The Fania All-Stars was an illustrious and widely distinguished musical ens… Read Full Bio ↴The Fania All-Stars was an illustrious and widely distinguished musical ensemble established in 1968 by composer Johnny Pacheco as a showcase for the leading musicians and singers of the record label Fania Records, the leading salsa record company of the time.
In 1964, Fania Records was founded in New York City by Jerry Masucci, an Italian-American lawyer with a love for Latin melodies, and Johnny Pacheco, a talented composer and bandleader born in the Dominican Republic. Jerry Masucci later bought out his partner Johnny Pacheco from Fania Entertainment Group Ltd. and was sole owner for many years until his death in December 1997.
Throughout the early years, Fania used to distribute its records to music aficionados around New York City, even going as far as selling their products out of the trunks of cars. But eventually good word-of-mouth and immense success from Johnny Pacheco's Cañonaso recording would lead the label to develop its roster. Masucci and Pacheco, now executive negotiator and musical director, respectively, began acquiring fresh and creative NYC artists like Bobby Valentín, Larry Harlow and Ray Barreto.
Similar to Pacheco, most of these new talents were residents of the city's barrios and boroughs, that had moved to the city from their homelands and brought their music along. Thus, Fania and it's All-Stars were results of this era of musical renaissance and understanding among the countless cultures of NYC. They created tunes using a variety of genres available in this melting pot, including those of salsa, boogalu, Cuban Jazz and Latin R&B.
In 1968, with Fania Records garnering more acclaim and a troupe of emerging artists, Jerry Masucci and Johnny Pacheco decided to create an ensemble of the most well-known and innovative Fania artists, a continuously-revolving line-up of entertainers known as the Fania All-Stars.
During the 1970s, the star-studded group became renowned worldwide for their spectacular one-of-a-kind musical performances. Because of this, it is no surprise that their music was primarily captured and lives on today through a series of best-selling live recordings.
Among the most treasured of these recordings is the legendary arrangement "Fania All Stars: Live At The Cheetah, Volumes 1 and 2." The set, recorded in 1971 and produced a year later by Fania's own keyboard player Larry Harlow, exhibits the entire All-Star family performing before a capacity audience in New York's Cheetah Lounge. The volumes went on to become the biggest-selling Latin albums ever produced by one group from one concert. To this day, they are is still considered by many as the essence of Latin music.
Following sell-out concerts in Puerto Rico, Chicago and Panama, the All-Stars embarked on their first appearance at New York's Yankee Stadium on August 24th, 1973. The Stars performed before an unprecedented crowd of 63,000 spectators in a concert that highlighted the talents of Ray Barretto, Willie Colón, Larry Harlow, Johnny Pacheco, Roberto Roena, Bobby Valentín, and Jorge Santana (younger brother of Carlos Santana), among others. In the days leading up to the concert, it was anticipated that the event would revolutionize the music business similar to how the Beatles did in the early 1960s. In fact, when the All-Stars returned to Yankee Stadium in 1975, they became ingrained in history. This time, the highlighted acts included Celia Cruz, Hector Lavoe, Cheo Feliciano, Ismael Miranda, Justo Betancourt, Ismael Quintana, Pete “El Conde” Rodriguez, Bobby Cruz and Santos Colón. That year, "Live at Yankee Stadium" was included in the second set of 50 recordings in the List of recordings preserved in the United States National Recording Registry, solidifying the All-Stars as "culturally, historically, and aesthetically significant."
Just a few months before, in 1974, the All Stars had performed in Zaire, Africa, at the 80,000-seat Stadu du Hai in Kinshasa. This unforgettable spectacle was captured on film by Gast and released as "Live In Africa" ("Salsa Madness" in the UK). This Zairean appearance occurred along with James Brown and others at a music festival held in conjunction with the Mohammed Ali/George Foreman heavyweight title fight. Footage of the performance was also included in the 2008 documentary "Soul Power".
In an attempt to attain a wider market for salsa, Fania made a deal with Columbia Records in the US for a series of crossover albums by the All Stars. The first project was the lukewarm "Delicate & Jumpy" (1976), in which Steve Winwood united with the All Stars' Pacheco, Valentin, Barreto and Roena. It was also in 1976 that the Fania All Stars made their sole UK appearance. They produced a memorable sell-out concert at London’s Lyceum Ballroom, with Steve Winwood guesting.
In 1978 the All-Stars released "Live," a fully-blown version of the band recorded in concert at New York's Madison Square Garden in September of that year.
In 1979, Fania All-Stars travelled to Havana, Cuba, to participate in the historic Havana Jam festival that took place between 2-4 March, alongside Rita Coolidge, Kris Kristofferson, Stephen Stills, the CBS Jazz All-Stars, the Trio of Doom, Billy Swan, Bonnie Bramlett, Mike Finnegan, Weather Report, and Billy Joel, plus an array of Cuban artists such as Irakere, Pacho Alonso, Tata Güines and Orquesta Aragón. Their performance is captured on Ernesto Juan Castellanos's documentary Havana Jam '79.
That same year saw the release of "Crossover," the All-Stars' last Columbia Records album, as well as "Havana Jam on Fania," which came from a concert recorded in Havana on March 2nd.
The first signs of recession appeared in 1980, when Fania suffered setbacks including an unsuccessful movie, tension from artists with unpaid royalties, and failed distribution deals with Columbia and Atlantic Records at boosting salsa into the mainstream US market. In addition, the New York salsa scene, which had always been vital to the success of the label, was gradually succumbing to the rise of merengue from Dominican Republic and salsa romantica from Puerto Rico. As the decade ended, the All-Stars recorded fewer albums together, and it was pretty visible that the genre -- and the star-studded group that propelled it -- had reached the end of its golden age.
Although the Fania-All Stars troupe eventually reached a low during the late 1980s, many of the members continued to have individual success in their solo careers. Most notably, Hector Lavoe became an icon in the world of salsa, as people became enchanted both by his music and his tragic life story. In 2007, two films about Lavoe were released, including one produced by actress Jennifer Lopez and salsa star Marc Anthony.
Celia Cruz continued making hits until her death in 2003. In fact, Cruz gained popularity and renewed attention from younger generations throughout the new millennium, and her last singles became the biggest of her entire career. During these years, she was the recipient of numerous Grammy awards, was invited to perform alongside Aretha Franklin at the 2001 VH1 Divas concert, and just months before her passing, Univision presented a special tribute concert featuring over a dozen Latin music performers. After her death in New Jersey, her body was first laid in state in downtown Miami's Freedom Tower--where a quarter of a million people paid their final respects--and was then returned to New York City where tens of thousands of fans paid tribute to her in St. Patrick's Cathedral.
Willie Colon continued producing hits with Ruben Blades and as a solo artist. His latest album was released in 2007, and he currently works for Mayor Michael Bloomberg of New York City.
In 2008, Cheo Feliciano celebrated his 50 years in the music industry by hosting a spectacular concert at Madison Square Garden, where Mayor Bloomberg declared July 20th "Cheo Feliciano Day" in New York.
Today, only a few of the original All-Stars remain alive, as many have passed away in recent years. Nevertheless, their vigorous legacy is one that will live on for many generations. Having sold millions of records and fostered an enthusiastic following of fans throughout the globe, the legendary Fania All-Stars continue to be treasured and recognized as the quintessential Latin band of all time. Already, their music has transcended newer and contemporary genres like bachata and reggaeton. The music created by the All-Stars continues to entertain old and young fans alike, and they are as popular on the radio as they were back in the 70s. Interest in the iconic group has not declined, as albums, concerts, films and videos continue to be produced about the golden years of salsa.
During their extended and illustrious history, the New York City-based Fania All-Stars took their provocative and stirring rhythms on a journey throughout the world, and left music lovers enchanted with a remarkable collection of memorable performances that will capture the hearts and souls of listeners for many generations to come.
In 1964, Fania Records was founded in New York City by Jerry Masucci, an Italian-American lawyer with a love for Latin melodies, and Johnny Pacheco, a talented composer and bandleader born in the Dominican Republic. Jerry Masucci later bought out his partner Johnny Pacheco from Fania Entertainment Group Ltd. and was sole owner for many years until his death in December 1997.
Throughout the early years, Fania used to distribute its records to music aficionados around New York City, even going as far as selling their products out of the trunks of cars. But eventually good word-of-mouth and immense success from Johnny Pacheco's Cañonaso recording would lead the label to develop its roster. Masucci and Pacheco, now executive negotiator and musical director, respectively, began acquiring fresh and creative NYC artists like Bobby Valentín, Larry Harlow and Ray Barreto.
Similar to Pacheco, most of these new talents were residents of the city's barrios and boroughs, that had moved to the city from their homelands and brought their music along. Thus, Fania and it's All-Stars were results of this era of musical renaissance and understanding among the countless cultures of NYC. They created tunes using a variety of genres available in this melting pot, including those of salsa, boogalu, Cuban Jazz and Latin R&B.
In 1968, with Fania Records garnering more acclaim and a troupe of emerging artists, Jerry Masucci and Johnny Pacheco decided to create an ensemble of the most well-known and innovative Fania artists, a continuously-revolving line-up of entertainers known as the Fania All-Stars.
During the 1970s, the star-studded group became renowned worldwide for their spectacular one-of-a-kind musical performances. Because of this, it is no surprise that their music was primarily captured and lives on today through a series of best-selling live recordings.
Among the most treasured of these recordings is the legendary arrangement "Fania All Stars: Live At The Cheetah, Volumes 1 and 2." The set, recorded in 1971 and produced a year later by Fania's own keyboard player Larry Harlow, exhibits the entire All-Star family performing before a capacity audience in New York's Cheetah Lounge. The volumes went on to become the biggest-selling Latin albums ever produced by one group from one concert. To this day, they are is still considered by many as the essence of Latin music.
Following sell-out concerts in Puerto Rico, Chicago and Panama, the All-Stars embarked on their first appearance at New York's Yankee Stadium on August 24th, 1973. The Stars performed before an unprecedented crowd of 63,000 spectators in a concert that highlighted the talents of Ray Barretto, Willie Colón, Larry Harlow, Johnny Pacheco, Roberto Roena, Bobby Valentín, and Jorge Santana (younger brother of Carlos Santana), among others. In the days leading up to the concert, it was anticipated that the event would revolutionize the music business similar to how the Beatles did in the early 1960s. In fact, when the All-Stars returned to Yankee Stadium in 1975, they became ingrained in history. This time, the highlighted acts included Celia Cruz, Hector Lavoe, Cheo Feliciano, Ismael Miranda, Justo Betancourt, Ismael Quintana, Pete “El Conde” Rodriguez, Bobby Cruz and Santos Colón. That year, "Live at Yankee Stadium" was included in the second set of 50 recordings in the List of recordings preserved in the United States National Recording Registry, solidifying the All-Stars as "culturally, historically, and aesthetically significant."
Just a few months before, in 1974, the All Stars had performed in Zaire, Africa, at the 80,000-seat Stadu du Hai in Kinshasa. This unforgettable spectacle was captured on film by Gast and released as "Live In Africa" ("Salsa Madness" in the UK). This Zairean appearance occurred along with James Brown and others at a music festival held in conjunction with the Mohammed Ali/George Foreman heavyweight title fight. Footage of the performance was also included in the 2008 documentary "Soul Power".
In an attempt to attain a wider market for salsa, Fania made a deal with Columbia Records in the US for a series of crossover albums by the All Stars. The first project was the lukewarm "Delicate & Jumpy" (1976), in which Steve Winwood united with the All Stars' Pacheco, Valentin, Barreto and Roena. It was also in 1976 that the Fania All Stars made their sole UK appearance. They produced a memorable sell-out concert at London’s Lyceum Ballroom, with Steve Winwood guesting.
In 1978 the All-Stars released "Live," a fully-blown version of the band recorded in concert at New York's Madison Square Garden in September of that year.
In 1979, Fania All-Stars travelled to Havana, Cuba, to participate in the historic Havana Jam festival that took place between 2-4 March, alongside Rita Coolidge, Kris Kristofferson, Stephen Stills, the CBS Jazz All-Stars, the Trio of Doom, Billy Swan, Bonnie Bramlett, Mike Finnegan, Weather Report, and Billy Joel, plus an array of Cuban artists such as Irakere, Pacho Alonso, Tata Güines and Orquesta Aragón. Their performance is captured on Ernesto Juan Castellanos's documentary Havana Jam '79.
That same year saw the release of "Crossover," the All-Stars' last Columbia Records album, as well as "Havana Jam on Fania," which came from a concert recorded in Havana on March 2nd.
The first signs of recession appeared in 1980, when Fania suffered setbacks including an unsuccessful movie, tension from artists with unpaid royalties, and failed distribution deals with Columbia and Atlantic Records at boosting salsa into the mainstream US market. In addition, the New York salsa scene, which had always been vital to the success of the label, was gradually succumbing to the rise of merengue from Dominican Republic and salsa romantica from Puerto Rico. As the decade ended, the All-Stars recorded fewer albums together, and it was pretty visible that the genre -- and the star-studded group that propelled it -- had reached the end of its golden age.
Although the Fania-All Stars troupe eventually reached a low during the late 1980s, many of the members continued to have individual success in their solo careers. Most notably, Hector Lavoe became an icon in the world of salsa, as people became enchanted both by his music and his tragic life story. In 2007, two films about Lavoe were released, including one produced by actress Jennifer Lopez and salsa star Marc Anthony.
Celia Cruz continued making hits until her death in 2003. In fact, Cruz gained popularity and renewed attention from younger generations throughout the new millennium, and her last singles became the biggest of her entire career. During these years, she was the recipient of numerous Grammy awards, was invited to perform alongside Aretha Franklin at the 2001 VH1 Divas concert, and just months before her passing, Univision presented a special tribute concert featuring over a dozen Latin music performers. After her death in New Jersey, her body was first laid in state in downtown Miami's Freedom Tower--where a quarter of a million people paid their final respects--and was then returned to New York City where tens of thousands of fans paid tribute to her in St. Patrick's Cathedral.
Willie Colon continued producing hits with Ruben Blades and as a solo artist. His latest album was released in 2007, and he currently works for Mayor Michael Bloomberg of New York City.
In 2008, Cheo Feliciano celebrated his 50 years in the music industry by hosting a spectacular concert at Madison Square Garden, where Mayor Bloomberg declared July 20th "Cheo Feliciano Day" in New York.
Today, only a few of the original All-Stars remain alive, as many have passed away in recent years. Nevertheless, their vigorous legacy is one that will live on for many generations. Having sold millions of records and fostered an enthusiastic following of fans throughout the globe, the legendary Fania All-Stars continue to be treasured and recognized as the quintessential Latin band of all time. Already, their music has transcended newer and contemporary genres like bachata and reggaeton. The music created by the All-Stars continues to entertain old and young fans alike, and they are as popular on the radio as they were back in the 70s. Interest in the iconic group has not declined, as albums, concerts, films and videos continue to be produced about the golden years of salsa.
During their extended and illustrious history, the New York City-based Fania All-Stars took their provocative and stirring rhythms on a journey throughout the world, and left music lovers enchanted with a remarkable collection of memorable performances that will capture the hearts and souls of listeners for many generations to come.
Por Eso Yo Canto Salsa
Fania All Stars Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Yo canto salsa porque en la salsa
Yo encuentro siempre lo que hace falta
Para cantarle a mi sufrimiento
Lo que no cabe sufrir por dentro
Y con la excusa de su sabor
Le pongo música a mi dolor
Y con la excusa de su sabor
Le pongo música a mi dolor
1:
Cuando me sale del corazón la misma salsa se hace canción (BIS)
Desde niño he comprobado
que la pobreza es la ley
vi al buey haciendo de esclavo
y al pobre haciendo de buey
1
Y cuando empujé la puerta
en la ciudad tentadora
vi al pobre mascando tuercas
y al rico en la mecedora
1
Hay en el mundo muchas razones,
que me dan gran alegría,
cuando yo veo a mi pueblo contento
le canto salsa de noche y día
1
Pero lo que no ha cambiado
es aquella vieja ley
del buey haciendo de esclavo
y el pobre haciendo de buey
1
Y mi voz se fue agrandando
y el aplauso se hizo fuerte
así cantando y cantando
así se cambió mi suerte
1
Empecé a vivir la vida
cantando de barra en barra
y me gané la comida
con mi voz y mi guitarra
1
Dios me ha traído a este mundo
con un sonido ideal
me dio voz me dio talento
para poner al mundo a gozar, hay pacheco!
1
2:
Por eso mi amigo por eso, por eso yo canto salsa
Por el color de mi piel, por el dolor de una raza
2
Por aquel que luche y luche para comer no le alcanza
2
Señores yo siento gran alegría cantándole a mi pueblo de noche y día
2
Porque en la salsa se olvida las penas porque en la salsa se olvida el dolor
2
Porque así puedo cantar del amor y la venganza
2
Con mi canción yo le pido que siga este mundo unido
2
La salsa siempre la canto así para que el pueblo viva feliz
2
2
Por eso por eso por eso por eso por eso yo canto salsa
2
Por eso por eso por eso por eso por eso yo canto salsa
2
Yo encuentro siempre lo que hace falta
Para cantarle a mi sufrimiento
Lo que no cabe sufrir por dentro
Y con la excusa de su sabor
Le pongo música a mi dolor
Y con la excusa de su sabor
Le pongo música a mi dolor
1:
Cuando me sale del corazón la misma salsa se hace canción (BIS)
Desde niño he comprobado
que la pobreza es la ley
vi al buey haciendo de esclavo
y al pobre haciendo de buey
1
Y cuando empujé la puerta
en la ciudad tentadora
vi al pobre mascando tuercas
y al rico en la mecedora
1
Hay en el mundo muchas razones,
que me dan gran alegría,
cuando yo veo a mi pueblo contento
le canto salsa de noche y día
1
Pero lo que no ha cambiado
es aquella vieja ley
del buey haciendo de esclavo
y el pobre haciendo de buey
1
Y mi voz se fue agrandando
y el aplauso se hizo fuerte
así cantando y cantando
así se cambió mi suerte
1
Empecé a vivir la vida
cantando de barra en barra
y me gané la comida
con mi voz y mi guitarra
1
Dios me ha traído a este mundo
con un sonido ideal
me dio voz me dio talento
para poner al mundo a gozar, hay pacheco!
1
2:
Por eso mi amigo por eso, por eso yo canto salsa
Por el color de mi piel, por el dolor de una raza
2
Por aquel que luche y luche para comer no le alcanza
2
Señores yo siento gran alegría cantándole a mi pueblo de noche y día
2
Porque en la salsa se olvida las penas porque en la salsa se olvida el dolor
2
Porque así puedo cantar del amor y la venganza
2
Con mi canción yo le pido que siga este mundo unido
2
La salsa siempre la canto así para que el pueblo viva feliz
2
2
Por eso por eso por eso por eso por eso yo canto salsa
2
Por eso por eso por eso por eso por eso yo canto salsa
2
The song "Por Eso Yo Canto Salsa" by Fania All Stars is a powerful anthem that explores the essence of salsa and the reasons why people sing it. The opening verse sets the tone for the whole song, as the singer highlights the therapeutic power of salsa music. For him, salsa is a way to express what can't be put into words, to sing about the pain and hardships that weigh heavily on the heart. Salsa, with its irresistible rhythms and flavors, provides a space where he can make sense of his struggles and face them head-on.
The following verses delve into the social and political dimensions of salsa, highlighting the inequalities and injustices that plague the world. The singer speaks from personal experience, as someone who has seen poverty and exploitation firsthand, and who understands the ways in which these issues intersect with race and class. Despite the social challenges, however, the singer views salsa as a source of hope and unity. He believes that through his songs, he can inspire people to come together, to celebrate their shared identities and to fight for a better future.
Overall, "Por Eso Yo Canto Salsa" is a powerful message of resilience, activism, and joy. It affirms the transformative power of music and emphasizes the importance of cultural expression in the face of social and political adversity.
Line by Line Meaning
Yo canto salsa porque en la salsa
Yo encuentro siempre lo que hace falta
Para cantarle a mi sufrimiento
Lo que no cabe sufrir por dentro
Y con la excusa de su sabor
Le pongo música a mi dolor
Y con la excusa de su sabor
Le pongo música a mi dolor
I sing salsa because it always provides what I need to express my pain and what cannot be endured inside. With the excuse of its flavor, I put music to my sorrow.
Por eso mi amigo por eso, por eso yo canto salsa
Por el color de mi piel, por el dolor de una raza
Por aquel que luche y luche para comer no le alcanza
Señores yo siento gran alegría cantándole a mi pueblo de noche y día
Porque en la salsa se olvida las penas porque en la salsa se olvida el dolor
Porque así puedo cantar del amor y la venganza
Con mi canción yo le pido que siga este mundo unido
La salsa siempre la canto así para que el pueblo viva feliz
I sing salsa for the color of my skin, and the pain of a race that struggles to have enough to eat. I sing to bring joy to my people day and night. In salsa, we forget our sorrows and can sing of love and revenge. Through my song, I ask the world to stay united. I always sing salsa like this so that my people could live happily.
Writer(s): Johnny Pacheco, Ramon Diaz Copyright: Fania Music
Contributed by Addison Y. Suggest a correction in the comments below.
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@avocatdefenseur6539
TODOS JUNTOS:
Yo canto salsa porque en la salsa
Yo encuentro siempre lo que hace falta
Para cantarle a mi sufrimiento
Lo que no cabe en un ritmo lento
Y con la excusa de su sabor
Le pongo música a mi dolor
Y con la excusa de su sabor
Le pongo música a mi dolor
Cuando me sale del corazón la misma salsa se hace canción
CALI ALEMÁN:
Desde niño he comprobado
que la pobreza es la ley
vi al buey haciendo de esclavo
y al pobre haciendo de buey
ISMAEL QUINTANA:
Y cuando empujé la puerta
en la ciudad tentadora
vi al pobre mascando tuercas
y al rico en la mecedora
ISMAEL MIRANDA:
Hay en el mundo muchas razones,
que me dan gran alegría,
cuando yo veo a mi pueblo contento
le canto salsa de noche y día
ADALBERTO SANTIAGO:
Pero lo que no ha cambiado
es aquella vieja ley
del buey haciendo de esclavo
y el pobre haciendo de buey
HÉCTOR LAVOE:
Y mi voz se fue agrandando
y el aplauso se hizo fuerte
así cantando y cantando
así se cambió mi suerte
PETE "EL CONDE" RODRÍGUEZ:
Empecé a vivir la vida
cantando de barra en barra
y me gané la comida
con mi voz y mi guitarra
CELIA CRUZ:
Dios me ha traído a este mundo
con un sonido ideal
me dio voz me dio talento
para poner al mundo a gozar, ¡ay Pacheco!
TODOS JUNTOS:
Por eso mi amigo por eso, por eso yo canto salsa
CALI ALEMÁN:
Por el color de mi piel, por el dolor de una raza
ISMAEL QUINTANA:
Por aquel que luche y luche para comer no le alcanza
ISMAEL MIRANDA:
Señores yo siento gran alegría cantándole a mi pueblo de noche y día
ADALBERTO SANTIAGO:
Porque en la salsa se olvida las penas porque en la salsa se olvida el dolor
HÉCTOR LAVOE:
Porque así puedo cantar del amor y la venganza
PETE "EL CONDE" RODRÍGUEZ:
Con mi canción yo le pido que siga este mundo unido
CELIA CRUZ:
La salsa siempre la canto así para que el pueblo viva feliz.
@juntosotravez2024
Arreglos del dueño y señor de las blancas y las negras, Mr. Papo Lucca
@AugustoLeonardoCarrascoPERU
RECUERDOS DE MI INFANCIA. Por mi barrio de Breña.En Lima Peru
@BenAdams2009
Me encanta la constelación de estrellas pero ante todo la música y la improvisación de los grandes intérpretes ....
@jaimebarroetaleonardi4342
Demasiado elegante los arreglos de la orquesta muy románticos con armonías menores extraordinarias inolvidable y unos cantantes que llevan una afinación maravillosa sintiendo la canción en el alma felicitaciones soy pianista aquí en Venezuela y es la canción más bella que he escuchado de fania
@yatherjaviermolinamejia5276
Se me ha erizado la piel con esta canción!! Que riccooo!!!
@albertooliva3744
El Cantante de los Cantantes Las Estrellas de ls Fania💯🇵🇷🇵🇪🎵🎶🙏😭
@carlosmanuelbravoechenique5807
Siempre la Fania, dando muestra de la verdadera salsa, a nosotros los salseros de siempre.
@ONIS-RD
Villa francisca,san Carlos, San Anton,en la casa representando. 🇩🇴
@kaba_comentarista619
Viva la salsa forever desde República Dominicana bendiciones colega animoooooo 🇩🇴 🤓
@darwincapaespinoza5382
Que Chevere, que Rumba que sale del Corazon rste rico Son. Desde ECUADOR. Saludos a todos los Hermanos RUMBEROS de muchos Paises. Vaya hayyyyy