The 4-hour feast features tequila tastings + tantalizing tacos from 40+ top LA & Mexican taquerias.
Tacolandia 2014El Pueblo de Los Angeles (C 125 Paseo De La Plz, Los Angeles, CA 90012 A 90028 ) Map it $25
Curated by the World's First Tacorazzo, Bill Esparza, this year's Tacolandia will feature tacos from over 40 of the hottest vendors hailing from Mexico and LA. Presented by LA Weekly, the taco feast features four hours of tequila tastings and tantalizing tacos. Amongst the participating taquerias are: Bistro LQ, Carnitas El Momo, Chichen Itza, Colonia Taco Lounge, Coni'Seafood, Don Chente Bar & Grill, Flautas, George's at the Cove, Mariscos Jalisco, SoHo Taco, and SOL Cocina. IN addition to the taco extravaganza, a tequila garden (yes, that's what they're calling it) will be serving up tastings (read: shots) from some 15 different brands. General admission (which includes entry into the event and access to the vendor village and the cash bar, as well as tacos from the many vendors) is $25. At $45, a premium ticket includes all aforementioned goodies, plus a VIP gift bag and five drink tickets. A $20 tequila garden ticket is also available for those who cant be bothered with tacos and came exclusively for the tequila; this ticket grants access to the tequila garden and includes 10 1/2-oz. tequila shots.
Tacolandia will feature live music courtesy of
LAS COLIBRÍ or "The Hummingbirds," have a passion for music deeply rooted in the tradition of mariachi. These women are flying into new territory as they take a smaller and contemporary approach to the performance of regional Mexican music.
After years of achieving much success individually as grammy winning artists, instrumentalists and vocalists in various professional arenas, these women have come together to form a stringed ensemble that is like no other in it's genre. Aside from their unique interpretation of traditional sones, huapangos, and rancheras, audiences will also recognize sounds from other latin genres, jazz, rock, oldies, and R&B through innovative arrangements created by their grammy winning musical director and member of Mariachi Los Camperos, Jimmy K. Cuéllar. With a lovely blend of vocal harmonies, beautiful smiles, festive outfits, and traditional mariachi instrumentation consisting of a Guitarrón (Bass), Guitar, Vihuela (Soprano Guitar), and Violins, Las ColibrÃ and their energetic director Susie Garcia will be sure to get you laughing, crying, singing, and even dancing to their contagious beats and melodies!
It's an only in L.A. story. A white Jewish kid raised on hip hop and punk grows up to sing hardcore Mexican Banda and Norteño.
This is no gimmick. This is a love story, the love story of El Gavachillo, the little white boy, Wil-Dog Abers, who when he's not playing bass with the acclaimed Grammy winning band Ozomatli that he co-founded, slips on a cowboy hat and a ranchero suit and hits the stage of after hours Regional Mexican nightclubs.
When Abers was growing up in MacArthur Park area of Los Angeles the music of banda sinaloense, the brassy big band sound popular across Northern Mexico, was low on his list. "I hated banda when I was younger," he says, "But in high school, I had a girlfriend from Michoacán, and she took me to bailes where bandas where playing. I fell in love not just with the power of the sound but with the community of people that it takes to make that sound."
While in the past Abers had been able to sneak some banda riffs into the music of Ozomatli, he knew that his banda obsession deserved its own project and its own identity. His deep love for the music and his respect for its history in the lives of Mexican communities across the U.S. led him to start experimenting with a new music alter-ego outside of the band. "My success in Ozo means nothing in the world of Regional Mexican music," he says. "It's like starting from scratch and I really like the challenge of it."
He practiced his Spanish. He practiced his singing. He spent countless hours immersing himself in the music of legends like Banda el Recodo and Joan Sebastian [who else?] and newcomers like Larry Hernandez and Roberto Tapia. He studied the music of bandas across L.A. and eventually convinced them to start playing with him. "The banda music scene is very insular," he says. "It's hard to break into it and outsiders are not usually trusted." Soon enough, Abers and his new banda colleagues were doing covers of banda hits — songs about immigration, drugs, and broken hearts — and covers of classic punk songs by The Clash and The Buzzcocks. And then he started writing his own songs: banda, El Gavachillo style.
"There is no blueprint for how to do this," he confesses. "This is not about creating a Mexican version of a Vanilla Ice or an Eminem. That was not my thing. This is being true to who I am and where I'm from. This is L.A. music."
De’Anza is part of the emerging generation of young Latino artists in the United States who are crafting eclectic mixes of music and bringing Latin Alternative to a wider audience. She was born and raised in Santa Fe, New Mexico, an epicenter of convergent cultures and rich folk art.
"From hip-hop to jazz and everything in between, there's no doubt that the United States is musically extremely rich and like many Latino bicultural homes, I was also exposed to music in Spanish at a very early age. Being that my grandmother was Mexican, it definitely wasn't uncommon to hear mariachi and folclór (folk) blasting from the speakers of her boom box. When I began writing music, it only felt natural to also represent that part of me."
After relocating west to study at the Los Angeles Music Academy College of Music, De’Anza began writing, observing, listening and experimenting. With her vihuela and drum machine at her side, this young Chicana artist is set to release her debut album in 2014. A new artist in Latin Alternative music, De’Anza represents an honest interpretation of a young woman who lives in the hyphen between Mexican and American.
Through his life and music, Rafi eL has been constantly circling back to the source of his creativity, the mountains of South America — long a source of cultural wealth and shamanic power. Born in Israel, then raised in Los Angeles by Argentine-Jewish parents, his earliest days were steeped in the sounds and cultures of three continents. Rafi eL's music gained form in L.A.'s simmering pan-Latino communities, drawing in equal parts from the raw grit of backyard cumbias and the synthy exuberance of hyphy rap. But it was a trip to Latin America — via the experience of hearing an Ayuahasca shaman playing songs on a charango — that transported Rafi back to the music of the Andes, the music that borders his parents' old home in Argentina. Zeroing in on this musical inspiration, he moved towards the music of his ancestral roots, wrapping his distinctive voice around a unique production style where hard-driving electronic beats share space with acoustic, folk instruments.
Teaming up with Dutty Artz, New York's forward thinking tropical label, Rafi eL began releasing a string of free singles and covers in 2013 that made Global Bass aficionados take note. They included a Spanish-language remake of Dr. Dre's "What's the Difference" (re-imagining the Cali classic as a bilingual border-crossing anthem), an EP of remixes based off his infectious Tra Ba rhythm, and Siempre Quiero Más, a Spanish rework of Depeche Mode's "Just Can't Get Enough," which bounces joyously over minimal 808 kicks and reggaeton claps.
Ay De Mi, Rafi eL's full-length debut on Dutty Artz, builds on electronic and tropical rhythms, layering them with a unique songwriting vision, in which Spanish collides with English, exuberance alternates with reflection, and South American folk traditions merge with heavy dancefloor love. Sometimes rapping, sometimes singing, Rafi eL weaves an immigrant's tale of searching for connection in a fragmented city, and finding release in the delirious dance… It's the sound of Los Angeles today.
Cumbia Machin is an Electro-Cumbia project that combines the use of electronics and sequencers to create an original "Dub-Style" Cumbia. The project began in the spring of 2010, when drummer/producer Joaquin Hernandez had to figure out a way to continue pursuing his passion. After experiencing disabling effects in his right hand, doctors diagnosed Hernandez with Focal Dystonia (a genetic nervous disorder). The disorder surfaced after many years of playing drums and Hernandez could no longer hold a stick in his right hand.
This led to the discovery of the Zendrum. The electronic "drum" is worn like that of an electric guitar and allows Hernandez to trigger various sounds and sequences which has become the focal point of his arsenal. Armed with the Zendrum, sequencers and various electronic pedals, Hernandez seamlessly creates styles of Electro, Cumbia, Drum n' Bass, Dubstep and Reggae live on stage. Often accompanied by a live percussionist, the Cumbia Machin show is a hyper, high energy experience that will make any fan of Cumbia and EDM dance until the sun comes up!.
Cumbia Machin was Special Guests of:
Cumbia Machin Has Supported: • Ana Tijoux • Kumbia Queers • Bomba Estereo • Lila Downs • Botellita De Jerez • El Gran Silencio • Mexican Institute Of Sound • Mexican Dubwisser • La Santa Cecilia
Past Tour dates include:
San Francisco CA, New York NY, Oakland CA, Los Angeles CA, Chicago IL, Las Vegas NV, St. Louis MO, El Paso TX, Tucson AZ, Yuma AZ, Tijuana MX, Ensenada MX, Tecate MX, Mexicali MX.