Flaco Navaja
where are you from/where are you now?
I was born and raised in The Bronx NY. Currently living in SoCal with my wife and two young daughters.
In my personal opinion, you are the textbook definition of an authentic Nuyorican, of the deepest dye. In your bio, it states 'If Héctor Lavoe boxed Rubén Blades and KRS-1 was the referee', they'd get you. This is astoundingly accurate. For the readers who can't quite grasp what this means, can you mentally paint for them an image of a perfect day for Flaco in the Bronx? What would that look/sound/smell/feel like?
Summertime in the bx
No shade provided by palm trees in my town
Housing projects block the sun
As the summer burns louder and brighter than a tenement burning on 149st
Everywhere you go you hear the sounds of the summer
Kids playing
Boomboxes blasting
And the sound of my kids laughing
That’s a perfect Bronx day for me
Spoken word comes naturally to you. From hosting the open mic night at the Nuyorican Poet Cafe to your appearances on the Tony Award-winning HBO series, DEF JAM POETRY, you provided a strong representation of Boricuas, and your poems have etched themselves in the minds of young poets, rhymers, and disciples of the Nuyorican diaspora. Poems like 'Revolution', 'Dimple', 'Boriquas Distinguidos' with co-poet Lemon Andersen, and the painfully insightful, 'Kids Don't Play' gave a multifaceted view into the lyrical perspectives of young Flaco. How did you start with the series: did you audition for the spot? Were you hand-picked for the cast? And when the series toured, were your poems received positively on the road?
I first appeared on Def Poetry in season 3 - if my memory serves me right. My brother Lemon Andersen was an original cast member and was a big advocate for me. I eventually received the call to be on the show. When the tour began there was an opening for me. It was a huge blessing. When I began writing and performing, back in 1997, I never imagined traveling the world sharing my art. This was 2003 0r 2004. Similar to today, there was a politically-charged atmosphere. Bush was about to be “re-elected”. It was beautiful to see a group of diverse poets speaking their truth. In the states, I feel people felt heard and that their stories were being told. In Europe and Australia and New Zealand, people felt the freedom to be like, “Yea your country is fucked up!” Ha!
The spotlight followed you as you splashed and dove into the waters of film & television. The roles started to come in: On The Outs. The Girl in the Park. Pride & Glory. Fighting. Gun Hill Road. These are just a few where filmgoers got to see you on the silver screen. Of those early films, which left you with lasting impressions (positive or negative)? Were there any memorable moments working alongside other screen talents like Edward Norton, Jon Voight, Terrence Howard, Luís Guzman, and Esaí Morales?
I, kind of, fell into a life in the arts. I never received “formal training”. So, each job taught me so much. Edward Norton treated me well. The scene we were in together was going to be cut significantly because of time and budget. When we arrived on set he made sure most of my lines were put back. That was cool. Getting the opportunity to work with people I grew up seeing is such an amazing feeling. But what’s more amazing is when you are treated like a peer. I’m blessed to call Luis Guzman my friend and brother!
Of course, being on the silver screen and climbing the Hollywood ranks of stardom are two different journeys altogether. Recently, there's been (again) a public outcry from Latinx film professionals chastising film studios & casting agencies for (again) under-representing Latinx voices and shuffling actors into the 'underclass' roles, regurgitating the narrative of Latinxs predominantly as gang members, criminals, addicts, prostitutes, maids, etc. Knowing that various key decisions must be made in order to change the victimization narrative, which roles are the most damaging for the culture: violent roles or servitude-based roles?
I think they are equally damaging. I am, however, optimistic. I see a change coming. We need to take control of the narrative. In order to do that, we need to support and develop writers and directors, and producers. I think we get caught up in identity tales and forget to just tell a good story. I want to see romcoms (romantic comedies) starring Latinx Actors. I love that Vampires vs the Bronx was made!
Like a freestyle MC, your delivery & flow stays in rhythm with your energy. That energy extends your artistry from the dome, to the script, in tasteful selection of words...but also in lyrics & melody. In salsa music terms, this is the blueprint of a sonero. Never shying away from a bright spot, a mic, and a stage, you embraced the totality of your role(s) and put it all together in your one-man theatre show, 'Evolution of a Sonero'. I was lucky to see it at the esteemed Pregones Theater in midtown Manhattan. I saw the various elements of your personality stitched together in seamless chapters of storytelling; the audience witnessed & experienced a full range of emotions via the comedic moments, the familial bondings, the neighborhood ties, the societal pressures, the stresses of fatherhood...all of these stories found their way onto the stage in one complete show. Of course, you had a steady helping hand from the incredible director, Jorge B. Merced. What was it like to work with him, and what new thing did you learn about yourself in the process?
I first worked with Jorge on stage. We were both in a show called El Apagón (the Blackout), which is a piece that has been a part of Pregones’ repertoire for 35 years. Jorge had been focused on directing and hadn’t been on stage for nearly 10 years. At our first rehearsal, it was like we had done this show 1,000 times. Since that moment our relationship and my relationship with Pregones was cemented. When I started to explore the idea of creating a solo show, he was the first person I thought of. He immediately gave me a slot in the theater’s season to do a workshop production. I hadn’t written the show yet!!! I had the first 15 minutes of the show in February. The date of the sharing was in May. My two year old was born in March. Needless to say, I wasn’t thinking about writing. April came and I started to freak out! I did everything in my power to get out of doing the show. Jorge talked me off the ledge. He said it can be done and suggested I come to the theater every day for an hour or two to write. My wife Dilcia told me the same thing. I wrote the rest of the show in two weeks. When it was all said and done, I come to find out that they were conspiring behind my back to get me to do this. That is LOVE!
You have returned to the recording studio, and just released a new single, "Cántale a La Vida". It is filled with purity, harkening an era of uplifting, feel-good salsa buena that can be associated with El Gran Combo de Puerto Rico, Spanish Harlem Orchestra, and Ruben Blades. (It even got a major co-sign from the Panamanian maestro himself!) Your vocals have soared in years before as one of the lead vocalists for the Nuyorican folkloric-fusion ensemble, YERBABUENA. The name of your backing band, The Razor Blades, is a tongue-in-cheek nod to your Nuyorican salsa roots. How important of a role does Salsa Music play in your life? How does it feel to get a blessed recommendation from a music giant like Ruben Blades about your music?
Salsa music is the soundtrack of my life. I was drawn to the music of Hector Lavoe and Ruben Blades from childhood. Even before fully understanding what was being sung. I got the name Flaco Navaja from my best friend’s dad when I was 9 or 10. He heard me singing (Ruben Blades & Willie Colon’s) ‘Pedro Navaja’ to myself while playing GI Joes and said “Mira este, Flaco Navaja”. 10 years later, when I did my first open mic, the name came to me. That was over 20 years ago. About 6-7 years ago, God put Ruben in my life for real. He has since become a mentor and friend! Sort of like my musical padrino. I live to hear his stories and have learned so much from him! To get the stamp of approval from him is a dream. He is super honest, so I know he’s not blowing smoke up you know where.
Recognizing that the salsa genre has been nudged aside by current tropical & urbano music markets of reggaeton, bachata, and Latin trap, salsa artists have their work cut out for them as they strive to bring it back into popularity within the Latin music realm. In your opinion, what can new generation salsa artists do to maintain the spirit of the genre & culture without diluting it with over-modernization, nor perpetuating the 'time capsule' illusion of the golden era? Does ‘Flaco the sonero’ set out to suitably evolve Salsa Gorda for the 21st century? What can salsa lovers expect from you with this new music?
I believe good music is good music regardless of the era. I’m blessed to a part of a current group of salseros that are continuing to put out content. People like Jeremy Bosch and Pirulo y La Tribu inspire me to continue. We are adding to the narrative. My approach is one that combines the old school sound and spoken word. It’s who I am. I can’t be anyone else. In order for the music to survive, we need to continue to evolve as well as support each other. People need to know that we are out there making music. Salsa doesn’t have to be an “old Man’s game”
In a near post-quarantine future where we all can get together for a salsa/hip-hop descarga cypher throwdown, name 7 people who need to be there.
Jeremy Bosch
Pirulo
PJ Sin Suela
Ruben Blades
The Flacster
Kemba
Questlove
What advice would you give to a young person from the diaspora who wants to do what you do?
Have respect for whatever art form you choose to participate in. Learn the rules, break the rules, and make up new ones.