Saúl E. González has translated Gilberto Santa Rosa's song ¿Qué Manera de Quererte? for Salsamundo's readers. Below is personal information designed to have the reader learn a bit about the translator and his picture.

Saúl E. González, is from Austin, Texas, he was exposed to the mambo sounds of Pérez Prado from a very young age and listened mostly to music in Spanish, such as boleros, rancheras and estudiantinas. Still, there wasn't much salsa in his parents LP collection, but through watching the old Spanish International Network (SIN, which evolved into Univision), he saw Cuban and Puerto Rican groups perform their music. Saúl traveled frequently to Mexico City and lived there in 1984 and 1990 for a year each time, and learned that the clubs would play "musica tropical" when they were about to close. A friend in 1987 gave him a short-wave radio and he began listening to Cuban music on Radio Habana. During his grad school years, his "hip" European friends invited him up close to the beat of the clave by hanging out at Club Palmeras in Austin, Texas. It was a place frequented by fans of merengue, salsa and cumbia (the majority of them non-Latino). A very patient lady-friend and co-worker (thanks Cindy!) taught him the basic steps at Palmeras and at house parties—and introduced him to El Gran Combo, Willie Colón, Celia Cruz and Rubén Blades. His saw his first salsa concert when Tito Puente came to town, and began to frequent events in Austin’s rich and diverse live music scene.

Saúl then did an internship in Brussels, Belgium and learned that he could keep in contact with the Latino community in Europe by following salsa, even though many non-Latinos also flocked to these clubs. He was amazed at the number of clubs and parties that played salsa and merengue music, but still never ventured beyond the basic steps. After time in Washington, DC at the old Habana Village on 18^th Street and years of work as a foreign service officer, he took his music with him and introduced the sounds of salsa at parties in Morocco, Tunisia and Saudi Arabia. He found the music and dance receiving a hearty reception among all, much like a rain shower in a parched desert. People would ask "what is this music? Who is the group? Where can I get this? Can I make a copy?" and would get up and dance—not because they knew the steps, but because they felt the music taking hold of them. Upon returning to Washington, DC in 1998, Saúl decided to take classes at the new Habana Village to get beyond the basics and after a few lessons, was hooked when it all clicked together: the music, the steps, the improvising---and after a few short months attended the 1998 Bacardi Salsa Congreso in San Juan, dancing with lovers of salsa from all over the world. He acknowledges he still has a long way to go but he’s working on it (ladies, he will thank you for being good sports)—and will keep doing so as long as it is fun.

Saúl's words:

It is difficult to translate poetry, especially romantic poetry-- and keep as much of the essence as possible. Spanish is a very romantic language, and this is one of the more danceable “romantic” songs, with colorful imagery without getting too sappy. It is almost like the Salsa version of the classic poem “How do I love thee, let me count the ways...” by Byron. Unlike some pretty boy romantic salsa (salsa monga) songs, the music is at full force, and Gilberto Santa Rosa’s voice is another vital instrument. Albita also released a version of this song in a more charanga style, with a little more daring words (substituting “sexo” for “cuerpo”, and emphasizing “tu SEX-o,” pause, “febril delirio.” ).

The singer focuses on his lover’s laughter, her eyes, her lips, and her body, and then describes what each feature provokes in his being: madness, pleasure, desire, impulsiveness, liberation. The singer compares the object of his love to objects in nature: star-like eyes, verdant laughter, lips like blood-red drops on a lily, and a body that provokes volcanic action. In Santa Rosa’s version, he improvises towards the end with a shower of declarations of undying love.

¿Qué manera de quererte?

¿Qué manera de quererte, qué manera?

¿Dónde podré buscarte (evocarte) si no en tu risa?

Tu risa de jardin y primavera…(bis)

Autentica locura que acaricia mi voluntad

y acaba por tenerla…

¿Qué manera de quererte, qué manera?

¿Dónde podre soñarte si no en tus ojos?

Tus ojos de puñal y sementera…(bis)

Estrellas que se escapan de tu rostro

Con tu mirada tierna y placentera…

¿Qué manera de quererte, qué manera?

¿Dónde podré beberte si no en tu boca?

Tu boca gota de sangre en un lirio (bis)

Si estás lejos de mi, es un martirio

Cuando algun beso timido se antoja…

¿Qué manera de quererte, qué manera?

¿Dónde podre vivir, si no en tu cuerpo?

Tu cuerpo, febril delirio (bis)

Oleaje incontenible del deseo

Que libera mi cuerpo del hechizo…

¿Qué manera de quererte, qué manera?

¡Ay! ¡esa manera de quererte que tú despiertas en mi!

¿Qué manera de quererte, qué manera?

Y yo queriéndote de esa manera, te juro que soy feliz..

¿Qué manera de quererte, qué manera?

Y te quiero de esta forma, de otra no sé querer…

¿Qué manera de quererte, qué manera?

Y es para ti mi querer…

¿Qué manera de quererte, qué manera?

¡Ay! ¿será tu risa, la que me hechiza

y la que se queda con mi vida entera?…

¿Qué manera de quererte, qué manera?

Otra manera, yo no sé quererte…

Porque no hay, que te quiera como yo

Y no ha nacido todavia y si nació no lo conozco

que te de la vida entera…

Porque no hay, que te quiera como yo

Esa autentica locura la que se lleva mi amor…

Porque no hay, que te quiera como yo