Every time someone ignores or laughs or tells me "NO it can't be done or that's a dumb idea." That is precisely when I feel this burning rush inside that pushes me to strike harder and further to overcome adversity. In salsa there's too much adversity especially for women. If you continue reading I will explain and convince you or at least shed some light into the problem with examples, names, recording labels and everything. No holding back! Some of the arguments and excuses are valid but on the other hand is the real notion of male artists having it much easier. Well, guess what! Those fantasies are moving and becoming a reality as the days go by.

I shared my ideas with some insiders in the industry and when my concept was conveyed the calls were never returned including those representatives behind Brenda K. Starr and Saned Rivera. This is just to provide an example of how inefficient the industry is towards females; from top to bottom incompetence for sure is a real issue. Some top agents can’t even communicate in writing in English or Spanish. I never imagined it could be so bad. If female artists don't get proper support from their own managers or representatives then how on earth can the public and salsa music consumers generate a demand for their performances and productions. No wonder promoters hesitate to hire female artists. But there's more on this issue.

So then one day I called Johnny Torres.  Johnny is Domingo Quiñones' former musical director. I called him and his flat-out response was; Choco Orta. I had never in my life heard that name in Salsa not once; not even in music stores had I ever seen a CD cover or anything, nothing here in Washington, DC. He told me "mulato" as he usually does "Choco Orta is the one; she can sing, improvise, read music, play and dance."

So I began surfing to see what would come up on my searches. Then I found her at the Musical Production (MP) website. Bingo! Naturally, I called her office in Puerto Rico, a lady answered the call. Again, the same thing, no response, no thank you for calling us, or nothing to help me get in contact with Choco Orta, nothing from her own recording company. Here, these people are receiving a long distance call from Washington, DC asking for one of their recording artists and they don't have any information on hand to give away to the public. The lady didn't even know that MP listed Choco on their website. I think she didn't even know what a website was. This occurred this past summer of 1999. So right then I gave up; it was pointless me trying to help a women artist. I wasn't even thinking about making a profit. It was just a personal dream and ambition of trying to think or imagine that I could help women involved in salsa.

But somehow I continued thinking about it more and more. I would visit the MP site to see if there was anything new about Choco; nothing. What intrigued me was seeing this image of a woman playing congas. I didn't even realize that it was the cover of her CD. The bio seemed interesting. It gave me the impression that Choco was like a female version of Ismael Rivera or Yolanda Rivera or Fe Cortijo or Sonia Lopez. This concept these days would be awesome because the world of salsa and Latin music only knows Celia Cruz as the female poster icon of salseras and soneras. The world of salsa and Latin music has never experienced a real female rumbera like Sonia Lopez or Yolanda Rivera unless one considers Miami or New York or Puerto Rico as the only salsa markets of the world. There are many markets besides those three cities of which Washington, DC ranks 4th in sales for tropical music according to SoundScan in US mainland markets.

However, contemporary Washingtonian salseros in general have never seen a real female salsa power house unless they leave town and spend lots of money in transportation, logging, and admissions. Sure we have seen some female lip singing or pretending but not to the level of talent as we witnessed when Domingo, Canario, and Tony Vega were in town. If a female singer shows up and she lacks talent then men will automatically burn her and say that women can’t do it and don’t belong on stage. What I'm trying to say is that here in Washington, DC or Phoenix or San Antonio or Belgium or Tel Aviv there are other salsa markets in which salseros have not seen a real robust female salseras that can perform to the same level as their male colleagues. Yet these talents are available and they seldom get calls to perform and be hired. THIS IS THE TRUTH.

Please up-front! I'm not trying to putdown anyone; I’m just trying to point out something that seems wrong in my mind. And, I’m saying that there are female singers that can perform just as good as some of the best male ones in the likes of Oscar D' Leon or Domingo Quiñones, who by all standards are really the best of the industry. They may not be well promoted like those under the Sony Discos umbrella but for sure there are some female artists available. Yet they seldom get the chance because the industry and those responsible do not provide the adequate support they deserve by US legal norms of the entertainment industry. If you have doubts about my comments or views just pick-up a copy of "THIS BUSINESS OF MUSIC" by M. William Krasilovsky and Sidney Shemel ISBN: 0-8230-7755-1. I’m not bullshitting you; this is a real issue. When you hear some singer eating up all the radio airtime bandwidth it does not mean that the singer is good or anything like it. It’s the result of a good marketing plan and a lot of money and support behind it. There are some songs that get by the money firewalls and those are the ones that are really good which is respectable but; this is not the norm. Which is the case with Marc Anthony. Marc Anthony would have ultimately ended-up as a part-timer had he not jumped ship when he did. Which is how most of his former contemporaries will end-up. Good for you Marco, I’ll be watching HBO and cheering you all the way homeboy.

The main point here is that there are female artists left behind sucking wind and frustrated, knowing that they are being passed-over by less talented colleagues. In that case like in anything that I put my hand on, I want to make a difference and come out with something positive and really good that will represent all women in the best of forms and will leave little doubt about their talent, character and performance. I wanted to select a female that had real talent not some gimmick or fake. I wanted someone real with some hard credentials. One that could be close to the level of Celia or Gloria Estefan and could hold her own with real capabilities and spirit. That person would symbolize the real power of women and would be the admiration of men. That artist had to be so good that male counterparts could not open their mouths with unduly criticism and cynicism, basically, an artist and singer with her shit wired tight and proud of herself. So I contacted my closest friends and asked around to find-out who could that singer be. After months of Qs and As I found that woman: Choco Orta is her name.   Just last week Domingo Quiñones sealed it all with his views and support for Choco Orta. He could have given me a list of names but Domingo was firm in saying "Sammy es buena de verdad" several times. Anything out of Domingo bears no doubt in my mind, in that my respect and admiration for him has no conditions. I don’t care how much money Sony puts-up for Victor Manuelle…Domingo Quiñones is better than he is. Again, not to put down Sony Discos because they are in fact doing a good job at promoting their commodities and are beating in sales their competition if one could call it that. As long as Sony Discos understands that ideals and principles are far more important than money and they’ll be fine. Ruben Blades is the perfect gentlemen that can expand on this topic. I heard him do at the Millenium Concert.  He's awesome.

So several months ago Richie Blondet helped me get in contact with Choco Orta. After Choco and I spoke, three days later in the mail a press kit from her. It was the fastest kit anyone has ever sent to me. When I began to read and see, it hit me like a rainfall of bricks. It was like listening to a music box filled with so many pieces of information and art. Lots of questions kept filling my mind. I could not believe what I was seeing. It was much more than I had ever expected of any female artist. I saw one of my dreams come true. I was in shock. I simply could not believe it. This lady is probably the best and most qualified female professional salsa since the beginning of the genre. There's probably no one like her with that combination of attributes, experience, and a US Passport.

It was so good that I decided to make her my priority for this new year because (1) Choco is the perfect case study to really expose the inequality that women in salsa face in a male dominated industry. (2) The best wake-up call for women to really make an impact and be heard. (3) Start a dialogue to improve the salsa industry. And (4) Bring up questions as to how can this be? For instance: How is it that a woman of these qualities and talent is not even known to Celia Cruz? How is it that this singer has not been given the task to produce more music by her label company? How is it that this singer has never appeared on Spanish TV to perform in the United States or Miami for that reason when her Label is headquartered in the Miami business metropolitan area? How is it that this power-house is still stuck in Puerto Rico and not performing all over the world like her colleague Tito Rojas when all it takes is for Choco to be the warm-up act for Tito Rojas? How is it that this singer has not been given more opportunities to perform in smaller markets? How is it that she is not in radio and Tito Rojas is when they both record for the same company? How is it that this woman has never performed in Washington, DC and Tito Rojas comes every year? How is it that this lady with 20 years of experience in show business has never been noticed by women's magazine or women's group and promoted at a higher scale? How is it that there aren't any women music producers in tropical music?

Is this crazy or what? In this day-and-age where women have all conventional means of communication no one has seen the light to do something or improve the positioning of women especially in light of someone like Choco Orta? Again, how is it that Choco Orta is stuck in Puerto Rico in a market that does not respect or support her because no one has stepped-up to the plate and given her the helping hand that she deserves?

In reading all this stuff it burned me up to see so much energy and talent standing still. Plus the respect she receives from other artists including Tito Puente, Willie Rosario, Cheo Feliciano, and now Buena Vista Social Club. Yet I only heard of Choco this past summer. Plus she's been passed-over by less skilled and educated artists. This concerns me a lot because, how can I succeed in my dreams if there is not backbone or industry support for women in salsa.

Please! I hope there are people that read this information and step-up to the plate to do something about it. When you volunteer or give away your skills or donate money in pro of something good; there's a good feeling that comes out. I feel that in doing so I would do something positive for her and women in general. I feel that with my limited skills and know-how I can make a difference. That’s why I spend so much of my personal time and money on all the Internet thing really… I spend a lot of money and time on this. I mean, we didn't do that bad last year. It would not be difficult to jump-start things again and do something different for a change. We have seen year after year the same faces and sounds why not do something fresh, sexy, and just plain good. Let’s start putting more women on stage. Let's create a movement. It's not that hard plus it would cost a lot less. All we need is interest from salseros, support, and attendance.

THERE IS SOMETHING VERY WRONG WITH THIS PICTURE. AND ALL THE PIECES OF INFORMATION ARE IN FRONT OF ME.

I JUST HOPE THAT ALL WOMEN THAT READ THIS REPORT WILL STAND-UP, AND SPEAK-OUT. I ALSO WISH THAT SOME ONE WOULD STEP-UP TO THE PLATE AND ACTUALLY DO SOMETHING ABOUT IT OR HELP ME BRING CHOCO TO WASHINGTON, DC.

Choco Orta is ranked and admired by some of the best singers and musicians in Puerto Rico yet music producers are not utilizing her skills. She's not really where she should be. This is wrong and Washingtonian and Salsaweb Internet publishers are all going to echo my call for action. We are going to start a movement from Washington, DC that the Internet has yet to see. Salsaweb.Com, Salsamundo.Com, TheSalsaNews.Com, Salsafuego.Com, Latin-Dance.Com, and others must all unite to help all women in salsa. Washington, DC will lead the way to put the word out. It's the right thing to do.

Well her natural and birth name is Virgen Milagros Rodríguez, artistically she goes by Choco Orta; born one 28th of November in San Mateo de Cangrejos of Santurce, Puerto Rico. Santurce is where Ismael Rivera was born. She majored in theater education and graduated with honors from the University of Puerto Rico. She learned and studied music theory on solfeggio at the Puerto Rican Conservatory of Music. Her vocal skills were attained under the guidance and tutelage of professors Fonseca and Darisabel Isales. In the area of dance, Choco studied with the well-known Puerto Rican dance instructors, José "Junito" Betancourt, Sarita Ayala and Ita Medina. She is a percussionist conga drum player. When we integrate all these abilities into one package we can surely see how well prepared she is to succeed as a lead woman salsera artist, singer, and entertainer. Plus, she brings her Puerto Rican African soul and spirit as icing on the cake for which she's known as Choco short for chocolate. Thus creating a vibrant sense of support and solidarity from all hardcore elite fans of salsa music. Sabor! Mamí dame más que me gusta el dulce.

She started her entertainment career in 1979 by performing in comedy shows and singing with the well-known actor Antonio Pantojas. She continued her interests in theater and appeared in the play "The True Story of Pedro Navajas. Choco has performed in France as a percussionist and singer. In July 1999 Choco made her New York City debut by performing in a concert at Battery Park City as the featured artist under the direction and backing of Mr. Tito Puente and his Orchestra. She has also performed as invited guest for Nacho Sanabria, Roberto Angleró, Julio Gunda Merced, Buena Vista Social Club, and many, many more.

Currently, Choco is under contract with the recording firm of MP. MP is also the company that produces Tito Rojas' music. With MP Choco recorded one CD in 1997 titled Choco Orta "Sentimiento y Sabor. This is remarkably slow given her remarkable combination of skills and abilities. Her contract with MP ends in 2001. Choco Orta performed with stunning acclaim in the Dominican Republic, New York City, Chicago, and Miami. In Miami she performed in the 1996 Miden Music Conference.

Just this past June 1999 Choco Orta was invited as the Puerto Rican Musical Ambassador to the World Renowned Puerto Rican Day Parade as well as the parade in Tampa, Florida where she was also accompanied by the Tito Puente Orchestra. Her most recent awards include Paoly Award as the best female salsa singer of 1998. In 1999 was awarded Premio Farándula, as the best female salsa singer. Her music hits heard in Puerto Rico include "Basta" by Poldo Castro; "El Hombre Que Yo Amo" by Gogo Muñoz, and "Regresa" by A. Polo Campos.

Choco brings in her hands the soul and rhythms that are missed by women in her category of artists of salsa music, in her voice she delivers similar tones and melodies possessed by some of the greatest in her field. In her body she displays the beauty that distinguishes all Latin and Puerto Rican women. In her character Choco exemplifies the strong sense camaraderie among all Hispanics, and in her experience a determination to succeed as a lady in an industry that often neglects the skills and contributions of women.

Celia Cruz comments about her potential successor without being aware of other singers’ talents and mentions the disparity of salsa music in New York City Spanish tropical music radio broadcasting.

CELIA CRUZ in an interview with Jaime Torres Torres of El Nuevo Dia June 8th, 1999 - "Even though La India has a different style than mine and her voice is not remotely similar to mine, she improvises okay. Yolanda Rivera and Fe Cortijo are two good gals but have not continued in the business. Today all the singers are merengueras, because of that I have to keep hustling in salsa. But La India is good." Celia said.

Then Jaime Torres Torres points out "However, here (Puerto Rico) the singers of salsa consider that Choco Orta is the most dignified aspiring singer to her throne. Celia knows very little of Choco and on this interview explained that it was the first time she had ever heard the name of Choco Orta. Celia continued to say "I don't know her and have never heard her, this is the first I have ever heard of her name. I would like to hear her but in the radio of New York merengue is mostly played. Salsa is a genre of only pure men. When I joined Fania found out that all the singers were fans of mine".

This is a clear indication that very little information about salsa is provided through the airwaves as far as the salsa industry is concerned. It also shows the disparity that exists between men and women in salsa music. There's something very wrong in salsa and those running it are keeping it that way, yet consumers and promoters find themselves not being able to produce better events because the market is tied-up for the selected few that are heard everyday in radio. There's no incentive in hiring a singer like Choco Orta because there's no public demand for her music because she is not being heard on radio which is how the public gets to know about artists and so on. Its not so much as the broadcasters but because of favoritism (panismo) and lack of opportunity from their own recording labels that don' fulfill their responsibilities but have the sole rights to the artist. The artist has to more-less a suck-up to the recording labels because it not, then recording label executives can decide to quiet artists and then the artist become invisible to the industry and consumers. A good is example is the situation between Mariah Carey and her X-husband. So we must rescue these artists and really challenge the industry with our technical know-how. The Internet can be the medicine to this sickness as a medium that delivers critical information in a multimedia dimension. The web is so good that broadcasters are rushing to exploit it using their transmission capabilities and audience which is the case between La Mega in New York and La Musica.Com. However, the problem is that there’s still a lot of salseros that don’t have access to the web. This problem is known as the "Digital Divide" and "Universal Service".

Even more, those with access use the web and don’t do anything with the knowledge obtained from our initiatives. Plus those with the rights to artists and will buy and manipulate the environment to push and capitalize on their investments and artists. Then what’s is left is, DJ’s and remixed music tracks because, venues and promoters would be stupid to hire and provide live salsa entertainment. When they darn well know that they will not recover their investments.

In closing, I will say that it has been a learning experience in searching for the answers and realize my dreams. I know my mother will be proud of me and so will yours. Had I not persisted in realizing my ambitions I would have never been where I am today. Even when I find myself swimming against tides of adversity; spending my hard earned money on other causes and sometimes even neglecting to pay bills. This is one case that I feel is way worth it. I just hope that others follow my example and join me on coming up the hard way.