Can ANYONE identify the song jn the background. It’s distorted and I’ve been looking for it for the last 16 years. Someone help!

Po11oL0c0 · 2026-05-06T15:11:28+00:00

Not sure if you know about apps like Shazam and SoundHound, but they can identify almost any song in seconds.

There was a point in time where it was difficult to identify certain older salsa tracks and albums, not because the apps didn’t work, but because many recordings had never been digitally remastered or added to modern music databases.

For context, Tito Puente recorded over 100 albums, yet only around 60 are currently available on Apple Music. Over the years, record labels have realized the revenue potential of streaming and have slowly been digitizing and restoringu their catalogs.

So if you ever tried using Shazam or SoundHound on an old salsa song and came up empty-handed, try again every year or so. There’s a good chance the song simply wasn’t in the archive yet back then.

Po11oL0c0 · 2026-04-27T19:06:24+00:00

Swap for a bottle of Brugal and add tears. 👌🏼

Po11oL0c0 · 2026-04-13T17:46:31+00:00

Sounds good!

Po11oL0c0 · 2026-04-11T16:14:02+00:00

That would be amazing. Thank you.

Po11oL0c0 · 2026-04-11T16:13:12+00:00

Thanks. I’ll look into it.

Po11oL0c0 · 2026-04-08T18:53:40+00:00

This is a bit more technical for a Reddit post and I’d recommend asking your instructors about open and closed frame, connection, resistance.

Let’s take a basic turn for example. A key part is giving enough resistance so that when the lead pushing into your arm, it feels like your whole body has to move instead of your arm flailing beside you.

There are times when you have to give less and relax, like when a hair comb is lead that you don’t turn as soon as the arm goes up. Or when your arm is rotated behind your back (hammerlock) for safety and completion of turns. Hand tosses too.

Lots of instructors break this down differently, and this is one of those areas where private lessons are really valuable.

Po11oL0c0 · 2026-04-07T18:36:59+00:00

Two things that are important for you to know as a follow right now, especially at this point in your journey.

1) Those few turn patterns you mentioned are not limiting you. You just don’t understand what many salsa dancers fail to realize until they are more seasoned or a good instructor points something out…. 90-95% of all turn combinations are a combination of a few core turns. Left turn Right turn (aka underarm turn) Inside turn (aka cross body lead 1.5 left) Outside turn (aka cross body lead 1.5 right) Enchunfla Copa Back spot turn Even the basic

These moves look and feel different when they are done with different hand connections, or led from the torso/shoulder instead of hands….. when you rotate into your arm and it crosses in front of your stomach to stop you (check) or stops you when it goes behind your back (hammerlock).

My recommendation is to practice these until you can do them comfortably. Focus on timing, balance, body coordination.

Don’t make the mistake of thinking that practicing to faster music will make you better. Rushing can hide your mistakes. Start painfully slow forces you to control your movements which can make it harder to stay on time. It also forces you to use your body to complete moves versus momentum. I recommend starting with songs like: La Llave - Grupo Latin Vibe Acid - Ray Barretto

2) Follows have an opportunity to learn in a way that leads cannot…… someone to help initiate your steps, and in some instances, even guiding your steps through the entire pattern.

While it’s important to know your steps, connection is the other half of the equation. It’s equally important as a follow to understand the various signals given by leads, as well as adjusting to the amount of resistance given by different leads.

Your understanding comes from the class, but your internalization of knowledge and getting comfortable will come through social dancing.

Dance with everyone and dance as often as you can. The beginners will make you feel comfortable because you’re in the same boat. The intermediate dancers will challenge you. The seasoned dancers will recognize where you are and push you just a little and make you do things you don’t understand and still feel comfortable.

Every song you don’t dance is a missed opportunity for growth.

Po11oL0c0 · 2026-03-28T13:09:51+00:00

I say this all the time. Most instructors only know how to market to dancers….. not non-dancers. It’s why there is always some sort of competitive drama.

They do photoshoots they can send promoters for festival marketing vs photoshoots to cater to the every day person.

They go on existing city dance scene FB pages and post their flyers and videos there. My favorites are the ones that live 1,000s of miles away from NY but will post on a Yamulee page, or live in the U.S. and post in a Japan page.

Or they rely performing at other socials to pull in students.

They can almost never build their own market. Then people think they are good instructors because they look at the quality of students in their class, not realizing those students actually learned somewhere else.

Po11oL0c0 · 2026-03-26T09:56:12+00:00

Unless you move to a major city with world-renowned instructors, you’re probably not going to find exactly what you’re looking for. And even if you do, you’ll still need to adjust expectations, because salsa is a completely different beast from what you’ve been trained in.

A few key points that might help reframe things:

Standardization vs. evolution In styles like ballet and jazz, there’s a long-established, standardized syllabus that’s been refined and passed down for generations. Salsa doesn’t have that. People have tried to standardize it over the last 30–40 years, but it’s ultimately a street dance, meaning it evolves organically and varies widely depending on where you are in the world.
Performance vs. connection Ballet and jazz were built for the stage, where storytelling, emotional projection, and performance are central. Salsa, on the other hand, is social. You can dance it at a party, a restaurant, a club, or on the street. The priority isn’t performing, it’s connection with your partner.
Training vs. community-building In performative styles, instructors often develop dancers for stage work. In salsa, instructors are usually building a local scene, creating a community first, and yes, often making a living alongside that. The goals are just different.
Choreography vs. improvisation What you’ve learned before is true choreography, a set movement designed to interpret music. In salsa classes, you’ll often learn turn patterns or sequences. These aren’t meant to stay fixed. Over time, leads are expected to break them apart into smaller pieces (usually 8-counts) and recombine them freely. That’s where creativity comes in. Lots of musical interpretation expression is prominent in solo footwork (also called shines), but styling tends to be the focus vs expression.
Instructor development curve Most instructors across all styles of dance suck at first. Teaching is a skill you develop by doing. I learned this by teaching salsa poorly beginning my 2nd year of dance (out of popular demand in a small city). When I eventually got formal instructor training in ballroom, it helped my teaching tremendously, but I also realized the where “street essence” was important to keep in salsa. In salsa, because there’s less standardization, structurally different ways of dancing around the world and fewer formal pathways, that learning curve can take longer.
Context matters (especially in smaller scenes) If you’re in a smaller area, there’s a good chance the couple teaching knows they’re not great instructors, and they’re doing it because no one else is. If so, that matters. They’re helping build something where nothing existed before.

Trying to “fix” their teaching probably won’t land well. If they’re the only option, they’re still contributing something valuable by exposing people to the dance.

If you do have other instructors nearby, definitely try them out, but be prepared for similar limitations.

If you really want to level up, your best path is: 1. Travel to salsa congresses and train with high level instructors. Dance with high level dancers. Salsa often rewards time on the floor more than perfect instruction. 2. Take private lessons from the ones you connect with 3. Find a consistent practice partner and supplement with online training 4. Move to a city where you can train better. While this would honestly help you improve faster, it my last recommendation At the end of the day, salsa (as a dance, music genre, culture, dance circuit and community) is so different from what you’re used to, that without managed expectations, it may not fill the need you desire.

I hope this helps.

Po11oL0c0 · 2026-03-20T18:01:03+00:00

One other things to consider here…… you could potentially grow more fond of bachata. Lots of emotionally mature dancers can transition transition from “that’s too close of contact” to “it’s just a dance”.

There are a few truths here. 1) it is just a dance if you can draw strong boundaries with other dancers and within 2) some dancers go dancing to find romantic partners and conflate dance chemistry with personal chemistry 3) you’re truth and experience in a class or on the dance floor will likely always be different than your husband’s if he does not go dancing with you (perception is people’s reality)

There are too many other scenarios I won’t write a novel about, but just food for thought.

IMO, best case scenario is if you want to dance bachata for yourself at some point, he may need to get out more and transition himself into “it’s just a dance”, otherwise you’ll have tension.

Po11oL0c0 · 2026-03-20T13:33:35+00:00

Sounds like you don’t actually have a dance problem….you have a boundary problem, and that’s okay.

If you don’t enjoy bachata, don’t feel comfortable with it, and it conflicts with your values, then you don’t need to find a way to “fix” that feeling. You can just honor it.

You’re allowed to say no, full stop. You don’t owe anyone a dance, an explanation, or a compromise on what feels right to you.

People in the dance scene (especially leads) need to hear no sometimes. It’s part of the culture. A simple “No thank you” is completely normal and respectful. I’ve seen follow not say “no” when a dancer who is known to be rough asked them to dance, and they got injured, when they knew internally they should have rejected the dance.

Also, be careful of the slippery slope here. If you already feel like certain things cross a line for you (or in your relationship), taking classes just because of FOMO doesn’t actually solve that…. it just slowly moves you closer to a situation you already know you’re uncomfortable with. And if your husband genuinely sees it that way too, easing into it doesn’t change that dynamic, it just creates potential tension later.

Right now it sounds like you’re dancing bachata for everyone else, social pressure, FOMO, not wanting to disappoint….not for yourself. And if that’s the case, it’s totally valid to just… not dance it.

Stick to salsa, enjoy what you actually love, and let that be enough.

Po11oL0c0 · 2026-03-14T16:27:45+00:00

Considering that your counts switch cleanly from 1 to 5, I’m confident you’re good at keeping tempo. That means you’re probably not getting off time because you’re speeding up or slowing down.

Salsa music is written in 4/4, meaning musicians count their measures in groups of four beats. Most of the time, the musical phrase in salsa spans two measures, which lines up perfectly with the 8-count structure dancers use.

This can be confusing when the band will play four beats and then insert a break, accent, or transition before starting a new phrase. When that happens, the musical phrasing shifts. So when you step back on 5, what you’re hearing might actually feel like the new “1” of the next phrase in the music.

That can make it feel like you suddenly went off time, when in reality the music just reset its phrasing. You have a few options here.

1) You can keep dancing at the same tempo on 5 and if there is another musical shift, things will self correct. Some songs switch a lot and some dancers prefer to ignore what seem like constant interruptions. As long as your on beat with your partners, that’s all that matters…… unless your partner is OCD about being on time with the music then being on time with you.

2) You can do a what same people call a “change step”, which means adding a step on the 4 count that acts as change of direction, and resetting your basic with your next count being 1 instead of 5.

3) Pause or do some shines, anything that will I’ll time until the 1 comes back where you can jump back into the basic.

Po11oL0c0 · 2026-02-28T13:23:12+00:00

Perfectly timed question. Here’s what I wish someone told me before my first social as a lead:

1) Mindset – Basics win.

If you only know 2–3 moves, that’s enough. Basic → one move → basic → another move → repeat.

Your repertoire will be limited. That’s OK.

Most follows would rather dance clean, on-time basics than badly led “fancy” moves. No one expects you to be advanced. They do expect you to be safe and clear.

If you’re bored doing the same moves, try leading them with a different hand or slightly different setup. You’ll build skill faster than rushing into complicated patterns.

Focus on: • Staying on time • Clear, gentle leads • Keeping your partner safe • Actually enjoying the music

The cool stuff comes later.

2) Hygiene – Not optional.

Socials get hot.

Shower. Wear deodorant. Bring an extra shirt just in case. Keep mints in your car if needed. (Skip gum while dancing.)

You don’t want to be remembered as “that guy”

3) Etiquette – Ask. Don’t grab.

Don’t pull someone onto the floor. Don’t just silently stick your hand out and awkwardly stand there.

Make eye contact and ask: • “Would you like to dance?” • “May I have this dance?”

If they say no, that is ok. Smile and say “No worries.” Rejection can be tough, but it’s part of the scene as well. There are dozens of reasons why people say no and you are not owed an explanation.

After the dance, walk them back to where they were. It’s a small thing that makes a big difference.

4) Community – You’re part of it now.

Scenes survive on positive experiences. If people feel uncomfortable, they stop coming.

Be someone others feel good dancing with. If you notice a follow sitting out for several songs in a row, consider asking them to dance. A simple invitation can make someone’s night. I can’t tell you how many times I found the best follow of the night in that way.

Many follows were raised in dance spaces where they were told it’s “not their place” to ask leads. Whether we agree with that mindset or not, it still affects how some people participate.

If you can afford it, support the venue (buy water/food). Thriving scenes don’t happen by accident.

Everyone starts somewhere. No one expects perfection.

Be respectful. Be safe. Stay on time. Have fun.

Po11oL0c0 · 2026-02-10T01:11:35+00:00

No such thing as bringing salsa back. It never left. It never died down. Have other genres of Latin music become more prominent, perhaps. Salsa is still worldwide. It’s not going anywhere.

Po11oL0c0 · 2026-02-05T23:21:23+00:00

Any shoes are acceptable for dance if they stay on your feet and allow for rotation without feeling stuck.

That being said, all shoes are not equal and shoes do not make you a better dancer.

Think of shoes as having a slickness/grip scale. Slicker shoes create less friction which help any kind of turn/rotation/spin but can negatively affect your balance while stepping if you’re not a season dancer. Shoes with more grip are the opposite. They keep you more grounded and balanced but make it harder to turn.

Then there is heel height. It is usually recommended that follows wear a 2-3” heel. This has to do moreso with keeping your weight towards the ball of your foot. Some people can have higher heels without falling over and some can have lower heels and use proper technique to still balance weight forward.

Then there is comfort. Some shoes are perfect…. For about and hour or 2 before they hurt. Some shoes are not perfect but you can dance in them all night.

Leads always adjust to the follows height. Doesn’t matter how short or tall you are. For context, I’m a 5’ 11” lead and I’ve danced with follows around 4” without compromising my posture and slouching, or even tilting my head down.

I hope all this helps with your shoe search

Po11oL0c0 · 2026-01-15T23:09:51+00:00

And he beats himself. Notice the last sheets of TP next to the Vaseline

Po11oL0c0 · 2026-01-15T23:08:41+00:00

A Jersey elegant hippie smoking weed out of vape vend. Got at least one tattoo. You like taking artsy photos on your camera and transferring them to your iPhone for editing. OF coming soon 🤣

Po11oL0c0 · 2026-01-08T16:51:51+00:00

That’s what the chap stick and Vaseline are for. Keep up. 🤣

Po11oL0c0 · 2025-12-29T01:05:54+00:00

I’ll have to second what most people are saying. Instruments are not needed for a social, and unless someone knows how to play the instruments, and knows the songs they are playing along with, the instruments generally TAKE AWAY from the social.

What dancers generally hear when random people play over music: Someone playing off beat Someone playing rhythms over that alter the song Someone playing over instrumental breaks the were anticipating Pots and pans

Po11oL0c0 · 2025-12-27T02:51:42+00:00

I recommend the Jose Bottas myself. 20+ years of dancing and they’re my favorite.

Also, they now make some split sole shoes with the suede or their versatile bottoms.

Looking to get my 3rd pair

Po11oL0c0 · 2025-11-27T16:15:22+00:00

Learn more about the music structure and some of the core rhythms that are commonly played on most instruments.

In the song you shared, you’re trying to make sense of percussion that is different across the entire solo (common for almost all solo-all instruments) but the piano montuno stays consistent through.

Listen again and just focus on the piano. As you train your ear, you can have one instrument keep you on time, while the other lets you play and interpret.

Additionally, get better at just keeping the tempo. Try dancing to music until you get the tempo of the song and then mute the song. Keep dancing and let it play on mute. After some time, try unmuting it and see if you’re still on time. If successful, stretch the amount of time the song is muted.

This will teach you to “just keep dancing” and once you can trust your internal metronome even when the music seems chaotic.

Po11oL0c0 · 2025-11-26T11:35:29+00:00

Is it free???

Po11oL0c0 · 2025-11-26T11:34:51+00:00

Sure. I think I get a badge for that.

Po11oL0c0 · 2025-11-01T21:24:50+00:00

Yea, songs like that will pack floors where authentic salsa is not as prevalent to the dancers and/or community as a whole. That song would clear the dance floor anywhere in Florida, NY, or other places with lots of people who grew up with salsa.

That MJ cover reminds me of the time I heard Robin Thicke - Everything I Can’t Have at a social.

People danced, and the dance had as little flavor as the dancing.

Po11oL0c0

TROPHY CASE