Hijos...
October 2001
Thank you EduIndia
Canales
December 1992
Thank you Y2Kirb
Vibe Magazine
1998
Nuyorican Soul Hot and buttered
Vibe Magazine
1997
India...burning down the house
1994
India's Summer
Latina
August 2000
EL CAMBIO-CAMBIO DE INDIA
EL ESPECIAL
JUNE 14, 2000
India
Cristina La Revista
Mayo 2000
COURTESY OF EDUARDO MARTINEZ
Diez Preguntas Para India
People en Español
David Corio/Retna
Cortesia Eduardo Martinez
COURTESIA DE EDUARDO MARTINEZ
"La India" en sus cuatro
Foto y texto: Iris Samanamud
Cortesia Eduardo Martinez
COURTESY OF EDUARDO MARTINEZ
Algo Más que una sola vida
People en Español
Enero 2000
INDIA POR JUAN CARLOS PEREZ
TvYNovelas
Agosto 16 1999
Luego, con la mayor naturalidad y antes de que el llamado fenómeno musical del crossover estuviera en boca de todos, India cruzó del mercado de la musica anglosajona al de la latina. Así, se dio a conocer en el mundo de los ritmos tropicales con Eddie Palmieri en "Llegó La India", y causó revuelo no sólo por su particular voz y forma de vestir, sino porque fumaba cigarrillos.
Durante los pasado cinco años, la artista nominada al prestigioso premio Grammy, se ha mantenido mayormente dentro de las aguas de la música latina por lo bien que le ha ido. Ha compartido con todos los grandes, desde Tito Puente hasta Marc Anthony.
"Hace dos meses empecé a trabajar en un nuevo álbum", informa la artista desde su residencia en Nueva Jersey. India conversa animadamente, a veces tanto que, entre risas y comentarios jocosos, pareciera ser la única que habla. Sin duda tiene un espíritu travieso por dentro.
"Estoy en una posición bien buena, donde sé lo que quiero, tengo el oído atento a las melodías que funcionan con mi estilo y me siento cómoda con las canciones que hemos escogido para el proyecto", afirma, alternando sus palabras entre inglés y español.
Para su más reciente producción discográfica con el sello RMM, la intéerprete recibe crédito además como coproductora.
"Estamos produciendo este disco mi novio **Isidro Infante, el percusionista Luis Quintero y yo. En el álbum anterior, también fui productora, pero no quise decir nada al respecto porque pensé que sería más intimidante para las gente con la que trabajé. Yo que ya intimido bastante por mi forma de ser, no quería lucir como la jefa mandona", afirma.
India suelta una carcajada porque sabe que a veces tiene que controlar su fogoso temperamento y desbordante creatividad.
"Los que me conocen bien, saben que cuando algo no moe gusta, lo digo y ya", afirma confiada. Con esa misma seguridad labora en el nuevo disco.
"Ya tengo todas las canciones, y hemos mixeado como seis aquí en Nueva Jersey. Los títulos son Sentimiento de una mujer y Baby soy yo, tú sabes."
Que nadie lo dude.. "Tengo estas baladas bien lindas que capturan mi lado sensible", explica. "A la vez, tengo el género tropical, la salsa, con unos temas muy sabrosos que sé que a la gente le van a gustar".
La combinación, dice, le ha sentado muy bien. "Ha sido una elevación para mí".
Los que también se van a elevar serán los fanáticos de La Lupe, con quien ha sido comparada India. Por esas mismas comparaciones, la puertorriqueña evitó a lo largo de los años no cantar temas de la fenecida leyenda Cubana.
"Porque para mí, la música que ella cantó nadie más la podía cantar", opina con tono casi reverencial. "Pero tuve que hacer una excepción porque, dondequiera que me presentaba, me pedían que cantara algo de La Lupe".
India terminó haciéndole un homenaje a su colega y a sus fanatico.
Con el nuevo disco, India hará que muchos sientan que sus vidas son puro teatro. Luego de este proyecto, planea regresar a sus raíces en el año 2,000 como diosa de la música dance a ícono de los gays. "El crossover va a ser en el 2,000, con un disco en inglés como el de Dancing on the fire. Vengo fuerte con esa música.
Dancing on the fire fue un candente tema bailable que acabó en las discotecas de Nueva York, particularmente entre las comunidades homosexuales hispanas, que primero descubrieron a la cantante que de niña pensó sonaba como Minnie Mouse.
A los 10 años, India recibió entrenamiento vocal para ser cantante operática, pero lo que corría por sus venas no era un aria, sino la clave. Creció oyendo música en inglés, desde The Rolling Stones hasta Marvin Gaye, pero ya a los 15 sus oídos se afinaban a los ritmos afrocaribeños.
Junto al famoso disc-jockey Louie Vega, India entró al mudno musical con el grupo TK8 (sic), haciendo coros, y ya a los 18 años, debutando con su primer disco.
"Los gays, ellos me ayudaron para que pudiera expresarme y no tuviera miedo como artista", recuerda.
Hasta que el famoso promotor artístico Ralph Mercado, en búsqueda de un nuevo rastro femenino para la salsa que pudiera continuar el legado de la reina en el género, Celia Cruz, la oyó y se la llevó para que fuera solista. Nacía una nueva estrella de la salsa. "Es que me gustó tanto la reacción del público latino, que ahí me quedé todo este tiempo", cuenta la artista de 28 años.
"El público me ha dado tantas cosas buenas. "A veces uno se deprime en esta industria porque, o tienes que ser muy flaca, o sexy o acostarme con este presidente de aquella disquera. Yo entré a la industria sin verlo así. Para mí todo era cantar. Por eso, si subo 10 libras, no me importa. En este negocio uno tiene que ser más fuerte que el odio", dice riendo. "Mira a Madonna, mira lo que ella ha hecho, que lo respto, Pero yo a lo mío le doy un toque de dulzura", O sea, de ¡azúca! A lo Celia.
** El novio de India es Luis Quintero.
** El nombre de el grupo es TKA
Tv y Novelas Diciembre1999
Por Laura Pagliaro * Fotos: RMM
Pongase Al Dia: El Concierto Del Amor De Nueva York
People en Espanol
CORTESIA EDUARDO MARTINEZ
COURTESIA DE EDUARDO MARTINEZ
La India & Tito Puente juntos en "Jazzin"
Periodico de Peru
COURTESIA DE EDUARDO MARTINEZ
El cajón peruano se luca en disco de 'La India'
Periodico de Peru
CORTESIA DE EDUARDO MARTINEZ
La India Vino Con Mariachi
Periodico de Peru
CORTESIA DE EDUARDO MARTINEZ
India
LATIN STYLE
CORTESIA EDUARDO MARTINEZ
IT`S BEEN A LONG TIME SINCE A NEW FEMALE VOCALIST HAS JOINED THE RANKS OF TROPICAL MUSIC AND SALSA SINGERS.
THERE ARE RUMORS FROM THE MIAMI AREA THAT A NEWLY ARRIVED CUBAN SINGER BY THE NAME OF ALBITA WILL SOON TAKE HER PLACE AMONG THE GREATS OF ALL TIMES. IT HAS NOT ONLY BEEN A GREAT LATIN FEMALE VOCALIST OF THE TROPICAL SOUND BORN AND RAISED IN THE USA. THAT SOON MAY ALSO CHANGE. LINDA CABALLERO, AGE OF 25, WHO GOES BY THE NAME OF INDIA IS STARTING TO MAKE HER MARK ACROSS THE NATIONS OF THE CONTINENT. SHE IS MARRIED To LITTLE LOUIE VEGA, HOTTEST DJ IN NYC WHOM SHE HAS KNOWN SINCE THEY WERE CHILDREN.
SHE WAS RAISED IN THE CULTURE OF LATIN HIP HOP AND DANCE CLUBS, AND NOW, IN AN EXTRAORDINARY TURN OF EVENTS, SHE HAS JOINED THE RANKS OF THE GREAT MUSICIANS AND SINGERS DE NUESTRA MUSICA.
THEY HAVE TAKEN HER AS THEIR OWN. THERE SHE'S JOINING EL REY, TITO PUENTE, THERE SHE GOES WITH THE GREAT EDDIE PALMIERI, HERE SHE IS ON STAGE WITH ALL THE GREATS, INCLUDING THE QUEEN HER SELF, CELIA CRUZ, IN AN EXTRAORDINARY CONCERT AT THE HOLLYWOOD BOWL.
WE CAUGHT UP WITH THE NEW PHENOMENOM AND ASKED A FEW
QUESTIONS.
I read somewhere that you have operatic training?
INDIA: I TOOK OPERA LESSONS FOR 3 YEARS FROM A VERY VERY SPECIAL JEWISH LADY. IT WAS WONDERFUL, IT WAS A GREAT EXPERIENCE FOR ME
How old were you?
I WAS 6, FROM SIX TILL I WAS ABOUT NINE. IT TAUGHT ME A LOT BREATHING AND CONTROL. OPERA IS NOT LIKE REGULAR SINGING. IT TAKES A LOT OF DISCIPLINE, A LOT OF HARD WORK, DEDICATION. BECAUSE IT'S BELTING. YOU ARE BELTING ALL THE TIME. THERE'S NO SUCH THING AS SINGING SOFT WHEN YOU SING OPERA. I LIKED IT BUT I COULDN'T AFFORD TO TAKE MORE LESSONS. SO I LOOKED TOWARDS LEARNING MUSIC IN SCHOOL
Where did you meet this Jewish lady??
SHE LIVED IN THE SAME BUILDING. I ALWAYS FELT LIKE THE BLACK SHEEP OF THE FAMILY. INDEED I WAS. BUT FOR SOME REASON, PEOPLE LOVE ME AND I LOVE PEOPLE.
THIS LADY TOOK A LIKING TO ME. WE USED TO TALK. WE GOT TO KNOW EACH OTHER, AND ONE DAY SHE INVITED ME TO HER HOUSE, SHE HAD A PIANO. I TOLD HER I LOVED TO SING, SHE KNEW I HAD SOMETHING IN ME BECAUSE I WAS NEVER SHY. SOME KIDS ARE SHY, BUT I WASN'T SHY SHE PUT ME THROUGH SOME VOCAL EXERCISES. I USED TO DO IT EVERY OTHER DAY, BUT SHE SAW I WAS SERIOUS. THEN I STARTED GOING EVERY DAY, JUST TO BE WITH HER, EAT COOKIES, AND STUFF LIKE THAT, BUT, SHE MOVED, AND I COULDN'T AFFORD TO GET ANYMORE LESSONS.
So, did you take more lessons in public school?
WE WERE ALWAYS MOVING, I LIVED EVERYWHERE IN THE BRONX. I STARTED IN A SCHOOL CALLED "IS 155" AND PLAYED THE CLARINET. THE MUSIC TEACHER WAS A VERY DEAR GUY. HE KNEW I LIKED TO SING, I TOLD HIM ABOUT MY EXPERIENCE WITH THE OPERA THING. I CAME ACROSS A VOICE TEACHER IN SCHOOL, AND I'D GO THERE AND HAVE A HALF HOUR LESSON. I USED GO THERE EVERY DAY AFTER SCHOOL.
How long did you go that school?
3 YEARS AFTER THAT I USED TO GO TO NEIGHBORHOOD CHURCHES. I LIVED ON 180th, AND THERE WAS CHRISTIAN CHURCH WHERE AFRICAN-AMERICANS BROTHERS AND SISTERS USED TO SING, I WOULD SING A LOT, TOO, AND MY VOICE WOULD BE HEARD.
THE PREACHER WOULD BRING ME UP AND I'D START SINGING TO THE LORD WITH PEOPLE WHO WERE REJOICING AND LETTING IT ALL OUT. I GOT A LOT OF MY LESSONS FROM THOSE EXPERIENCES.
I'VE ALWAYS LOVED LISTENING TO MUSIC, LISTENING TO THE RADIO, LISTENING WHAT WAS HAPPENING. THE ROCK`N ROLL STUFF WITH JANNIS JOPLIN AND LED ZEPELLIN. ALL THE BLUES STUFF THAT'S WAS HAPPENING. LATIN JAZZ, THE DISCO MUSIC AND DONNA SUMMERS, BARBARA STREINSAND, EVEN JUDY GARLAND. I LOVE MUSIC. I BELIEVE MUSIC OF ALL SHADES OF COLORS. I'VE ALWAYS BEEN INTERESTED IN IT, AND IT WASN'T HARD FOR ME TO BE IN IT BECAUSE, BABY, MY MOTHER LOVES TO SING TOO.
SO BY THIS TIME YOU WERE ALREADY TWELVE OR THIRTEEN?
I WAS ABOUT THIRTEEN WHEN I HIT ABOUT FOURTEEN I STARTED DOING MY OWN THING I WAS GOING TO THE PARADISE GARAGE A FAMOUS GAY CLUB IN NYC WITH THE BEST SOUND SYSTEM EVER BUILt IN THE UNITED STATES. PEOPLE FROM EUROPE, JAPAN FROM ALL OVER THE WORLD WOULD TRAVEL TO NY JUST TO GO TO THE PARADISE GARAGE TO LISTEN TO LARRY LE VAN I USED TO GO THERE AND ALTHOUGH I WAS ONLY THIRTEEN YEARS OLD I LOOKED GROWN UP I LOOKED TWENTY ONE I HAD BREASTS I HAD A BUTT ON ME I HAD A BODY I USED TO PAINT MYSELF UP AND GO OUT WITH MY FRIENDS THEY NEVER ASKED FOR MY ID I WOULD GO THERE AND APPRECIATE THE MUSIC. I STARTED MEETING INDUSTRY PEOPLE. PEOPLE IN THE DANCE WORLD THAT HAD RECORDS. I MET PEOPLE LIKE MADONNA, GRACIE JOHNS AND CHAKA KHAN. I USED TO FANTASIZE AND SEE MYSELF UP ON STAGE LIKE A ROCK STAR.IT WAS JUST A FANTASY THEN. IT WAS NOTHING THAT HAD ANY SUBSTANCE UNTIL LITTLE LOUIE VEGA GOT ME GOING.
How old were you when you met him?
I WAS TEN WE´VE ALWAYS LOVED MUSIC WE MET IN THE NEIGHBORHOOD. THERE WAS A ROLLER SKATING PLACED CALLED ROLLER WORLD. LOUIE WAS THE POPULAR GUY HE LOVED TO ROLLER SKATE. HE WAS DAMN GOOD. I HAD A CRUSH ON HIM.BUT I WAS ELEVEN AND MY MOTHER WAS NOT GOING TO LET ME HAVE BOYFRIENDS. SO WE BECAME FRIENDS. I KNEW HE LOVED TO DJ AND HE KNEW I LOVED TO SING, I WOULD ALWAYS SING TO MY FRIENDS, SO, HE SAID TO ME "IF´D EVER GET INTO THE MUSIC BUSINESS. I´M GOING TO HELP YOU" SO, WHEN I TURNED FOURTEEN HE GOT INTO THE MUSIC BUSINESS AND STARTED DEEJAYING AT A CLOCK COLLECT THE DEVILS NEST WHERE THE LATIN HIP HOP MOVEMENT A VERY POPULAR LATIN / STREET MUSIC WAS STRONGE. THE CLUB WAS STARTING TO GROW AND ACTS LIKE THE COVER GIRLS, JULY TORRES AND TKA, LATIN GROUP OF FOUR BOYS WERE VERY POPULAR.THE MANAGER OF THAT GROUP, TKA, WAS LOOKING FOR A FEMALE. HE WENT TO LITTLE LOUIE, AND SAID HE WANTED TO AUDITION A FEMALE. LOUIE SAID HE KNEW A GIRL WHO HE THOUGHT WOULD BE PERFECT. I WENT TO HIS HOUSE TWO DAYS LATER. THE GUYS WERE ALL THERE, AND I MET TKA AND WE SANG BARBARA STREISAND`THE WAY WE WERE', AND 'A DREAM' BY DEBARGE. THAT WAS IT I MADE INTO THE GROUP.
What does T.K.A mean?
IT MEANS TONY K.O. AND ABE. IT WAS A GREAT OPPORTUNITY TO ME.
How long were you with them?
ABOUT A YEAR. I TURNED SIXTEEN AND WANTED TO LEAVE. I WAS ABLE TO TRAVEL WITH THEM AND LEARN ABOUT THE BUSINESS. I LEARNED HOW TO WORK AT A RECORDING STUDIO AND SING WITH THREE OTHER VOICES, I LEARNED ABOUT TRAVELING AND MAKING APPEARANCES ON RADIO STATIONS. I LEARNED THE PUBLIC RELATIONS ASPECTS OF THE BUSINESS WITH THAT GROUP. I LEARNED ABOUT PEOPLE AND HOW THEY REACT TO YOU ON STAGE AND OFF. I THOUGHT IT WAS TIME FOR ME TO PURSUE A SOLO CAREER. AND I SURE DID, HONEY! LOUIE WAS THERE. AT THE TIME HE WAS JOHN JELLY BEAN BENITEZ'PROTEGE. JELLY WAS LOOKING AT LOUIE TO SUCCEED HIM. JELLY HAD A NEW LABEL CALLED JELLY BEAN RECORDS, DISTRIBUTED BY WARNER BROS. HE WAS LOOKING FOR A LATINA. AGAIN, LOUIE LOOKED OUT FOR ME AND INTRODUCED ME TO JELLY BEAN. HE HEARD ME SING AN ACAPPELLA AND SIGNED ME TO HIS LABEL.
What type of stuff did you sing for Jelly Bean?
I WAS SINGING BARBARA STERISAND, PATTY LABELE. HE THOUGHT I COULD BE THE NEXT LATIN MADONNA. I TOLD HIM THAT THAT WASN'T THE WAY I SAW IT, BUT THAT'S HOW HE SAW IT AS A BUSINESSMAN. I CAME OUT WITH DANCING ON THE FIRE. AND WE DID A SPANISH VERSION TO IT CALLED BAILANDO EN EL FUEGO. I SOUNDED LIKE A CHIPMUNK. I WAS SO YOUNG.
On Warner Brothers?
IT WAS SO MUCH FUN! THAT LASTED ABOUT 2 YEARS. THAT RECORD WAS HOT. I WAS DOING 3 SHOWS AT NIGHT. I HAD 2 GIRL DANCERS. I WAS GIVING AN IMAGE. IT WAS ABOUT LOOKING SEXY. CAPTIVATING THE CROWD, GIVING THEM SENSUALITY AND FIRE. I FELT PEOPLE WANTED TO SEE A SEXY PERFORMER. I GAVE THEM THAT. THE 2 GIRLS WERE SEXY TOO. WE BURNED UP THE CHARTS WITH THAT RECORD. AFTER THAT JELLY BEAN PUT ME IN THE STUDIO, AND I WORKED WITH LOUIE VEGA. I KEPT WRITING SONGS. I WAS ALWAYS A SONGWRITER TOO. WE WROTE A SONG CALLED BREAKING NIGHT.
IT CONSISTED OF A LOT OF LATIN HIP HOP. AROUND THAT TIME THE HOUSE MOVEMENT STARTED. WE WANTED TO CHANGE THE PACE A LITTLE BIT, AND HE STARTED PUTTING ME INTO HOUSE. I CAME WITH A SONG CALLED "THE LOVER WHO ROCKS YOU" BY A FRIEND OF MINE WHO PASSED AWAY, DERECK WHITAKER. HE WAS AN AFRICAN-AMERICAN WHO WAS VERY INTENSING. HE CAME FROM THE CHURCH. THE BACKGROUNDS HE CAME UP WITH WERE INCREDIBLE. I LEARNED A LOT FROM HIM.
HE KNEW I HAD A LITTLE TRAINING FROM THE CHURCH. WE GOT ALONG. THAT RECORD WENT TO NUMBER ONE. I HAD THIS RAPPER K-WISE. HE WAS CRAZY! WE USED TO DO PERFORMANCES TOGETHER. I TURNED THE LATIN FLAVOR INTO A CERTAIN LATIN HIP HOP MORE LIKE A HOUSE COPY DANCE FLAVOR AND THEN PUT A RAP VOCAL IN THERE, IT WENT NUMBER ONE, AND THAT LASTED FOR ANOTHER 2 YEARS. SO THAT'S 4 YEARS OF MY CAREER.
AFTER BREAKING NIGHT AND THE NEXT ALBUM, I DECIDED I NO LONGER WANTED TO BE ON THAT LABEL. I NO LONGER WANTED TO BE WITH JELLY BEAN FOR REASONS HE DIDN'T UNDERSTAND. HE DIDN'T UNDERSTAND WHAT I WAS ABOUT. HE KEPT SEEING ME ONLY AS WHAT HE WANTED TO INVENT. I FELT THERE WERE A LOT OF CONTRADICTIONS DIRECTED MY WAY. ALTHOUGH I WAS YOUNG, I STILL FELT I COULDN'T HAVE ANYTHING HOLD ME BACK. I ALSO WANTED MY HUSBAND TO BE A PART OF MY ALBUM NOT ONLY IS HE A GOOD DJ, BUT A GOOD PRODUCER. I BELIEVED IN HIM. I WANTED TO GIVE HIM THE OPPORTUNITY TO BE A PART OF ME AS WELL. THE LABEL DID NOT UNDERSTAND THAT. THEY DIDN'T UNDERSTAND MY BEING A LATINA, THEY WANTED ME TO BE WHITE, AND THAT'S NOT WHO I, I DON'T WANT TO BE THE NEXT MADONNA, I WANT TO BE ME.
You started this around fifteen, so, did you quit school?
I´LL TELL YOU. ONE GOES THROUGH A LOT. YOU CRY A LOT OF TEARS FILLED WITH BLOOD. I WENT TROUGH A LOT AS A TEENAGER AT HOME. IT COULD HAVE REALLY BROUGHT ME DOWN. I COULD HAVE REALLY LOST MYSELF, BUT, I ALWAYS HAD A STRONG SPIRIT AND I BELIEVE WHEN THE CHIPS ARE DOWN, YOU'VE GOT TO LOOK TOWARD GOD. YOU'VE GOT TO BELIEVE THINGS ARE GOING TO GET BETTER. WHEN I WAS GETTING READY TO GRADUATE THINGS STARTED TO HAPPEN. WE GOT EVICTED, NOT BECAUSE WE COULDN'T PAY THE RENT, BUT BECAUSE THE OWNER WANTED TO RENT TO SOMEONE ELSE. WE COULDN'T FIND AN APARTMENT TO MOVE INTO.
MY MOTHER WAS LIVING IN MY AUNT'S HOUSE, AND MY SISTER WAS LIVING WITH HER BOYFRIEND. AND ME I HAD TO GO STAY IN MY AUNT'S HOUSE. I FELT LIKE I WAS A SLAVE. I WAS GOING TO SLEEP AT ONE OR TWO IN THE MORNING BECAUSE I HAD TO CLEAN AND WASH LAUNDRY AND STUFF. I STARTED TO FAIL IN SCHOOL I COULDN'T CONCENTRATE ON SCHOOL. I FELT LIKE I DIDN'T BELONG. I STARTED TO DRESS WEIRD. I SHAVED MY HEAD. I HAD A MOHAWK. I’D GO TO SCHOOL LOOKING LIKE A PUNK ROCKER. I HAD A BELT MADE OUT OF BULLETS. I FELT LIKE AN OUTCAST. THE TEACHES DIDN’T LIKE ME. THERE WAS A LOT OF STUFF HAPPENING. I STARTED LOOKING INTO MUSIC AND I SAID I WASN'T GOING TO GO BACK TO SCHOOL. I KNOW I COULD FINISH SCHOOL, AND ALTHOUGH I CONSIDER MYSELF A STRONG WOMAN, I WASN’T STRONG ENOUGH TO FINISH I REGRET IT, BUT.........
But sometimes you have to do what you have to do. And after you left Jellybean, you went and worked with your husband, right?
TO BE CONTINUED