d help complete the projects after picking tricks of the trade, i decid to break off into mown business, because i personally love having creative control and a ose relationship with thelients from start to finish. i set up my office inhe sun room of my apartment. company's name is sharpcut medi it offers web design and consting services to a lot of small busess clients. thoffice furniture cent is the most trafficked, folled up by bgi interrs. evything should be, in my es, colorful a stand out -- vibrant, b not gaudy and obnoxis. right now, i'in a building process -- building my clientele, building my relationships with local businessmen and tho progress, my prices can progre. no problem, you ow where to find me. faison: whiltim enjoys the freed of being his own boss and the poteial for a good incom he's found tt getting new busine

is a job a in itself. bouchard: one of theownsides to being selemployed are that workfl is not always consient. i spend about 20% of mweek searching out new bs. faison: many otim's job leads come from friends and colleagues, and he is ofn able to return the vor by partnering withhem on projects. man: what i do is marketing design, illustrati, brochures, smallusinesses who need logos- whatever businescomes my way, prettyuch. i mean, there a limit on howany design conpts that i can actually pt on there? no, as long -- bohard: to have someone else to collaborate with, likmike, is a great resource to have, and it oers the clients moreptions, as well. faison: another thg to consider when runni ur own business is h much it will cost to operate on a day-to-day basi you can't make money without spending money. so a lot of the thin, like copy paper, pens cost you mey,

anyou have to take that into consideration. some of the more cosy things of running a busess are making sure that youave the latest technogies and the latest programs. you do get some tax eaks, like deductionfor equipment, mileage, bas necessities, that you need to perform your business tasks on a dly basis. faison: while you can claim tax deductions for your business expenses, you also have to keep caful records for the s. the governnt expects you to pay youtaxes as you earn your income. if you work r a company, your taxes are usually witeld from your payche. sa thing with social security and medicare -- that item called "fica" on your pay stub. and ifou have a medical pl at work, your portion of e premium is also withhe. but if youe self-employed, like tim you get to eoy the freedom to makyour own hours

and be your own boss. but when y get paid for your wk, there's ually nothing withheld. you ha to take care of allhat yourself. bouchard: a t of people think yoget a check for $1,000, and you carun to the mall and y whatever you want. but a lot of that money shoulde saved for taxes, fohealth insurance, fobusiness costs. if you don't prepare yourself f that, you might owe a few thousand dollars at the endf the year, and that's a big expense to pull out of nowhere. it's a pay-as-you- tax system -- aning, the government was their money as you earn yo money. if you have not paid eugh into the tax sysm based on your inme, you are penalized for that the irs does not pla theyill come after you, and the penaies for not paying are sff. bouchard: i ve a 30% rule. i at leastake sure i take 30% to 35 and savehat specifically for xes.

i'd take anywhere from 15% to 20% to save towards busine expenses and health surance. faison: while rochelle james gets heah insurance from herob, if youe self-employed like tim, you have to do it yourse. lieber: if you're your own, if you don't he empler-provided health insurce, one thing you n do for yourself is buy some kind of policy that takes care of you in aatastrophe. so you're stuck with the first $1,000 in bills, or the first $5,000 inills. those won't ruin you, probly. bliner: if you don't have a job that gives you benits, see if there's some ganization you can jo. if you're an actor -- maybe an actors' organizatn, a writer -- a writers' gld. faon: tim joined the buffalo niagara partrship -- a kind of regionalhamber of commerce that helps out compaes and self-employed folks li him with things like health insurance and me. what health surance plan? back to th. the community blue. um, i ve a low enough deduible that it's pretty much peect for what i'm doi.

have you heardbout the gher deductible heal savings account plans? no. what that doess it lowers your preum by the amount, generay, of the higher deduible. small employers, freelanrs, are a big rt of our membership, because we offer them great optis in their health car for instance. we offer tm great opportunities toetwork with other companies, to connect with joopportunities, and to learnbout doing business. faison: most sf-employed people can use regular, solid financial advice. yeah. yeah tim is lucky, because he get personal assistance. from his dad. donald bouard is a financial plner. saw how much you'reaving r your health, and your dental, we'vwe've pa yourstimated taxes. but you really should be saving 10% your income for retiment. ,i'm9 years old -- i haven't thought about retirement y.. i havehe 401(k) there, which is invested in various stock d i also have my own persal savings account. in terms of retiment,

now i'm putting moneto the side, you know, evy check. no matte if it's $20 or $15 - i'm just making sure i'm putng something into my vings. you know wha i haven't really thght about retiring. i'm 22 yearsld. it's something that shoulde on people's minds. you work for someone- they have a pensio and a 401(k) plan. t when you're self-emplod, you have to produce your own pension. no one's giving it to u. faison: 's right. no one is giving it to you whenou're in business for yourlf. but if you're itchg to do your own thi, research your optis carefully. give it a tr tim: for anyone that'shinking about freelaing, the number-one thing i will you be able to suprt yoursel if you don't have an idea of wt your business plan , you have nothing to bui on. u need the cornerston-- fromhere, you can build e rest of the busines and hithe ground running. whether you're self-empled or youe working for somebody ee, everybody uld take a page from tim book.

well need to get a good handle on our finances fore it's too late. remember that car ofine i told you about? well, i got my money right just in time to keep the nk from taking it bac i pt it for years, and i ran thatad boy into the ground. i learned fr my mistakes, and you ca too. even better -- get gd advice when you're starng out. just be real wh yourself. [ laughs ] don't ink that you have to, like, ve like people in the videos or on television, or en the people next dooto you. lwin: you know, someone's got a new iphone or a ne new laptop -- whenou see them, you're like, "well, why can't i have th? likethat's really cool. want that." sotimes, you know, you got to look at your own situaon, and sa "well, maybe, you know, if i save up a little bit, ou know, work a little harde then i can havthat a little later." you should ask yoursel-- is thia need or is this a wt? and then weigh it ainst your financialuture. faison: those supposed needs have led us deeper intdebt than any generation befores.

it's time for us take contl of our financial le and live within our mean simmons: no matter how rich you are you need to be able afford your lifesty. cormick: don't spend any mon that you do not have you never know what's going to happen you could get fire from your job tomorr. and what are you going tdo? you're gng to be in debt. that'shat going to happen. lieber: the last thing youant is a big pile of credit card debt weighing you dowwhen you're just staing off in life. it's best to save fothings before you buy them. but i've got nproblem with buying them once you've saved. fais: making a habit of saving is one of the most importa things we can do -- not only for t good times, but r the times when we're o of work, or sick, or finally rdy to retire. you cat just spend your money d hope, "gee, at thend of the month, maybe i'll have something left over to save." the trutis, saving sma amounts every day, every wee every month, can ally add up, and it's very empowering saving is the most important thing we do. it's hard to save, becae you think you need

to live check toheck. number o -- stay away fromredit cards. definitely lve the credit card at hom you have to do your eds first, your wanecond, and that's theay life goes. never try to liv above your means. u don't have to have all these really ne things to be happy. spd your money wisely, i gus, wod be the best advice could give. ngletary: we're going to have times of plenty antimes of famine, and ur role w is to set yourselfp, that you can ride, noatter what happens. you get on the right path no i tell y, at the end of that ad, you'll be so prosperous. we've given u a lot to think abo, 'causehere's a lot to take re of, but it's reay all about taking ce of yourself. nobody else can make financially secure- not your parents, not your boss, not the government. ttom line is, you need to manage your money, or your money's going to manage you. for more informati on everything you've heard about in thisour, check out our weite. and, yes, there will be a st. it's called, "li."

and other pbs prrams, our lvisit pbs.g.ney," to order, visit shoppbs.g is available on dvd. or call us at 1-800-ay-pbs. i owe money --ots of money. [ laughs ] mostf the time, i'm learning from my daughter. she's more fgal than me. she's only 1 just 'cause you have a credit card does n mean you have money. [ ughs ] manang money is not what i'm od at. i'm very good at spendg money. [ laughs ] i live like a monk i don't really indulge in much. it's not reay sexy to put away moy, to save, d i think that it's really responsible, though. i'm trying be a little unsexy. you know, i mean, i'm not a rockefeller, but i don't have y financial problems,

because i don't have any credit problems. save it. save save it. save. save it. man: 1, 2, 3. save it. [ laughter

>> welcome to "voces," a journey to the heart and soul of latino culture. i'm ward jameolmos. you know there's something ecial going on when one man can captivate auences aroundhe world just by playing the timbales, but th

again, tito puen didn't just play the timbas. his flying drumsticks told the world thos timbales were an extsion of s passion. in today's progra we get to see what makes tito puentnot just a music virtuoso butlso the crownekind of latin music. bandleader, percsionist, composer, arnger--the legendary titouente fused latin rhyts with progressive zz, brought salsa to the international stage, and was reved for his work with the mambo. he was honored many, but what made ti puente smile was beg loved by his family, adored by s fans, and remembered by his ighbors in thplace where it all started, new york's spanh harlem. latino public broadcasng is proud present on "voces" "tito puente: the king of lan >>ajor funng "voces" was provided by... additional funng was provided by... additional funding was pvided

promotional supporfor voces is provided by hisnic counications network, a leadg educational media company r u.s. hispanics. >> ha grabado made 120 discos. esta noche, el suenoel maestro,ito puente y la orquesta sinfonica de puer rico. [applause] >>irst time i heard tito, he knockeon my door. and he came to theouse and he went--[imitating drum] [applause] and i said, who that? d i opened the door, it was him.

>> tito's presen inspired us all, you know. >> stayingrue to yourself ishe most important thing anrtist can do. and that' what he's promotedy his pearances and by his recordings throughouthe years. and i think that th's--that's what makes him to puente. >> tito puente's life and times ancareer are a metaphor for the latin experience in e ited states. >> everything he wrotenstills the world to dce. anthe essence of the man is that inse of him, as a timbalisand as a composer anas an arranger, is a dancer.

>> to this day, i belie i'm my father's biggest friend. i really and tly love my faer's music. >> he is in my community giant. he ishat we've always called him, "el rey." he's a king >> you can seey looking at him th he's entirely committedo, what they call in spanish, una entrega total.

there were a lot of people who wanted to y tribute to ti when he passed away. and ti was always, like, the king of the little man in oer words, tito felt more comftable en el barrio, in the south bronx, and he ner forgot his roots. rowd chanting tito! tito!] >>y dad was out there. he's a man of the seets, so to speak. he liked to b among the people--playg and workg. in his mind, that was paying your dues. >> dad always us to love being on stage. we'd go into these little, small clubs d there'll be a little piece or quartet performing and hwould just go up there and--and ju jam out withhem. i mean, de carga. i'm talkinabout, like, foinutes. >> i never forgot the reet. the mass of ople are on the reets, and they love a good, rhythmicype of music. >> on augu 20, 2000, the commity which tito puente called home hored him by renaming new yorcity's east

110th. street, to puente way. [peoplchanting tito! tito!] >> i knew myad was big. but i didn't know he was this big. and at really, what that point home was after he passed on. >> it s a very emotional day for many of his friends, an in particularly h family. >> it was an iredible experience. we were ableo visit the apartment that h lived in for many years. we were able to stand in h bedroom. iouldn't help but imagine him running down t hallways and dowthe steps into 110th stree and that's f always how he identied himsf, so it was incredible that we coulhave a small part in ging that back to him and havingis name emblazoned on the streets of the 5locks of 110tst. it was incredible to be parof that day, to stand therand watch them unveil a street name that meant smuch to him. whenever peoe would ask hiwhere he came from, he would say"110th street."

>> i wanna tnk from the mayor onown, giuliani who signed the bill a couple of wee ago, to congresan reed, his staff, and everybody se. on behalf of my fathe we thank you. >> theuente family and thousands of h fans celebrated the memory of this man who rerred to himself as simply a streetusician. with music, of course. el tito puente orquesta! >> vaya boricua! inging in spanish] >> this el barrio in new york city, home to millions of puerto ran immigrants and cultural cital of latin muc in the u.s. this is ere it all began. traditional rhythmsnd beats were tnsformed here by new experiences and a ique body of musiwas created. [singing in spanish]

>> east harlem, ast was called, it wasn't lled spanish harlem, it w east harl, was very italian, veryewish. d the original puerto rican settlers are immigrants fr puerto rsico, and my lks also, they came the mid 20's and theyettled into that part of spish har--east harlem from lexington avenue westwd

towards central parkr towas 5th avenue. and that became what they call colonia o elarrio. and that's where tito wasorn. >>ito's first contact, lik with abody else growing up in the year othe late 20's and 30's was the radio. [singingn spanish] >> music bomes very important during the depression, becau the record indusy is already-- is aeady a big industry. so peoplcan't probably afford to go to t clubs and all that things are very bad. buthey ll always have a couple of centavos, even thougrecords cost a dollar, en then, to have the records in the pty at home. >> tito was into mic, but he was much me hearing music om cuba. don't forget ca was op to us. so those who had radios, would get transmsions from cuba, we got sic from puerto rico. that's what your pants bought. the recos that your parents bought.

>> well, in myousehold, when i w a very young kid, all you hearwas trio records. a lot of trios--trio s juan-- whole loof trios. all of them, younow. but then, as years went by, and actuly i studied music, became more intohe instrumental part of the music. but always remembering those trios. they were beautiful, rantic, and rhythmic, too,t the time. >> well, t roots and the culture comes right from her anwe're here at the plaza san jose in old san juan a loof music came out of this area, naturally, d i was very fortunate, rough my parents, of courseto learn about thmusic, listening to all those trios and bomb and plenas whei was a young kid. >> ♪ ye dirigio a la plaza y alegresar a su casa

trato un padre... ♪ >> today the marketing term is "salsa." buin the 50's, they called "mambo." and, u it's definitely ro-cuban roots. >> tito says, "thenly salsa "that i kn comes out of "a bote, you know, because he music i'm playing is "the mic i've played since "i staed playing this music. and it's cun music." um, naturay when you play cun music and you're outsi of cuba--and of urse, tito puente is of puerto rica pares and born in new york-- the music takes other characterists, but the struggle is to keep it as, a as close to thatriginal thing that just--that you're ting to impartyou know, that original eling. and, uh, tito has always beetrue to that. >> wl, it's very important because the's a lot of cultures and rhythms, narally. you have the african culture

yohave brazilian culture, you have the caribbe culture. all the islands in the cabbean, all that. and culture of all kinds of muc and rhythms e very important for you to undstand the cuure of all kinds of music from different countries. and that's what makess exciting. itakes the music, particularly the music tt i play, exciting, lati popular music. >> he was veryroud of his heritage, very proud of wh he was, very proud of his sic, and made no bones about it >> but tito wavery open to the public. he w very...very humble person. >> tito puente has been friend of the cuban music forll his lifehe's part of us, too. tito is not only very, uh, prominent erto rican person, buhe is also like an honorary meer of the cuban community, you ow. >> all of the cool cats--edd paieri, you know, all the cats, they play thin, you

know. but tito hits things. >> the key to latin musi-what makes it special is the rhhm. and the rhyt section of his nd or any latin american ban or any band, for that tter, incles the percussion. within the latin rlm, that cludes congas, timbales, hierro or e cowbell, the bongo, a good piant, and a good bass player. and quite frankly, that's your y. those are your key men. if you have that rhythsection, you carry with latin. they call me street musicia i used to be callethat years ag because of the percussion that i play. your heart has rhym. everything h rhythm. all life. everything has rthm in life. and percussn is the basic thing for our musi that's why peop love our latin ameran rhythms, because they have that wonderful percussioneeling where they feel like dancinand enjoying themselves and be happy

all the time. >> you've heardeople say it's very infectious. well, it . wh you hear those rhythms ayed correctly, as my father would say, "en clave, ther 2-3 "or 3-2, it's tta be done right.that's the key to tin music. >> do you understandhat the metronomis in american music? sur. the thing that ticks off, right? well, th's what "clave" isn latin music. >> clave is 2 little mningless litt sticks that everyone that don't know about cla is that 1-2-3-5. 1-2-4-5. >> most great lan musicians are dancerin their heart. >> you feel it. yodon't have to be a sician. the clave is something that y feel. >> the clave is a ttern that you have to foow to arrange tin music. and it's a 2-r figure. [snapping fiers] and that'the guy to do an arrangement and torite songs has got to stay in cve.

>>t's our metronome. >> if you don't have clave and the cla's wrong, you better die and be born agai or don't get involved with music cause i c't even watch anybody pla out of clave, because i'll thw me off, see? >> tito was child prodigy of spanisharlem already at the age of 13. the thing that ally influeed him was a tune called "dolor cobarde" played by casi de la playa, miguelito valdez. and that blehis mind. this was in 1937-38. the puerto rics at that time, yoeither were--everybody wanted to len how piano lessons. everybody wante-if you were a girl,ou had to do ballet lessonstito was gifted in that nse. him and his sister annie we, like, irene and george castle. they waed to be fred astaire/gingerogers typef thing. and tito was much more interested in music.

he would tell metories that he was banging under the windowsills alady. i ha pictures of tito playinwhen he was 16 with ramon oliveroand they had never seen drummer play drums the wahe did. there's a possibility he did play yoger, but he hado be home. there was a curfew. he was still child. and tito used toell a story thathey wod tie hi s leg to e m,ba drue because he was d short. and he was tired. sometimes he would fall asle. he was a young whippersnapr. what are you gna do, you know? >> one of the first bandhe rked with was noro morales' nd. and then, uh, he also worked with chito's band, as aercussionist. and i think what happened wa-he was a percussionist on the nework scene, uh, loong to do the dies, as always. >>hat's where tito brought those timbales up the front, which becameistory. most of the drummers were playg in the back. and i don't know, for me fluke, they told

tito, "come up to the ont," becae tito washe show. and it'been that way ever since. i hen't seen a timbalero my lifetime playing in the back. tito started mething new. they had drafted the drummer of the machito band in 11, and tito tk over his part. and natuo llity,got drafted.it [explosion] he served on the uss san in world war ii. titoas funny about certain things. he never wted to talk about the war. >> basicallywhat happened with tito in the navy, he was learningow to play sax, met arrgers from glen

mille's band, from charlie spivak, martshore, different arrangerthat were all serving inhe war. it taught tito h to arrange. >> he comes ho and uses the g.i. bl and goes to juilliard and learns composition and arrangements in juliard. >> from wh i understand, he goes back to t machito band. under thlaw, you're guaraeed a job. theovernment says you're guaranteed yo same job. buit turns out that uba nieto had 6 kids, and maito tells m, "tito, you don't haveo "kids. this guy has 6 kids. i can't fire him so he went on tother things. already tito w arranging. and from what i understa, spanish rlem and the latin music, the word got out at ti, you wanted an arranger, this was the guy. >> i know he arranged and ayed with pupi campos and wit uh, m with jose curbelo so. and then nt on, you know, broke out a did his own thing. >> and in 1948, titotarted his own little conjunto. and htook

half of pi campo's men with him. jimmy frisaura, joe loc and all these guys. >> tito puentes a musical director, but he's a rcussionist and he's bo. and at that timethere are few percussionists who have sical directors. >> tre are very few drummers that canake musical solos, and he could do that with st 2 drums. my favorite pces of sic, his--the pieces he recorded in the late 40's an rly 50's. they recordedive. i love listeningo him, espeally when he was in his 20'and 30's and he was jus so fast. it rely captured his spirit and hisssence. >> nember 23, 1949, tito puente recorded his rst internatnal major hit, which was called "ran-kan-n." it's a beautiful tune. >> thear is over. japan surrenred. americans all over cebrate.

>>his is the ending of the war. everybody's coming home. it's happy time. ahit's a happy timebecause everybody has worked for the w, they made the money on the side, and made money and th're dying to spend it and have aood time. and th's just what it wa the sunday that it opened, we opened up with machit ha ha. can youetnyr? bette >> machito and thefro-cubans werehe first band, like, to really go to the paadium and bring the uptown beaand ncing style downtown to broadway. >> they hato close off 53rd, 54th streeon broadway and 7th avue because of the line doubledround the block of all tse people. this place ery wednesday, friday, saturday, and sunday

the palladium beca the mecca of latino music. >> lots of great dancing the dancing wajust as exciting as the music. used to love to just, uh, memorize my rts so i could just watch the dance. oh, cuban pete, yeah. mr. lucelins's.eah. great dancer. cuban pete and millie. the palladium was swing tim >> i mea major stars used to go thereand it was the place toe to be seen at. >> wednesd night was, like, broadway show businesseople, people that were appeari in pls or musicals on broadway. and then fridanights would get a lot of, uh, brklyn, bronx, italian-aricans, uh, jewish-arican girls and boys dancing, and they inrmingled with the latinos and the bcks.

and e whole thing was the dancing. dancing put everybo together. >> my mom d dad met at the lladium in the late 50' tito was somody that they listed to and is part of their kind of, le, uh, um, romantic courtship phase in their les. >> my parents couldn'stand that music. i mean, they jt codn't stand it. you know it was, wh happened to the lelolai? what happened t un vals? you know, what e you dancing that for >> palladium n was the home. we couldome from spanish harlem, mostly spanish harle and go see our peoplplay. >> it wathe first venue where the sons of immigrants camto dance. and ofttimes, they were not dancing the music of eir fathers. >> it s hard to get in there,

and you had to earn your w in tre. >> to pl at the palladiium, you hato be good. >> machito, tito puee, my father re the 3 top bands during the 50's and 's. and was a tremendous rivalry between the of them. it was a positive kind of rivalry. it wasn't--iwasn't any animosity there. >> machito played someg... and everybody's sweating, they' say,wow. that was some set." en puente comes on, you forget what machito played. d then after machito finishe then tito roiguez come on, you foot the both of them played. and there was a nstant, constant thing. >> machito was areat sonero fromuba realist, so he was really into traditnal cuban music. the tradion that was established by the macto orchesa is so strong, many of the young players really admire her. >> well, the fst time that i met machito, i must have bn 10 or 11 years old. ry, ry

young age. he was myentor. machito and mario baa, of course. they e the people responble for latin jazz. >> you learned by watcng them, how become a leader. and he h that thing, that aura, on t stage, which we all copied from him. >> i was involved the palladium days, of cours we we the 3 big ones there. it was machito, tito rodriez orchestra, and myself. of coursmachito was our headliner, the man resnsible for our getting ere at the palladium. and wspent about 13 or 14 years pying the pallium together. >> machito would be one side and puente would be on t other side othe same stage. and they would answer each otr. it was called "mambo adonis." when macho die he changed it, and called it "machito forer." that means a lot to him. >> i think a lot abo him.

everything that i do, he's on my mind all the time. and i would likeo continue his tradion of the latin jazz movement. >> tito, machito, ti rodriguez, they played the pallium. and after the gig was over, they'd do rehearsals. mario bauza made sure ey were parof the machito orchestra.hey wanted to be e best that they were. >> the gatest rivalry that ever was was the 2 tit. whenev the 2 of them played opposite each other, ty were so hard to outdo each othe one number--ifhey failed in one mber, they would flip. but each number, they drew y out on the floor to nce bolerosea lo que sea. rock, loue sea. they drew you out of the floor. >> that's what was beaiful about that. the rivalry tween tito rodrigu and tito puente.

eachay they sounded better. >> basically, you know, a t has en said that, um, that tito and my dawere bad valries and everything. ana lot of it was, i think was fabricated through the promoters, y know, the promots caused a lot of-- a lot of tsion between the 2, but my dad had the utmt respect fotito puente. uh, as a musician and a person. i mean, they were friends. >> tito was the most excing because of theimbales. there was nobo that could-- to this y, there are very few guys that can pl like tito. just to sehim get on the stage, you can s, like, he lights up a place.

it was very intimidating. i'd been a musician as a kid for years, and i was a professional drummer aa kid, but it wasery intimidating to meet a giant and actually to be expected in a w weeks to get on scen with him. if you look the great latin craze today, the lin craze in dancend jazz, the origins go back to the gene po, to the puente. >> he was the founng father of what we allo. he was the face, he was a ne, he was the onwho took all the hits in the beginni. >> the mus really hasn't changed althat much. i mean, it has a little bi but the roots of the african rhythms are there. um, i thinkhat th orchestras were very much ahead of their time sically. mean, if you listen to the

music that they both rorded, it just, uh...it wittood the test of time. >> tito puenteuntil the day he died, played mamb. th was it. he never stopped playing the sic that he played from the 40's. ever. >> what azy nights they were in them days. jesus.alk about fudays. there'll never be days like that. >> t place in nice is jammed. therare 3,500 seats, there's 4,000 glo people with about 3 nirians. tito puente is the only rson featured othis night. they know him, ty love him. he is there, he n't wait to

t on. they play. the people immediately-hese are people you lookt, you know, sort of like, en you think of french people, youhink, you know...likthat. uh, when you think of e english, younow... when you thinkf the germans, you ink...you know. he busted wide open. bam baa-bam! whatever notes you wannput with that. and th're not sitting anymore now, the fniest thing about it is they don'really know the danc you know, they don't even know elbow,ou know. they jump. ah, they'reust jumping. just mping and, you know, the women are just slinging hair,ou know, just slinging hair. and thmen are jumping. so, iean, it hits the ne. >> you know, i'll s him, like, 6 nths will pass and--and, you know, i'llee him and say,

so where yo've been? where... and h'll talk about the tours in jan, in europe, and always with some ki of, like, a humble kind of self-facing humor until you talk tsome of the band mbers and they go, "man, pan was, like, off "the hook. people all er the place." >> you know, when you' a kid, when you go to sool, you have geography books. you stu geography, see a these places--indonesia, you s china, you s japan. you know, you're 8 or 9 yes old in the second grade and youay, "wow, look at all the places." well, we went to those places. >> tito di't know how popular he was. you knowhe was shocke we were shocked at theurnouts, at the responseyou know, that he got, at the knowledge peoe had of h, of guys in his band. >> even when thenglo population woun't accept the hispanic populatioin new yorktito's music was, like, a universal translat.

>>i! this is elmo's friend tito puente. yeah, yea yeah. and this is the instrume that tito plays. right her it's called a... what'it called again? >> tse are timbales, elmo. and we also call them "tbalon. >> o yeah! it's called a-- >> timbalo timbalon. and don't worr elmo, i'm going to py a song now, and by the time i'm rough, i have the feeling you'll nev forget what it'called again. >> good. ha ha. >> he didn'know that he was a part othe fabric of americana. tito puente is a household namen the united states and not just with latinos, but he osses over. and i'll give you an exale of that. took him to the white house, and we were in a reception with president clinton, and when prident inton came over to tito, tito stuck his hand t and said, y name is tito puente." and president inton started

laughi. he looked at him and says"tito, i know who you are." >> puenttakes the streets of new york and tas to the barrs of puerto rico and he puts it into music, t he brings it to a higr level. >> his music w something that you could listen to if y came from belgium or englanor africa, especiallyrom africa, the caribbea you heard that music and it was somethi, hey, i can relatto this. you don't get to be ti puente witho making people feel. >> in 1977, you 2 got togeth on the samstage. not at the same time, but othe same stage. what wathat evening like? >> well, that eveninexposed music to a lotf people, like, ntana's type of music isatin rock. and i played the sam tune, which is "oye, co va" in our o latin style. and i emed to gain his audience a his audience liked

the way did it, so the renditiois good because i'm the composer away. >> ♪ oye, co va mi ritmo bueno pa' gozar mulata... ♪ >> with carlos stana redoing his tunedad got into a whole new wave of ro music. >> ♪ mulata >> tito did the ng in 1962-63. anlbum calle"el rey bravo." th was the original version. it didn't ke any noise. 10 years later, 1972carlos santana records . but it was a big hitor santana. tito minded the beginning becauspeople would say, "play thatantana tun" and tito said, "that's not santana's. that's tune." until he startedetting these royalty chks. >> damn! yeah. i is a composenow. [audience laughs] since that day...

>> yes? >> all we played.. >> yeah? >> is santanmusic. [audiee laughs] >> ♪ oye, como va... >> i think i feel him wh i'm on sge now. i feel--i feel el espitu de tito puente with me. i love hi and i miss him veryuch. >> ♪ ...mi ritmo bueno pa' gozar... ♪ >> he wod have been veryvery proud to see his childn not only perform with his orchtra, but he would have be proud because he saw the comnity as a whole come tother. >> i grew up ithe barrio. i came out of an orphanage t live on 111th stet between

parknd lexington. tito puente tutod me. that's ght, 'cause i didn' know anything. tito taught me things. "pete, you can get it. "work at it. "pete, you can get it. "work at it. you needo be on clave, pete." my, man. m man-- "pete, you can get it. "y're not gon get it ovnight." and i hit the cle correctly that night, and i thought, i got ! and he knew. it's about timeomebody taught our young ones para ritmo, ok? notice what i just did, sos? i know where my music is you coming to me? that's ght. they should know it also. ..xactly what i want. >> tito always felt that dce was an integral pa of the culture.

so he established a sclarship fund to support young ncers and musicians. the side reet kids are he today thanks to tito. i'm a dancer and i lov daing. and dancing goes with music the same. ifou don't havehe dancing, you don't ha the music.f you don't have the music, you don't have the dancing. >> why shouldn't ey know their own music? [clapping] master that anit leads to everything. >> dicen♪ oye, como va mi ritmo... ♪ >> not only in the mic, dance, too. >> ♪ mulata oy como va mi ritmo bueno pa' gozar mulata ♪ >> i emulated hi and i studd all of his cuts, the parts. anythg that was him, i played. >> to be compared him is an honor, t in some ways unfa. he's somebody who

dedicatehis life, and he was the best at what he did. my grandfather alws gave us a piecof advice--he gave us pieces of advice that i' alwa kept with me. number one-- doesn't really mean athing unless you're neous. and 2--always be ready. >> iwas something to see his granddaughter perform. >>here is absolutely no anticipation of playg that day. iwas an unexpected surprise. i--i had neverlayed with my grandfather's nd and never really expected to. >> i can rember him spending ti with me, going to, like, a howardohnson's on brooklyn blvd. to take me for i cream and stuff, and it waalways a cootion. it was never peace. uh, veryarely did we really have any quietime. and that time was probably en we were

at home with m or with grandma celi my dad's mom. well, would sit down and talk anplay the piano and talk out music and talk about school. i hed his recordings. i was a ung boy, and i put it oni-fi, o la vitrola, as it was known in those days. and i--i couldn't undetand at first, that's actuly my father on that rording. >> know the exact moment i realized h famous he was. it was at menudo concert. it was mfather, my mother, and i, andy brother. d my dad brought us backstag you know, met menudo and erything. and i was a big menudoan. and when we went into the audience before the show started, people wercoming up to dad, like, ", my god." you know, waing autographs, st hysteria was coming out in the audience for father. and we needed a bodyard to me clear everyone away and actually stand with through the show. and i wathere excited about menu. i'm thinking, whis everybody bothering him? and i staed realizing, oh, my go people really, like--h's really famo. because here are menudo

and i'm thking they're world famous at thmoment. and i'm alizing that my father seems to be gger than they are. >> i never saw him ithat light. so i kind of oked at him as dad was dad. and was, why are these peoplewooning over this man?a ha. because he w almost like a fathero all latinos and genetions--young and old. ink about, you know, the mid 198's and in you're in middlschool, having your grandfather star on "the cby show." or being in collegen the early 90's and havi your grandfather be auspect on "the simpsons" inwho shot mr. burns?" or watchinhim play at the closing ceremonies of the 1996 olympics. >> today's highs in ctral park made it up to 66 degrees. th's about 10 degrees bel normal for this timef year. anour overnight low this morning was 54 degrees. i keptt quiet that i was his daughter. i mean, peop knew, oreople would find out or hear the name and try to makehe connection, but i never blicly announcecoming here to nbc that i was his daughter. but now people know. 's ok,

because every y someone stops me on the street. i me, every singleay someone stops me on the street tell me a story about how they met my d somewhere or thesaw him or ey went, you know, they went on their firstate with their wife or husban they saw my dad in concert. thin like that. d i'm happy because it mes me feel ke i know more about him. the music is ther the love is still there,he admirationit's, like, almost as if he's still around, which i guess he is in a way, through his music. at let that's the y i feel about it. >> my heart has always beein puerto rico. my parents are from here san german, guanadillas. but my family still live in pon. and i've been coming here a lot. >> vamos a estar ahi acompanandolo. >> oh, gracias, gracias, ami. gracs. >> que tga buena tarde. >> graci. that's nice.

i feel theeautiful vibrations of the people re towards me, you know? it's home. it's really famil it toues me, really, and i'm very proud. >> ha ha ha! ay, ay, ay! [horn honking] >> buenas. [horn honking] >>ito, tito, tito! titotito, tito! [children chring] >> yo're the guy. >> i'm the guy. yeah! >> i'm the guy. >> tit una para mi, por favor. >> well, this particularrip to prto rico is the first time that at least i am performg

th the puerto rico symphony chestra. [rehrsing] >> pero ellos tien? >> i don't know if she has the part. i haveo ask her. >> si noo mandamos a copiar ahora mismo. 7 sillas! the way i have it, i havmy band in front of the symphon orchestra. and that causes for lot of excitent for the symphony orchestra because they' never had this type of experienc before. neither have i. haa! >> all right. good. good. all right, so thfirst time we plad "c" estaba bien. "f1, then you play your "g,"

then everything se should be ok. everything elsshould be ok. i've been coached on ts 'cause m new with ts. i'a street musician. i play for the ople that dance, i do concert i do jazz festivals, i do a loof universities a all that, t i never did symphonic pop. >> la banda es la sionica. >> sinfoca. eso llego. >> e es la sinfonica. >>i, y... no, no. >> our mus was always considered likstreet music. it never had no reect at a higher level, musicay. but it's gettg there thanks to the youngalent that is cong out of puerto rico and the ited states. good musicians, go, excellent dancers, vocists, arrangers, instrumentalists. it's all getting together now. and that's very impornt. well, let'see how it sounds withhe full band. i feel, like, the sic i do in thetreet, by putting a symphonic bel, gives it

a higher rognition around the world. and that's portant for us. >> after "noche de rda..." is that possible? because it will be a 5-segme. insteaof you going back and forth, let's pl "noche de ronda," "camnita de cristal," and th we're done with that. >> and i rresent, more or less, around the world, wherever we rform, i represent the puerto rican flag. because when they see me, they look at me-hey know i come frothe united states, but they look at me as aatino, naturally. " where are you from?"well, i ain't from rica, baby." "where are you om? brazil?" no. "argentina?" "no." "colombia?" "no." you knowhat i mean? "country. mexico?" "no." "puerto rico?" "yeah!" >> he always is, in a jong kind of way, almost self-effacing d humble, like, with humor. he always does it th humor. >> i wanna get a chair fro the university, so i asked h, well, where's the tabl baby? don't know about those cirs.