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In the 1963 film Billy Liar, a scene at the Locarno Dance Hall in Manchester features the conga line. In 1984 the British band Black Lace reached number ten in the UK charts [4] with the song "Do the Conga". In 1985 the Cuban-American band Miami Sound Machine reached number ten on the US Billboard Hot 100 with the song "Conga".
Cándido Camero Guerra was born in the barrio known as El Cerro, in Havana, to Caridad Guerra and Cándido Camero. [1] [2] [3] His interest in music began at the age of 4, when his maternal uncle Andrés, a professional bongosero for the Septeto Segundo Nacional, taught him to play bongos on condensed milk cans.
In September 1937, the La Conga Club was established in New York at 57 W. 57th Street. [3] It was operated by Cubans Bobby Martyn, Miguel Roldan and Oscar Roche. [4] The club's diners and dancers enjoyed Rumba bands and Cuban music. Each night included a nightly Conga line, popularized by Cuban conga player Desi Arnaz in Miami and New York. [5] [6]
The dance has been generally done to Ray Anthony's big band recording of the song with this name. [1] It was a vocal hit in 1952, and instrumentally re-recorded c. 1958. The song has been re-recorded by others, including musical updates of the style, for example, a salsa version. Duke Ellington recorded "Bunny Hop Mambo" in 1954.
While rarely played during his American concert tours, the song has been adopted by UK country fans, who will often form a conga line (dubbed the 'Mona Conga') when the song is played at country music club nights or other public events, including Paisley's own concerts, where the song has become a staple of the setlist at his European shows.
The basic son montuno tumbao pattern is played on the conga drum. The conga was first used in bands during the late 1930s, and became a staple of mambo bands of the 1940s. The primary strokes are sounded with open tones, on the last offbeats (2&, 2a) of a two-beat cycle. The fundamental accent—2& is referred to by some musicians as ponche. [13]
Like most self-respecting Parisians, Mathilde Joannard and Franck Tallieu had been training for the Olympic sport of Olympics-bashing. Of course the Olympics were going to be a mess, the couple ...
The music of early son cubano bands enjoyed substantial popularity domestically and abroad, which boosted the initiation of the G.V. Series by EMI on the label His Master's Voice in 1933. [55] The G.V. series, intended for export—particularly to Africa—presumably catered to diverse audiences over time as it evolved. [ 55 ]