Luis Chaluisan

Yakima,Washington Television Producer
About

Mobile 347-526-2670 Emailluis chaluisan@gmail.com As one of the Staff writers for Latin NY Magazine (1977-1982) and Music Editor (1978-1979) I am blessed to have been privy to many of the events central to the Worldwide Salsa Music Explosion spearheaded by the magazine's coverage of the Latin Music scene (1973-1985/The Golden Age Of SALSA. Never in my wildest dreams did I expect to be part of world history. Along with being one of the young poets performing at the original Nuyorican Poets Cafe (1977-1979), Joe Papp's Public Theater (1977) and touring with Felix Romero's "Teatro Otra Cosa" (a bomba street theater group housed at the legendary "Teatro Puerto Rico" in the South Bronx 1977-1979) I now look back on those days with extreme exhilaration. At the time it is just the thing to do to survive as an artist. The seventies experiences lay the foundation for me to enter mainstream media when I land at job at CBS affiliate WFSB TV in Hartford Ct in 1979. For the next twenty years I have the opportunity to produce television shows, go to Hollywood, have my own rock and salsa bands, release two LP's, do radio work at the NY State Senate, ride the Internet bubble, and manage a Telemundo Affiliate Station in Washington State. And the roller coaster ride is not over. In 1997/98 I return to my seventies roots when I end up as part of Connecticut's State Team at the National Slam Poetry Championships in Austin,Texas and Chicago, Illinois copping 5 and 7th place nationally out of 200 teams each. (You can catch a glimpse of my performance and the Ct. team at the Nationals broadcast by 60 minutes on the 10th anniversary Slam blowout in Chicago.) Thanks to the support of my family - particularly my brother Ron - I am able to put together my memoirs in 2000 ("Newricane") which in turn (through God's grace) results in the Off Broadway production of "SPIC CHIC" (2001-2004) inspired by a Latin NY editorial written by Publisher Izzy Sanabria in January 1977 also entitled "Spic Chic". That show took myself, Maria Hernandez and Classical Composer David Amram to the Bonn Opera House in 2004. (I meet David while working for Latin NY in the seventies and it is a lifelong friendship since then; without Maria Hernandez (Lola Magdalena) I don't know where I would be today. Her calmness balances my manic being. I'm grateful that my father saw all this success before he passed in 2006. And likewise that my mother is still alive witnessing the next chapter of her crazy artist son's career - telling you this story (contained in the publication of "Spic Chic" as a book of poems and stories covering work from 1975-2009 inspired by another set of great mentors: Cardinal Hayes English teacher Bill Kerrigan (editor) and Steve Cannon (Fly By Night Press/A Gathering Of The Tribes NYC.) And now comes the payoff putting all these elements together: establishing WEPAwebTV in 2001 and reaching back to film a documentary on MR SALSA Izzy Sanabria, which has ultimately become the story I have been searching for during 53 years of a life that sums up an American experience as a Puerto Rican. Pa Que Lo Sepan! WEPA!LOSalon: A Salon is a gathering of people under the roof of an inspiring host, held partly to amuse one another and partly to refine taste and increase the knowledge of the participants through conversation. Salons, commonly associated with French literary and philosophical movements of the 17th and 18th centuries, continue to flourish worldwide through the Internet that provides a new way to collaborate. I owe a great deal of thanks to my brother Ronald Chaluisan who proposed conducting Salons in the early 1990's when he lived in Brooklyn. He suggested to study the French Salon movement in the 17th and 18th centuries.LOSalon: Un Salón es una reunión de personas bajo el techo de un huésped inspirador, que se celebra en parte para divertirse entre sí y en parte para refinar el sabor y  aumentar el conocimiento de los participantes a través de la conversación. Salones, comúnmente asociada con los movimientos literarios y filosóficos Franceses de los  Siglos 17 y 18, siguen floreciendo a nivel mundial a través de el Internet que proporciona un nuevo medio para colaborar.Le debo mucho gracias a mi hermano Ronald Chaluisan? quien propuso la realización de un Salon en la década de 1990's cuando vivía en Brooklyn. El me sugirió a estudiar el Movimiento de Salon Francés en los siglos 17 y 18.CANTO IJohnny Boy is back in townA creeper in bruised livesA trader in sultry secretsHe has absolutelyNo right to knowA metropolitan skyjackerTaking hostageThe stray adventurerHe preys out of emptinessA modern vampire of emotionsJohnny Boy has arrivedBrought by powers unseenTo change the courseA necessary evilIn a dirty little townOf ruined directionsSkyscrapers amuse himPits invite the taste of his specialManipulationsHave you seen him?El Loco CantineroOf hyperventilated thoughtsHave you seen him?He arrived naked at the partyTrying to check his clothesAnd announcing to all“I CAME TO DANCE!”He seducesThe confused poetThe isolated loverThe struggling womanThe ambitious teacherTo tell him their storiesJohnny Boy dismisses boundariesAnd uses the tragedyOf a comedianTo ejaculate his venomHe performs on stageFully in chargeSparks fly fromHis steel tipped heartCreating iconsOf indignityOf impulseHave you met him?His eyes tongue a red hazeOf silver spikes andBlack velvet furyA Catholic boy onA rampage through HellA new-age saintWith a customized RosarioWho sweats benedictionsAs he rides herOn an elevator rooftopWith a pistol strapped to his backEach thrust setting off a bulletUp between her legsThrough her stomachPast her heartComing out her lips into his ...A wild shot of cold-hearted lustAs soot falls on themLike soft black petalsRaining on bothThe living and the deadA rogue duskyDecadancing on the edge of razorsHe stalks runners with his boyYo Yo MontalvoAnd tries waysTo avoid their own stalkersNight bombers in silk shirtsAnd four-hundred-dollar shoesSearching for keys broken offLong ago in forgotten locksSearching forThe Great GameWhile compromising every truthAlong the waySearching for a way inHe's been speeding so longMarking timePaying copsBurying partnersTricking queensCruising shadowsWhacking even priestsIn dreams reality cuts looseAvenues slice into boulevardsD-D-D-D-D-Dodge CityHe jumps into hisThird-world club carReeking of polo and reeferAn artillery strappedOn every extremityHe's headed for aSell - A - Bray - TionYo Yo is spinningDead eyesCrazy glued on everythingA plastic mask for a faceFifth in one hand andEight Ball in the otherA new kind of pool gameWithout a cueOn guardFrom whatHimselfHe supposesYo, let's go visit the savagesIn BrooklynBut they never get past the borderJohnny goes for a hitTakes a drinkForgets to steerAnd BAM!Rams the highway dividerThe savages aren'tIn BrooklynThey're trappedThey're in the carThey're on the mainlandThey're hereThey're UssssssssssssssssssssssssNow I ask youHave you met him?Have you met him?Have you met him?I have ...He calls collectFrom wayInside CANTO IIPor qué tú sufresSi tú no tienesPorque sufrirPor qué tú llorasSi tú no tienesPorque llorarDowntownStop Look ListenIt’s now New Rican Village timeOn Avenue A off SixthLoisaidaAlphabet CityNew York New YorkBig Butt LuluSlides across the dance floorEarthquake thighs keeping timeWith Andy Gonzalez' bassAs Nestor Torres' fluteUnleashes a dance hall tranceWith a Valentino smoothnessHilton RuizThe high priest of the pianoArches in the darknessResponds with tinkling caressesThat stream in betweenThe steady clave keeping timeFor Jerry Gonzalez' drumsWhile Papo Vasquez fills with riffsNotes thrust fromEvery angle in the roomPenetrateLay swelteringJust below my stomachI absorb all eagerlyAs music and beingLockFor the climaxWelcome to Eddie Figueroa'sNew Rican VillageLoisaida N.Y.Temple of the NewRican RenaissanceLola MagdalenaMambo smilesShowing more teeth than JawsYo Yo MontalvoSwallows the eveningHe's awaken to huntBillie Zombie passes jointsLaced with dustAnd cases club membersTo rob laterSuzie Sidewinder hovers above allMussolini in high heelsLittle Lucie Blue EyesWaits for her ManWith the patienceOf a practiced killerWilfredo the Anointed ApostleIs surrounded by a sea of estrogenA man drowning on dry landKept afloat by Santa AnaThe turquoise dressed martyrAs Carmen Baby sits at homeMurmuring her mantrasTo saints and candlesBehind blessed glassAnd Johnny Boy"El Malote del Bronx"Well, he feeds his loversA thousand yards of tongueStingray shocks his preyThen disappears in the mistCANTO IIIThere’s one who can speakThe truth at all timesIn the courtOf the Spanish KingDuring the days ofThe Old Empire:The Jester.So is my role in the courtOf the New Empire.The Light guides me,I say what's on my mindAnd at the end of the dayI dream Truths.That way when I passFrom this Old WorldI'll march right up toHim in heaven and askWhat the hell was that all about?And with my luckThe Elusive One will answer:Do you remember whenWe are together then before as OneYou ask for IT — A human experience!Do I deliver on your curiosity?Travel on there’s more …Just go ahead through the looking glass.But, I’m scared Abba.Trust me I walk with you.CANTO IVThere are two thingsGod knows thatCarmen Baby knowsOneShe is beautifulTwoThe value she placesOn her lifeAnd on the livesOf the ones she lovesI glide precariouslyAlongside her pathAt once tenderThen off-centerWhen touched byThe moonlit madnessThat fuels my mindTwo binary starsDancing in the night skyDrawn in and then outHeld together by the magnetismOf our daughter ChasanThe ark of the covenantWherein Carmen keeps my soulThree universes drawn togetherBy a special mystical planWhich I manage to corruptWith the panacheOf Foghorn LeghornOn steroids:I Do I Say I Do I Say I love youCarmen replies You say You doBut at night I cry andNo tears come from my eyesCarmen praysAnd drifts to another placeIn that worldChasan is safe to roamI am at easeAnd she is free to loveBut those dreams are corruptedBy my impetuosityCorrupt fascinationBent BrillianceShe doesn’t lose her temperShe finds itAnd yet she still lovesBecause she has theBlue Eyed Ark with herBecause she hasThe Princess tucked awayAs I travel the byroadsWriting my linesAs a Dantian reporterFrom the underworldCANTO V I’mAn unbroken cowboyIn love withThe open rangesIn love withHERSmall townOne-leggedDance hall girlKnown as“Delilah Blue”A sensuous cometStreaking acrossMy sky mind22 RavenOn her hipBlackjackIn her pocketbookA stiletto hiddenBy the prostheticOf her Little LegThe sun risesEvery timeDelilah’s eyes open.She speaksAnd my soul is fulfilledDelilah can figure outMy little boy secretsWith her spiritWe meetIn a mountain desertBut are farFrom being dryOn our first dateI ask DelilahHey BabyHow you loseYour legShe wryly respondsI tire of itIt weighs me downLaterBathed in incenseCandlesAnd theStickyBittersweet smellOf love-makingI peek intoDelilah’s soulAndWitness a lifetimeOf breakingAnd resettingA body that GodDoes not quite completeOne leg shorterThan the otherA spineThat can’t supportHer heightWhich risesAbove the turmoilThe final strawComes at the handsOf five drunken marinesWho rapeBurnAndTorture herAt the hospitalThe doctor saysWe can save your lifeBut maybe not the legCut it off immediatelyCut away the pastWalk into the futureI cry that first dateHearing HER storyAnd lay the foundationFor a year ofTwisty LoveI understand her wildnessShe consecrates my abandonOur need toBe badBe with each otherAndBe in loveOutweighing the risksAt the Metropolitan Museum of ArtAs I dive into the tortureOf Van Gogh’s faceDelilah robs a Belgian touristOf 3000 dollarsPresents it to meHere PoppyHere’s my dowryPast indiscretionsCome callingFor Delilah and meDuring aRum and cocaine-chokedCelebrationOf our firstYear anniversaryI find DelilahDazedOn the bedroom floorBoozy sighs pouringFrom her lips into my earsOh, poppyThe pain is so badEven my conscience hurtsIt’s springAndWe’re blindI know I have to actAnd lay a pathFor Delilah to escapeAnd save myselfDelilahWho can always figure outMy little boy secretsActsShe walks intoA local bankMakes a .357 withdrawalLeaves me a noteAndFlies back westTo restUnder the VolcanoThanks for the star-spiked rodeoPoppyBut I’m fatiguedIt weighs me downI cry reading that noteBut understandBecause Delilah shows meBy her exampleBy her courageCut away the pastWalk into the futureYou seeYou can’t enjoyThe light of reasonUnless you firstExperienceThe Dark NightOf the Soul. CANTO VIREDEMPTIONI spend my daysMaking vertical andHorizontal calculationsAlong crooked streetsOf lights and shadowsPossessed by anArrogant ambitionTo readThe mind of GodBut there's a price to payPain the tollAs I divide my timeBetween chasing GodAnd chasing the DragonCombining lethal doses ofHorse beat with caneA perverse boy meets girlThe gravity of my situationBending the light of reasonCut off from othersOblivious to theirOpinions and prejudicesI remainA child at heartAsking the simplest of questionsBut obsessedWith the human equationHow did God make the universeHow did God make it rightHow does one plus one equalOneSolitude my choiceBecause no oneCan take that from meBut as the temporal musicOf my solitude unfoldsSo comeThe visions and the voicesI listen and I’m transfixedListen:I am here before it startsAndI am here after the endI’m a hidden treasureThat desiresTo Be KnownThereforeI create youThe CreationIn order to be knownTrust meI walk with youAn interior illuminationThat allows me to seeThrough my soul’s eyesBecomes messages in “g” forcesThat rip the air around meBecomes a deep well I fall intoEagerly drinking from its watersMaking a lasting momentOut of a singular incidentBecomes a shrineAll have access toI am exhaustedAfter all that spiritual stuffI lay downPerfumed in stolen flowersAndSodden lustRocked to sleepBy the cadence ofThe Elusive One'sBreathSongAndWordsWordsWordsListenHere's the secretYou have to know lifeTo recreate lifeAndOne more thingI love youI love you all CANTO VII The Literature of the Latino/a Experience and its Relevance in the English Classroom WEPAwebTVThe literature of the Latino/a experience in the United States of America closes the gap on education in the United States. Voices of concerns have been depicted in newspapers, websites and statistics across America. On November 30, 2003, Fox television featured a segment on its series on education to vividly document stories of children with problems with standardized testing. Even the United States Department of Education has opened an Office (White House Initiative on Educational Excellence for Hispanic Americans) that is designing, coordinating and finding ways to improve the educational excellence of Latino children. The American educational system is looking for answers and embarking on a journey of redefining its solutions. An alternative to the teaching of literature is the integration of the literature of the Latino/a experience in the English curriculum.  According to the 2000 United States Census statistics, there are 35.8 million people of Latino origin living in the United States mainland. The ones that migrated to the United States before, during and immediately after World War II, and those who were born and grew up in the United States have come out of the melting pot and have become a vital force developing a voice in American letters today. Latino/a authors have developed a literary voice of their own and are being anthologized by mainstream publishing houses like never before. Piri Thomas, Esmeralda Santiago, Julia Alvarez, Sandra Cisneros, Tato Laviera and Abraham Rodriguez have become household contemporary names that are not only being published and read in American schools but have broken paradigms by interacting, sharing, reading and positively influencing young adult audiences in schools and colleges in the United States.The study of literature is the only real academic situation in which students have to explore issues that are relevant to their interests. Latino/a literature combines the language, history and the cultural _expression of the Latino/a experience that allows students to examine these themes and make language their own by making personal connections with their lives and background information. The characters in the story, the settings within the conflicts and the poetic language all express the experiences of the recently arrived, and even portray universal situations that all teens go through. Themes include education, identity, varied approaches to race, self-acceptance, self-esteem, peer-pressure, family, domestic violence, sex, mother-son-daughter; father-son-daughter relationships, just to mention a few. Effectively used and integrated, Latino/a literature may improve academic outcomes and provide the preparation needed for students to enhance their scores on city, national and state testing requirements.Although Latinos have been migrating to the United States since the middle of the 19th century, it is not until the publication of Down These Mean Streets by Piri Thomas in in 1967 that their presence with a literary awakening became evident. People from all the Caribbean, Central and South America came to the United States inspired by "job opportunities, low air fares and the expectations of those that had already pioneered the way (The Nuyorican Experience, Eugene Mohr p.25).” The sudden and unexpected growth of the United States Latino population brings forth interesting yet unanswered questions. How will present and future governments address the staggering high school dropout rate amongst Latinos? What specific educational proposals will be developed to empower American Latinos to face critical social, economic and political issues in the up-coming years? What strategies, methodologies and innovative ideas will be developed to help Latino teens improve their scores on city, national and state testing requirements? In order for Latinos to have an active role in the world of cyber-space, high-tech and global entrepreneurship, the educational system must produce critical thinkers who can become pro-active participants in society.Today’s critical thinkers are required by the educational system to be pro-active and master reading and writing skills. Recent studies indicate that there is a strong relationship between reading and writing. Two scholars in the area (Noyce and Christie, 1989) state that the mind assimilates information to explain the missing link between skills and reading/writing. The new Scholastic Aptitude Test (SAT) will have three sections: reading, writing and math. The changes will provoke spontaneous and widespread curriculum changes in the United States that will without a doubt affect the education of Latinos and other American teens as well. Therefore it is up to teachers to include additional instruction to help students fill in those missing links. Closing the gap on standardized testing means going beyond the classics and traditional literature. The classics will always be part of our curriculum, but Latino/a literature provides children with choices and helps create interest in reading and writing which will in return augment scores in the nations report card, the National Assessment of Educational Progress Additional research in the study of young adult literature demonstrates that language is learned through use rather than through practice exercises. Second, children need to be given opportunities to make language their own by making connections with their lives and background information. Finally, A well-designed reading and writing program should provide opportunities for diverse daily reading and various types of writing. There is no need to hide or deny that recent arrivals are confronted with the issue of assimilation. Assimilation comes in different forms and different colors. In Piri Thomas' short story "The Konk", a young boy straightens his hair to be accepted by friends and family, but once he meets their standards, he is faced with hostility and rejection. In the process of assimilation and belonging, Latinos are faced with situations of race, identity and culture when they adapt and adjust to a new way of life. American Jewish Puerto Rican poet Aurora Levins-Morales explores multiple identities in "Child of the Americas":  I am a child of the Americasa light-skinned mestiza of the Caribbeana child of many diaspora, born into this continent at a crossroadsI am a US Puerto Rican Jewa product of the ghettos of New York I have never knownAn immigrant and the daughter and granddaughter of immigrants(Latino/a Literature in The English Classroom, Manuel Hernández, p.318)The so-called new literature is like a mirror where teens will be motivated to reflect upon and analyze personal experiences. Before students develop reading comprehension, literary appreciation and written communication skills in another language (English), the student makes a personal connection first. While they develop interest, the appropriate literary environment is created. Then, the transition is established, and Latino/a literature becomes a tool/facilitator whereby the changing in literary lanes occurs systematically and spontaneously with the encouragement and support to drive across the bridge to the other side: the classics. The literature of the Latino/a experience is not only a bridge and relevant but also essential in the English classroom. I strongly suggest that it should be used to supplement classical literature in the English curriculum in the United States. It is time that this new literature (1967-to the present) be studied at a higher level of literary appreciation and analysis. Especially, over the last twenty years, the stories, poems, novels and plays written by Latino/a writers have become overwhelmingly popular not just in schools and colleges in the United States, but throughout the world.  Just a few years ago, Nuyorican writer, Miguel Piñero was the central figure of a motion picture, and short stories, poetry and essays written by Latino writers frequently appear in major magazines and in numerous classroom anthologies and textbooks. Julia Alvarez's novel, In the Time of the Butterflies, and Josefina Lopez's play, Real Women Have Curves have become major films. PBS recently documented Piri Thomas’ life and literary contribution in the nationally acclaimed; Every Child is Born A Poet. It is time to integrate Latino/a writings to those reading lists in high schools. Secondly, I suggest that the SAT’s should also include at least one or two writings (Latino/a authors) from the reading lists in the exams. If students read them, why not test them on the subject. Finally, I strongly recommend that educators rally and become advocates of Latino/a literature. This is not the work of one, but of many working together to provide teens with the opportunity that by grace we have all received; an education.

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