Masucci was the business brains behind the company while Pacecho — already an experienced studio musician and established recording artist who played saxophone, flute and various percussion instruments — handled the music side. It was brash, upbeat, infectious, and its birth helped to ignite a salsa explosion in the late 60s, which coincided with a new sense of pride felt by Latin American communities whose origins ranged from Costa Rica and the Dominican Republic to Cuba and Puerto Rico, but who embraced the shared African DNA in their cultural identities.
Musically, that pride was translated into a confident swagger that came to define the strutting rhythmic characteristics of the music. For many Latin Americans living in the US, salsa was a musical bridge that linked tradition and the old ways with modernity and contemporary life in the barrios. Fania was a label whose sonic diversity reflected the cultural melting pot of New York City.
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The late 60s witnessed important Fania recordings by Joe Bataan — a Latin soul-music pioneer who helped to establish a funky new style known as boogaloo — percussionist Ray Barretto, the ensemble Orchestra Harlow led by Larry Harlow, who helped to modernise Latin music with the introduction of electric keyboards , bandleader Bobby Valentin and Cuban singer Justo Betancourt, but it was during the following decade that the label truly blossomed. They helped to take salsa — and Fania — to a new level of artistic expression.
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Due to their electrifying onstage performances, the All-Stars became a massive concert draw in the 70s and moved salsa from the underground into the mainstream of American culture via a documentary movie, Our Latin Thing Nuesta Cosa , which spawned a hit soundtrack album. Jerry Masucci took sole control of Fania in He remained at the helm until his death, in Today, Fania Records is recognised as an important repository of Latin American music whose legacy is of great cultural as well as musical significance.
It was not easy, and the series failed. I didn't understand that as much then. In his book, Iger writes that managing the creative process requires both empathy and resilience.
To turn Disney around, Iger set about acquiring other companies — starting with Pixar, the studio behind a number of animated classics, including Toy Story and The Incredibles. Iger also struck deals to buy Marvel, Lucasfilm and, most recently, 21st Century Fox. He says that in each case, he has tried to keep each company's culture intact. But he was not a shoo-in for the job.
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Far from it. Iger says that to get the job, he worked on winning over members of the Disney board, the shareholders and — most importantly — the people he would lead.
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Jennifer Lee, who recently became chief creative officer of Walt Disney Animation Studios, says Iger "leads with trust. Iger is not without criticism. Disney has some , employees, and the company's treatment of those at the low end of the pay scale has come under attack.
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In response, The Walt Disney Co. Iger says that when he was fighting for the job of CEO, it was vital to have the support of the people inside Disney. In his book, he writes about where his personal ambition comes from. He grew up in a mostly working-class town on Long Island, New York. His father, a World War II veteran, had trouble keeping a steady job and had been diagnosed with manic depression.
Iger says he grew up watching his dad feel like a failure. In Iger's new book, optimism is atop his list of "principles necessary for true leadership. When I say that to people, they kind of look at me like: 'Huh?