, this skipped beat is often marked by a tap, a kick, a flick, etc.

Typically the music involves complicated percussion rhythms and is fast with around 180 beats per minute (see salsa music for more).Salsa is a slot or spot dance, i.e., unlike Foxtrot or Samba, in Salsa a couple does not travel over the dance floor much, but rather occupies a fixed area on the dance floor. In some cases people do the Salsa in solo mode.

Salsa music is a fusion of traditional African and Cuban and other Latin-American rhythms that traveled from the islands (Cuba and Puerto Rico) to New York during the migration, somewhere between the 1940s and the 1970s, depending on where one puts the boundary between "real" salsa and its predecessors. There is debate as to whether Salsa originated in Cuba or Puerto Rico. Then again, it is a debate, and there is the possibility that it could have originated in both places or only one. Salsa is one of the main dances in both Cuba and Puerto Rico and is known world-wide. The dance steps currently being danced to salsa music come from the Cuban son, but were influenced by many other Cuban dances such as Mambo, Chá, Guaracha, Changuí, Lukumí, Palo Montel, Rumba, Yambú, Abakuá, Comparsa and some times even Mozambique. It also integrates swing dances. There are no strict rules of how salsa should be danced, although one can distinguish a number of styles.

The basic movement occurring in the dance patterns of the various salsa styles is the stepping on the beat of the music. Salsa is best grouped in pairs of 4-beat patterns counted "1-2-3-...-5-6-7-...". The leader starts on count 1 by stepping with the left foot. On count 2 and 3, they step with right and left, respectively. On count 4, the lead pauses or makes an optional tap with the right foot. On counts 5, 6, and 7, they step with right, left, and right, respectively, again followed by a pause on count 8. As a standard, every step must be taken with full weight transfer. The follower part is identical, but with left and right reversed. In all patterns and styles, the leader starts with the left foot and the follower starts with the right foot.

The term "basic step" normally refers to a forward-backward motion. On counts 1, 2, and 3, the leader steps forward, replaces, and steps backward. On count 5, 6, and 7, they step backwards, replace, and step forward again. The follower does the same, but with forward and backward reversed, so that the couple goes back and forth as a unit. This basic step is part of many other patterns. For example, the leader may dance the basic step while leading the follower to do an underarm turn.
The following variants of the Basic step may be used, often called breaks.
Forward break: Starting from either foot, step Forward, Replace, In-place, counting 1,2,3 or 5,6,7.
Back break: Starting from either foot, step Backward, Replace, In-place, counting 1,2,3 or 5,6,7.
Side break: Starting from either foot, step Sideways, Replace, In-place, counting 1,2,3 or 5,6,7.

Normally Salsa is a partner dance, danced in a handhold. However advanced dancers always include shines, which are basically "show-offs" and involve fancy footwork and body actions, danced in separation. They are supposed to be improvisational breaks, but there are a huge number of "standard" shines. Also, they fit best during the mambo sections of the tune, but they may be danced whenever the dancers feel appropriate.

HAPPY BIRTHDAY! WE'LL SUE!!!

"Happy Birthday to You" is by far the most well-known song in the English-speaking world, and perhaps the whole world, too. For nearly a century, this simple ditty has been the traditional piece of music sung to millions of birthday celebrants every year — everyone from uncomprehending infants to U.S. presidents; it has been performed in space; and it has been incorporated into untold millions of music boxes, watches, musical greeting cards, and other tuneful products. It therefore surprises many to discover that this ubiquitous song, a six-note melody composed in the 19th century and accompanied by a six-word set of repetitive lyrics, is still protected by copyright — and will be for decades to come.

The "Happy Birthday" story begins with two sisters from Kentucky, Mildred J. Hill and Patty Smith Hill. Patty Smith Hill, born in 1868, was a nursery school and kindergarten teacher and an influential educator who developed the "Patty Hill blocks" used in schools nationwide, served on the faculty of the Columbia University Teachers College for thirty years, and helped found the Institute of Child Welfare Research at Columbia in 1924. Patty's older sister, Mildred, born in 1859, started out as a kindergarten and Sunday-school teacher like her sister, but her career path took a musical turn, and Mildred became an composer, organist, concert pianist, and a musical scholar with an speciality in the field of Negro spirituals. One day in 1893, while Mildred was teaching at the Louisville Experimental Kindergarten School where her sister served as principal, she came up with the modest melody we now know as "Happy Birthday"; sister Patty added some simple lyrics and completed the creation of "Good Morning to All," a simple greeting song for teachers to use in welcoming students to class each day:

Good morning to you,
Good morning to you,
Good morning, dear children,
Good morning to all.

The Hills' catchy little tune was unleashed upon the world in 1893, when it was published in the songbook "Song Stories for the Kindergarten". After the song proved more popular as a serenade for students to sing to their teachers (rather than vice-versa), it evolved into a version with the word "teacher" replacing "children" and a final line matching the first two, and "Good Morning to All" became more popularly known as "Good Morning to You."

Here the trail becomes murky — nobody really knows who wrote the words to "Happy Birthday to You" and put them to the Hills' melody, or when it happened. The "Happy Birthday to You" lyrics first appeared in a songbook edited by one Robert H. Coleman in March of 1924, where they were published as a second stanza to "Good Morning to You"; with the advent of radio and sound films, "Happy Birthday" was widely popularized as a birthday celebration song, and its lyrics supplanted the originals. By the mid-1930s, the revamped ditty had appeared in the Broadway musical The Band Wagon (1931) and had been used for Western Union's first "singing telegram" (1933), and when Irving Berlin's musical As Thousands Cheer made yet another uncredited and uncompensated use of the "Good Morning to All" melody, Jessica Hill, a third Hill sister who administered the copyright to "Good Morning to All" on behalf of her sisters, sprang into action and filed suit. By demonstrating the undeniable similiarities between "Good Morning to All" and "Happy Birthday to You" in court, Jessica was able to secure the copyright of "Happy Birthday to You" for her sisters in 1934 (too late, unfortunately, to benefit Mildred, who had died in 1916).

The Chicago-based music publisher Clayton F. Summy Company, working with Jessica Hill, published and copyrighted "Happy Birthday" in 1935. Under the laws in effect at the time, the Hills' copyright would have expired after one 28-year term and a renewal of similar length, falling into public domain by 1991. However, the Copyright Act of 1976 extended the term of copyright protection to 75 years from date of publication, and the Copyright Term Extension Act of 1998 added another 20 years, so under current law the copyright protection of "Happy Birthday" will remain intact until at least 2030.

The Clayton F. Summy Company is no longer independent, but, through a chain of purchases, the copyright for Happy Birthday To You lies securely in the hands of the Time Warner company. Happy Birthday's copyright is licensed and enforced by ASCAP, and the simple little ditty brings in more than USD $2 million in annual royalties.

Does this mean that everyone who warbles "Happy Birthday to You" to family members at birthday parties is engaging in copyright infringement if they fail to obtain permission from or pay royalties to the song's publisher? No. Royalties are due, of course, for commercial uses of the song, such as playing or singing it for profit, using it in movies, television programs, and stage shows, or incorporating it into musical products such as watches and greeting cards; as well, royalties are due for public performance, defined by copyright law as performances which occur "at a place open to the public, or at any place where a substantial number of persons outside of a normal circle of a family and its social acquaintances is gathered." So, crooning "Happy Birthday to You" to family members and friends at home is fine, but performing a copyrighted work in a public setting such as a restaurant or a sports arena technically requires a license from ASCAP or the Harry Fox Agency.

Fidel Castro

Fidel Alejandro Castro Ruz (born August 13, 1926) has been the head of state of Cuba since 1959, when he commanded the attack that overthrew Fulgencio Batista. He mandated the transformation of Cuba into a socialist republic.
Castro, in his long tenure as leader of Cuba has been variously described as a totalitarian despot and a charismatic liberator, both widely hated and widely popular, courageous and cowardly, a benevolent dictator, an astute politician and an autocratic totalitarian murderer, a dedicated socialist ideologue and a pragmatic nationalistic power monger. Few leaders in history have received such a wide range of praise and criticism.
Castro then got attention in Cuban political life through his fervent nationalism and his critiques of Batista and US corporate and political influence in Cuba. He gained an ardent, but limited, following and also drew the attention of the authorities. His leadership of the 1953 attack on the Moncada Barracks, his subsequent trial, incarceration and exile to Mexico led to the guerrilla invasion of Cuba in December 1956. Since his accession to power in 1959 he has invoked both praise and condemnation (at home and internationally).
Outside of Cuba, Castro has been defined by his relationship with both the United States and with the former Soviet Union. Ever since the failed Bay of Pigs invasion of Cuba in 1961 by the United States, his government has had an openly antagonistic relationship with the US, and a simultaneous closeness with the Soviet bloc. This was true until the collapse of the Soviet Union in 1991, after which his priorities shifted from supporting foreign intervention to partnerships with regional socialist movements such as that of Hugo Chavez in Venezuela.
Domestically, though the economy has been generally weak, Fidel Castro has overseen the implementation of various policies which saw the rapid centralization of Cuba's economy - land reform, collectivization of agriculture, nationalization of leading Cuban industries, and the expansion of publicly funded health care and education. Many accredit these moves with bettering the lot of Cuban citizens, while others dispute the results and point not only to general economic depredation that exists in Cuba today, but the criminalization of political dissent that has come along with it.