For Zaccai Curtis, winning his first Grammy award for Best Latin Jazz Album, thanks to “Cubop Lives!,” is a significant achievement. The gifted 43-year-old pianist and composer has now been recognized on a grand scale, placing him among the elite musicians who have won this award.

More on Zaccai Curtis

Zaccai Curtis has steadily built a name for himself in the jazz world. Raised in Hartford, Connecticut, into a musical family, his passion for Latin jazz was ignited by his Puerto Rican heritage. Alongside his younger brother, Luques Curtis (known for his work with the maestro Eddie Palmieri), Zaccai co-founded the Curtis Brothers. Known for blending Afro-Cuban rhythms with jazz, they’ve released several albums. Zaccai’s piano skills and boundary-pushing compositions have earned him a reputation as a visionary artist. The Grammy for “Cubop Lives!” is a well-deserved recognition of his work.

Zaccai’s “Cubop Lives”

“Cubop Lives!” showcases Zaccai Curtis’s ability to meld Afro-Cuban rhythms with contemporary jazz. The album is a tribute to the golden era of Cuban bebop, known as Cubop, featuring energetic arrangements and masterful improvisation. The album has received critical acclaim, culminating in Zaccai’s Grammy win.

Zaccai Curtis’s Grammy award celebrates his individual artistry and places him among the elite in Latin Jazz. Joining the likes of Chucho Valdés, Arturo O’Farrill, and Paquito D’Rivera, this achievement underscores Curtis’ contribution to the genre’s evolution. His success is a testament to his skill and vision.

Checkout “Cubop Lives”

Seeing a fresh face like Zaccai Curtis receive a Grammy in the Latin Jazz category is exciting. Zaccai and his brother Luques have significantly contributed to the Latin Jazz scene, and this recognition is well-deserved.

The Grammy win shines a spotlight on Zaccai, hopefully opening doors for more outstanding work that will elevate Latin Jazz.

Felicidades, Zaccai!

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I believe that in his latest “DeBÍ TiRAR MáS FOToS,” Bad Bunny “DeBIÓ CamBIAR MáS CanCIONeS.” I love what he did with this blend of Reggaetón, Salsa, and Plena. This is making him even more popular than he already was. But to become a respectable star, he needs to complete the transformation. Let me explain.

Salsa & Plena in “DeBÍ TiRAR MáS FOToS”

DtMF dives into two main themes: heartbreak and nationalism. At times, he masterfully intertwined both themes, like when he expressed heartbreak due to things occurring in Puerto Rico (“Lo Que le Paso a Hawái”).

To deliver these themes, he expanded beyond reggaetón and incorporated Salsa, arguably the most popular rhythm on the island, and Plena, one of our folkloric rhythms from the early part of the 20th century. The songs in Salsa and Plena, combined with Bad Bunny’s heartbreak and nationalistic lyrics, give this album a patriotic flare that has spread through the island and elsewhere like wildfire.

I absolutely loved the salsa songs in “DeBÍ TiRAR MáS FOToS.” Keep in mind I’m a core “salsero”, or a “salsero de la mata”. They are well-made with good “soneos” sung in “clave.” “Baile Inolvidable” is especially good and makes you want to immediately get up and dance.

However, let me point out that Bad Bunny isn’t the first “reggaetonero” to sing salsa. Remember Julio Voltio’s mega-hit “Amor de Una Noche” with N’Klabe back in 2005? Or Tego Calderón’s collaboration with José Lugo’s Guasábara band in “Con Los Pobres Estoy” during the 2011 Banco Popular Christmas special? And I’m stopping there because the list is longer.

Benito added more Puerto Rican culture to “DeBÍ TiRAR MáS FOToS” by including the folk rhythm of Plena and incorporating folk instruments like the “cuatro” guitar, the “panderos,” and the “güiro” or “güícharo.” I challenge you not to move with the infectious plena beat of “Café con Ron.”

To the best of my knowledge, Bad Bunny might be the first to record “plenas” and use the “cuatro” guitar in a reggaetón recording.

Bad Bunny emphasized the nationalistic sentiment in the album by writing lyrics that encouraged Puerto Rican independence. “Lo que le pasó a Hawái” is a great example. It’s a well-written song that delivers its message beautifully. Whether you or I agree with it is another 20 bucks!

DeBIÓ CamBIAR MáS CanCIONeS

Bad Bunny and reggaetón need to evolve! DtMF demonstrated, in some songs, that it could be done. The public overwhelmingly supports another type of message in songs. It’s possible that Bad Bunny planned this album as a slow evolution in that direction, testing the waters to see if his fans and perhaps a broader audience would like it. In that regard, it was a much bigger success than he had expected.

Now, there’s no excuse. Reggaetón should phase out sexually explicit songs that denigrate women. It’s a rhythm catchy enough that its fans will continue to support it even without the sexually explicit lyrics. Older stars of the genre, like Vico C and Daddy Yankee, realized this and began that clean-up.

If Bad Bunny wants to become a respectable star, he needs to complete the evolution that began in this album. He’s already a super-mega star. And super rich. But he won’t be a respectable star until everyone can play his albums in front of their 8-year-old daughters and not feel ashamed of it.

“DeBÍ TiRAR MáS FOToS” is the best album I’ve heard from Bad Bunny and has many things worth cheering for. If this is Bad Bunny’s start of transforming into a respectable star, he’s off to a good start.

However, Bad Bunny “DeBIÓ CamBIAR MáS CanCIONeS.”

Written by Héctor Avilés for LatinoMusicCafe.com

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On a breezy January evening, the Ponce de León Avenue in Santurce buzzed with the traffic of music lovers making their way to the Centro de Bellas Artes. The air was electric with anticipation for the fifteenth anniversary of the Puerto Rico Jazz Jam, an annual celebration of Puerto Rican jazz organized by Humberto Ramirez. This year was particularly special, as it marked a milestone for the event following last year’s celebration of Humberto’s impressive 40 years in music.

Humberto, a celebrated trumpeter, composer, and bandleader, poured his heart and soul into creating an event that showcases Puerto Rican jazz’s richness while providing a platform for local musicians. Over the years, the Puerto Rico Jazz Jam has become a staple in the island’s cultural calendar, drawing jazz aficionados from near and far.

Day 1: Zenón, Perdomo & Rivero

As the concert hall doors opened, the audience was greeted by the melodic sounds of Miguel Zenón and Luis Perdomo. The duo, known for their close collaboration over the past 26 years, performed pieces from their album “El Arte del Bolero, Vol. 2”. My wife and I were captivated by the intricate interplay between Zenón’s saxophone and Perdomo’s piano, which left the audience in awe of their musical prowess.

The first evening of the Jazz Jam continued with “Little” Johnny Rivero and his Giants Latin jazz band. On the touching moment of the evening, “Little” Johnny took a minute to pay tribute to the recently deceased legendary and beloved “conguero” Kachiro Thompson. The rhythmic beats and vibrant melodies filled the hall, culminating in a powerful joint performance of “Manteca” alongside Zenón and Perdomo. The crowd erupted in applause, their enthusiasm a testament to the magic of the night.

For Humberto, organizing the Puerto Rico Jazz Jam was more than just an event—it was a labor of love. Each year, he meticulously curated the lineup, ensuring that both established and emerging Puerto Rican talent had a chance to shine. His dedication to the craft and his unwavering commitment to the local music scene had enriched the lives of audiences and provided countless opportunities for musicians to grow and thrive.

Day 2: A Tribute to Barbara Streisand

The festival’s second day featured Humberto and his Big Band, a grand ensemble that showcased his composer and bandleader skills. The evening was made even more special by the addition of singer Camila Isabel, a Puerto Rico Conservatory of Music graduate with a master’s degree from Penn State University. Her renditions of Barbara Streisand’s classics left the audience spellbound, her voice soaring effortlessly over the lush arrangements of the Big Band.

Although we could not attend the second day’s performance, the reviews were nothing short of stellar. Those who had the pleasure of experiencing the jazz banquet spoke of the unforgettable performances and the palpable sense of camaraderie that filled the hall.

Puerto Rico Jazz Jam: the Next 15 Years

As the festival drew to a close, Humberto took a moment to reflect on the journey that had brought him here. Fifteen years ago, he had envisioned a “fiesta del jazz puertorriqueño” that would celebrate the unique sounds of the island while fostering a sense of community among musicians and audiences alike. Year after year, the Puerto Rico Jazz Jam had delivered on that promise, becoming a beacon of musical excellence and a testament to Humberto’s enduring legacy.

Looking ahead, we, as jazz music lovers, remain hopeful that the next 15 years will continue to uphold the tradition of musical quality that has become synonymous with the Puerto Rico Jazz Jam. As the final notes of the festival echoed through the halls, the audience left with their hearts full and their spirits lifted, already marking their calendars for the next edition of this beloved celebration of jazz.

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We thoroughly enjoyed Luis “Perico” Ortiz‘s concert “Por Primera Vez.” In this extraordinary event, he returned to the stage with his excellent big band to support a lineup of amazing guest singers. This time around and for the first time (“por primera vez”) the maestro prepared a songlist with a mix of Salsa, Latin Jazz, and Bolero. Here’s a brief review of the unforgettable night.

The “Por Primera Vez” Experience

Backed by primarily the same big band from his two 2024 concerts (“Together” & “Tocando y Contando Historias“), Luis “Perico” Ortiz delivered an eclectic musical mix featuring guest singers like Cuban sensation Aymee Nuviola, Dominican star José Alberto “El Canario,” and the talented family ensemble Los Rivas (Jerry, Gerardo, Jerry Jr., and Gerardo’s son).

After opening with the vibrant “Coro Miyare,” the stage was graced with remarkable performances from talented artists. Perico’s steady band singer, Henry Santiago, delivered superb renditions of “Julián del Valle” and “Río Abajo Va.” Aymee Nuviola then wowed the audience with a Celia Cruz medley, with everyone clapping and singing along.

“El Canario” began his set with “Baila Que Baila,” his first big hit with Tipica 73, originally arranged by Luis “Perico” Ortiz. Despite a mix-up with one of the songs, Canario displayed incredible mastery and professionalism.

Los Rivas took the stage with Gerardo and Jerry headlining, but Gerardo’s 10-year-old son stole the show with his impressive timbales skills.

Throughout the evening, these singers also delighted us with boleros. Gerardo and Jerry Rivas performed a captivating rendition of “A Mi Manera,” the classic from El Gran Combo. Aymee and El Canario sang boleros together before Aymee moved to the piano to perform two boleros, including an original composition. Young singer Kedward Aviles surprised everyone with his enchanting performance of “Perfume de Gardenias.”

Since it was still the festive “octavita” season, Perico added a Christmas touch with performances by Victoria Sanabria and José Nogueras. Victoria showcased her talent with “décimas,” and Nogueras engaged the audience with the lively “Parranda Viene, Parranda Va.”

Perico Delivers Another Quality Concert

Veteran maestro Luis “Perico” Ortiz, who recently celebrated his 75th birthday, delivered yet another exquisite concert filled with outstanding music and guest performers. He collaborated with “Sessiones desde la Loma” producer Gabriel Ramos (G. Ramos Productions) to craft a memorable event.

Despite the drive from Toa Baja to the Centro de Bellas Artes in Caguas, “Por Primera Vez” was absolutely worth the journey. All three Perico concerts we’ve attended have been superb productions, each a testament to the veteran maestro’s dedication to delivering a memorable musical experience for his audience.

I eagerly await Perico’s next concert; it promises to be another spectacular event!

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Angel “Cucco” Peña received a well-deserved distinction, although it was not a standard Latin Grammy. The Puerto Rican musician, director, and producer received the Trustees Award from the Latin Recording Academy for his lasting mark on Latin music.

Cucco’s Career is Filled with Achievements

Cucco Peña was grateful and emotional in his award acceptance speech. Perhaps his humbleness, also learned from his father, the late musician and director Lito Peña, attracts so many artists to work with him.

The list of artists for whom Cucco has produced and directed their musical projects is too long to mention, but it includes his ex-wife Luna and other icons like Marc Anthony, Gilberto Santa Rosa, Luis Enrique, Olga Tañon, Ricky Martin, Chayanne, and many others.

He also helped create six of the early Banco Popular Christmas Specials, contributing to their establishment as a top-quality event that music lovers in Puerto Rico, the US, and several Latin American countries can’t miss.

His contributions expand into film soundtracks and the advertising industry.

Cucco’s Unbreakable Legacy

With his far-reaching contributions in many areas of music, Cucco Peña’s legacy transcends genres and will continue to provide inspiration for generations to come. In a week filled with Latin Grammy awards for many of Latin music’s best artists, this award is a well-deserved recognition of his dedication and invaluable contributions to Hispanic musical culture.

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I think it’s fitting to finish election week (in the US and Puerto Rico) with a couple of Salsa songs about elections!
Sometimes, especially if our candidate didn’t win the election, we feel a bit blue about the outcome and the future. These songs may provide some empathy to how you may be feeling.

Déjenme Reír (Para No Llorar) – (1980)

It makes sense to get us started with a song by Rubén Blades. A lawyer and past presidential candidate (in Panama), Ruben captured the people’s feeling about elections in this song which was part of the Maestra Vida double albums (1980).

Besides the fantastic lyrics, the song was arranged by using the Puerto Rican rhythms of Bomba and Plena.

Plena, in particular, is a rhythm that has been used in political movements in Puerto Rico dating back to the early 20th century.

The combination of great lyrics with a great and fitting arrangement make this a perfect song for election blues.

Si Yo Fuera Presidente (1972)

Eight year before Maestra Vida was released, Frankie Dante released a song called “Si Yo Fuera Presidente“, which was part of the album “Frankie Dante y Orquesta Flamboyán con Larry Harlow” (1972).

This song carried a more radical message of all the things that would be fixed (did he miss world hunger?) if he were elected president.

Pablo Pueblo (1977)

Perhaps the song that broke in “social themes” to Salsa, Ruben Blades‘ Pablo Pueblo is a bonus song in this blog as it is not particularly about elections. It’s a blue song that describes the agony and frustrations of a normal poor or lower middle class man trying to support his family.

Among the frustrations expressed in the song, is the fact that elections don’t seem to help to improve his situation, as in the “soneo”, “votando en las elecciones, pa’ después comerse un clavo”.

Another great arrangement by the maestro Luis “Perico” Ortiz.

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Imagine the magic that happens when three musicians, intertwined by their passion for music and faith, meet to play “Together”.  Now, imagine setting up a concert meant to be more than just entertainment but a showcase of immense talent, passion, and camaraderie. That’s precisely what Luis “Perico” Ortiz did in “Together,” featuring Puerto Rican master percussionist Giovanni Hidalgo and Colombian saxophonist Justo Almario, in an evening celebrating Latin Jazz excellence.

“Together”: A Journey Through Latin Jazz

The concert’s theme was fittingly reflective of Ortiz’s illustrious career. He shared his early days in New York with the audience, where he joined the legendary Mongo Santamaria’s band. Then, in his early twenties, Ortiz learned from Santamaria, a pioneer who recorded the first live album by a Latino musician at the Village Gate in 1961. In Mongo’s band, Ortiz met Justo Almario, and the two bonded over their shared love for music and faith.

Ortiz’s connection with Giovanni Hidalgo dates back to the early 80s. It traces back to a memorable introduction by Angel “Cachete” Maldonado during the “One of a Kind” album tour in Puerto Rico. Ortiz wasn’t a stranger to Giovanni’s lineage — he had shared stages and moments with Giovanni’s father, “Mañengue,” while they were part of Harry Franticelli’s ensemble. Giovanni, who quickly became one of the most accomplished percussionists in Latin music, was a natural choice for this concert.

The Musicians: A Big Band of Talent

Ortiz assembled a big band of exceptional musicians, including talented trumpeters, trombonists, and saxophonists. The ensemble was further elevated by the vocals of Henry Santiago and Gerardo Rivas on the chorus. Together, these musicians crafted a mesmerizing celebration of music and fellowship, showcasing the unifying power of melody and faith.

Throughout “Together”, the trio of protagonists demonstrated that they continue to be masters of their craft at their respective instruments.

Now in his 70s, Luis “Perico” Ortiz showcased the same distinctive sound and style of playing the trumpet that made him famous through so many recordings. He showcased his chops early in the concert during the song “Coro Miyare“, where he performed a trumpet solo almost as good as in the original recording he made 46 years ago with the Fania All-Stars.

That same song served as Giovanni Hidalgo’s concert introduction. Playing the conga with sticks, Giovanni once again demonstrated why he earned an honorary Doctor of Music degree from Berklee in 2010. His instrument mastery and ability to perform captivating solos earned him several ovations throughout the evening.

Justo Almario also earned several ovations for his excellent sax performances. The veteran musician complemented Perico and Giovanni nicely and embellished the songs with his sax notes.

Luis “Perico” Ortiz provided most if not all, big band musicians with opportunities to showcase their skills throughout the concert.

The Music: A Delightful Selection

The concert featured a delightful selection of Jazz music, spanning Mambo, Afro-Cuban jazz, and Latin Jazz. A highlight was the Rafael Hernandez ballad “Perfume de Gardenias,” previously performed with Gilberto Santa Rosa’s vocals in January, now presented as a purely instrumental piece.

Ortiz’s arrangements were impeccable, and the band’s rehearsed precision was evident in their performance.

The Experience of “Together”

The concert drew a good crowd, although it wasn’t a full house. This was noteworthy given the other musical events happening in San Juan. The late Sunday afternoon start time may not have been the most accommodating.

Another thing worth pointing out was that the audience remained engaged throughout the evening, thanks to a delightful song selection with its mix of tempos and the maestro’s insightful comments between songs. His ability to connect with the audience made the large venue feel like an intimate jazz club.

My wife and I thoroughly enjoyed “Together”. The concert was a testament to the universal language of music, proving once again that something transcendent happens when talented musicians come together.

For Latin Jazz fans in Puerto Rico who missed it, you missed an exceptional evening of music. If you can see Luis “Perico” Ortiz live, don’t hesitate – it’s an experience not to be missed!

The post Luis “Perico” Ortiz Jazzed “Together” appeared first on Latino Music Cafe.

The late Puerto Rican composer, Catalino “Tite” Curet Alonso, lives on through a magnificent monologue and a book of equal quality.

Tite Curet Alonso: Lírica y Poesía

The work entitled “Tite Curet Alonso: Lyric and Poetry” is presented thanks to the National Foundation for Popular Culture. In this play, the actor Josean Ortiz does a wonderful job impersonating the statue that comes to life of Don Tite. Ortiz unleashed a spellbinding performance in this thoughtful and moving show.

The plot of the play traces the life of the composer from Guayama, although it focuses mainly on his most famous compositions. In addition, it is complemented by an audiovisual system that shows several artists interpreting Tite’s songs, such as La Lupe y Cheo Feliciano.

If you are in Puerto Rico, don’t miss the opportunity to attend “Lírica y Poesía” this third weekend of May in Old San Juan. We hope that the play will continue to live on and be reclaimed to be presented in other towns throughout the island, in the United States, and also in the schools of Puerto Rico. In this way, the youth will be able to get to know better one of our bastions of popular music.

The monologue is based on the book of the same name by the late folklorist Norma Salazar, who was the life partner of the famous Puerto Rican composer for 16 years.

Don Tite Curet, Voz y Razon en la Salsa

Although Norma’s book is no longer available, we found another book on Tite Curet published recently. It is entitled “Don Tite Curet: Voz y Razón en la Salsa Puertorriqueña” and is available from the National Foundation for Popular Culture.

This book, written by Dr. Héctor L. Rivera De Jesús, is a valuable source of information on the life and work of Don Tite. It is very well documented and contains several references to Ms. Norma Salazar’s book

Personally, I have already started reading this interesting book about a Puerto Rican composer who deserves more recognition for his work and legacy in the popular music of Puerto Rico.

Legacy of Don Tite

In short, both the play and the book bring us closer to the creative genius of Tite Curet Alonso, a composer who left an indelible mark on the popular music of Puerto Rico. I hope you enjoy exploring more about his life and legacy!

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When the spotlight falls on Gilberto Santa Rosa, it illuminates not just a legendary salsa singer but a true gentleman of music. Recently, Berklee College of Music bestowed upon him an honorary doctorate degree, recognizing his remarkable contributions to the world of Latin music. Let’s delve into a brief story of this distinguished artist and explore some of the elements that led to this distinctive honor.

Salsa Sonero with Elegance

Gilberto Santa Rosa’s career has been a symphony of elegance and courtesy. Born in Puerto Rico, he emerged as one of the best salsa singers, earning accolades for his early dominance of Salsa singing and his impeccable dancing and style. His journey began in local clubs with the great bands of Mario Ortiz, Tommy Olivencia, and Willie Rosario. But soon he became the theme of his very first Salsa hit as a soloist, a “Cantante de Cartel” (Headliner Singer), by developing his career to the point of gracing prestigious stages worldwide, including a sold-out performance at Carnegie Hall. His electrifying performances and powerful storytelling have captivated audiences, leaving an indelible mark on the music industry.

From Salsa to Bolero: A Versatile Maestro

Santa Rosa’s versatility extends beyond salsa. He didn’t settle for being just a “sonero”; he also mastered the art of bolero singing. His renditions of romantic ballads evoke deep emotions, proving that he’s not just a singer but a storyteller. Whether he’s belting out energetic salsa tunes or crooning heartfelt boleros, Santa Rosa’s voice resonates with authenticity and passion.

Collaborations That Transcend Borders

Collaboration is the heartbeat of music, and Santa Rosa knows it well. He has seamlessly blended genres, collaborating with fellow artists across salsa, pop, and other musical realms. His duets with local and international stars have created magical moments on stage. His Grammy-winning duets album “Colegas” was a great example of his collaboration prowess.

Beyond the Mic: Event Producer Extraordinaire

Santa Rosa’s talents extend beyond the mic. He’s not just a performer; he’s also a skilled event producer. His meticulous planning and attention to detail have elevated concerts and festivals, ensuring unforgettable experiences for fans. His commitment to excellence shines through every production he touches.

Joining the Illustrious Ranks

As Santa Rosa receives his honorary doctorate, he joins an esteemed group of recipients. Berklee has previously honored luminaries like Duke Ellington, Aretha Franklin, Quincy Jones, and Celine Dion.

Santa Rosa’s name is etched in music history alongside other Puerto Rican icons that have received the same honorary doctorate. These are Tito Puente (1995), Eddie Palmieri (1998), Giovanni Hidalgo (2010), and William Cepeda (2013). He’s the only Salsa singer besides Ruben Blades (2005) to receive the honor and the only Puerto Rican singer besides Rita Moreno (2016).

Gilberto Santa Rosa’s notes resonate with elegance, passion, and excellence in the grand symphony of life. His honorary doctorate is a fitting tribute to a man who has enriched our souls with his music.

Congratulations, Dr. Santa Rosa!

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The Coliseo de Puerto Rico was alive with the vibrant beats of salsa and the warmth of nostalgia as we celebrated the 100th birthday of the legendary bandleader Willie Rosario.

Known affectionately as “Mr. Afinque,” Rosario’s influence on salsa music is unparalleled, and his birthday celebration concert was nothing short of spectacular.

Stars of the Willie Rosario Concert 

The evening kicked off with Chamaco Rivera, whose voice, still robust after years away from the spotlight, carried the classic hit “De Barrio Obrero a la 15” through the hall. His performance was a fitting tribute to Willie Rosario, under whom he had flourished in the 1970s.

The highlight of the night was the duo performance by Gilberto Santa Rosa and Tony Vega, once concurrent members of Rosario’s Orchestra in the 1980s. Their camaraderie on stage brought back memories of salsa’s golden era, as they shared anecdotes and celebrated recent accolades, including Rosario’s and Santa Rosa’s honorary doctorates in music.

In a touching gesture, Manolo Rodriguez stepped in temporarily for Rosario, taking up the timbales and leading the band through several numbers. The current singers of Rosario’s ensemble paid homage to the late Junior Toledo, echoing his hits with the orchestra.

Jazz Infusion and History

Jazzman Humberto Ramirez took a moment to educate and entertain us with the story of the baritone sax’s integration into Rosario’s orchestra, a key element in its distinctive sound.

He then performed “Mr. Afinque,” a Latin Jazz piece from his 2023 album “Better Days“, showcasing the genre’s influence on Rosario’s work.

Concern Regarding Tony Vega

A note of concern was struck regarding Tony Vega’s voice and health. Tony’s past health issues seemed to affect his voice and performance.

His dedication before and during the concert was commendable, but his performance raised questions about the future of his career.

A Heartfelt Finale

The audience’s love for Rosario was palpable throughout the event. Multiple standing ovations and an impromptu rendition of “Happy Birthday” by the crowd made it clear that Rosario’s legacy is cherished and will continue to inspire generations of musicians and fans alike.

As we left the Coliseo, the echoes of salsa rhythms and the stories of a century’s journey in music lingered in our hearts, a testament to Willie Rosario’s enduring spirit and the community he built through his artistry. Happy 100th, Mr. Afinque!

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