說到波多黎各，你的腦海會浮現什麼呢？是美麗的海灘風景？堅強的棒球實力？或是甜美香氛的咖啡？

運動

旅行美食

文化生活

【界外區】「I－Rod」Ivan Rodriguez 的美食帝國

由著名雜誌刊物《美國職棒雜誌》前編輯群共同經營，透過社群運作與運動書寫傳遞對MLB美國職棒大聯盟的熱情，囊括賽事、人物、趨勢、考古、科學、文化等面向的討論與寫作，以共享、交流大聯盟棒球的各種樂趣。是一個入門進階兩相宜，有專業有歡笑、有感動有淚水的優質棒球文字聚落。

MLB星系 Galaxias MLB

數十年來，廣告廣告歌曲在流行文化中佔據了一個特殊的位置。它們成為我們記憶中的時間戳記，牢牢地留在我們的心中。如果我們可以讓那些失去記憶力的人回到那個共同的時刻呢？本文將分享一廣告活動案例，企圖利用廣告歌曲拯救記憶障礙患者的生活。

職場產業

音樂藝文

廣告除了賣東西還可以？
波多黎各廣告經典歌曲有效改善記憶障礙患者認知、記憶力

此專題主要探討會員經營的核心概念，並且會觀察市場上企業經營會員的案例。期望可以：1.學習其他品牌是如何建立有效的會員制度的。以參考和借鑒成功的策略和實踐。2.獲得行銷和業務策略優化的靈感。3.了解其他企業如何應對市場變化、消費者需求和技術發展，可以幫助預測未來的趨勢並尋找創新的機會。


Vannessa C的沙龍

Jingle Therapy Case Study

猜台灣經典廣告，你還記得幾個呢？
在電視、youtube廣告都充斥手遊廣告時，那些台灣有創意的經典廣告，你還記得幾個呢?


#經典廣告金句 #經典廣告 #懷舊系列

猜台灣經典廣告，你還記得幾個呢？

我剪輯了50部曾於70到90年代在台灣電視上播出，讓人印象深刻的電視廣告，一起來回味這些已經成為我們生命共同印記的經典片段吧！

【哲生的童年回憶】懷舊電視廣告50部 第1輯

商業

Tito Puento，1923年生於美國是位具有波多黎各血統的音樂人。從小就有過動症傾向，經常敲擊家裡許多物件發出聲響被鄰居投訴，母親便送他去學25美分/小時的鋼琴課，十歲時對打興趣，轉而學習打擊樂。1930年代，他和妹妹組成了歌舞二人組，對於成為專業舞蹈員產生極大興趣，後來腳踝肌腱受傷才放棄。當

國際

一則樂壇傳奇 Tito Puente

一片蔚藍天空的沙龍

My God Tito Puente was a true master. If any one could fill a song with "sabor" it was him.

www.thedancingirishman.wordpress.com

Ran Kan Kan - Tito Puente

Provided to YouTube by Universal Music Group

Cha Cha Cha · Tito Puente

Goza Mi Timbal

℗ 1990 Concord Picante, Inc.

Released on: 1990-01-01

Producer: Carl E. Jefferson
Producer, Associated  Performer, Vibraphone, Marimba: Tito Puente
Associated  Performer, Bass  Guitar: Bobby Rodriguez
Associated  Performer, Trombone: Sam Burtis
Associated  Performer, Trumpet: David "Piro" Rodriguez
Associated  Performer, Trumpet: Robbie Kwok
Associated  Performer, Percussion: Johnny Rodriguez
Associated  Performer, Percussion: Jose Madera
Associated  Performer, Piano: Sonny Bravo
Associated  Performer, Saxophones: Mitch Frohman
Associated  Performer, Saxophones: Marty Fetting
Composer  Lyricist: Chucho Valdés

Auto-generated by YouTube.

Cha Cha Cha

By virtue of his warm, flamboyant stage manner, longevity, constant touring, and appearances in the mass media, Tito Puente is probably the most beloved symbol of Latin jazz. But more than that, Puente managed to keep his music remarkably fresh over the decades; as a timbales virtuoso, he combined mastery over every rhythmic nuance with old-fashioned showmanship -- watching his eyes bug out when taking a dynamic solo was one of the great treats for Latin jazz fans. A trained musician, he was also a fine, lyrical vibraphonist, a gifted arranger, and played piano, congas, bongos, and saxophone. His appeal continues to cut across all ages and ethnic groups, helped no doubt by Santana's best-selling cover versions of "Oye Como Va" and "Para Los Rumberos" in 1970-1971, and cameo appearances on The Cosby Show in the 1980s and the film The Mambo Kings in 1992. His brand of classic salsa is generally free of dark undercurrents, radiating a joyous, compulsively danceable party atmosphere.

Rooted in Spanish Harlem, of Puerto Rican descent, Puente originally intended to become a dancer but those ambitions were scotched by a torn ankle tendon suffered in an accident. At age 13, he began working in Ramon Olivero's big band as a drummer, and later he studied composing, orchestration, and piano at Juilliard and the the New York School of Music. More importantly, he played with and absorbed the influence of Machito, who was successfully fusing Latin rhythms with progressive jazz. Forming the nine-piece Piccadilly Boys in 1947 and then expanding it to a full orchestra two years later, Puente recorded for Seeco, Tico, and eventually RCA Victor, helping to fuel the mambo craze that gave him the unofficial -- and ultimately lifelong -- title "King of the Mambo," or just "El Rey." Puente also helped popularize the cha-cha during the 1950s, and he was the only non-Cuban who was invited to a government-sponsored "50 Years of Cuban Music" celebration in Cuba in 1952.

Among the major-league congueros who played with the Puente band in the '50s were Mongo Santamaria, Willie Bobo, Johnny Pacheco, and Ray Barretto, which resulted in some explosive percussion shootouts. Not one to paint himself into a tight Latin music corner, Puente's range extended to big-band jazz (Puente Goes Jazz), and in the '60s, bossa nova tunes, Broadway hits, boogaloos, and pop music, although in later years he tended to stick with older Latin jazz styles that became popularly known as salsa. In 1982, he started reeling off a string of several Latin jazz albums with octets or big bands for Concord Picante that gave him greater exposure and respect in the jazz world than he ever had.

An indefatigable visitor to the recording studios, Puente recorded his 100th album, The Mambo King, in 1991 amid much ceremony and affection (an all-star Latin music concert at Los Angeles' Universal Amphitheatre in March 1992 commemorated the milestone), and he kept adding more titles to the tally throughout the '90s. He also appeared as a guest on innumerable albums over the years, and such jazz stars as Phil Woods, George Shearing, James Moody, Dave Valentin, and Terry Gibbs played on Puente's own later albums. Just months after accepting his fifth Grammy award, he died on June 1, 2000. Several months later, Puente was recognized at the first annual Latin Grammy Awards, winning for Best Traditional Tropical Perfomance for Mambo Birdland. ~ Richard S. Ginell, All Music Guide


℗ 2009 Platinum Music Group