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	Define Funk please!
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Get real - you don't define Funk - you feel the Funk - as George Clinton said - the groove is our only guide.

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	It is typical hearing from an ignorant person saying that A is A just because it is a fact. A is A and that’s it. They cannot say what contains A. Of course, we all are ignorant in many subjects since we cannot have time to study EVERY thing during the short period of our lives on this earth. But we have to ensure us that the subjct we bring up is inside of our domain of knowledge.
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By continually defining everything, you are making it sterile. It's like with a butterfly, when people study it they kill it and then pin it to a piece of cardboard. Then they can tell you all sorts of things about it, but they've stripped it of its best attributes - what it looks like when it's flying around.

You know that we don't need such tight definitions. You know that if someone plays you a Salsa track you haven't heard before, you can tell whether it's Cuban or New York or Colombian. You're not working on a definition, you're working on feeling.

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	Since you did bring up Funk, then I assume you are enable to define it. Isn't? Come on, Define Funk please!
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You are clearly just arguing for the sake of it and not to understand anything (but, as you've said many times, you don't need to learn anything because you are an expert).

You asked me to give you examples of things which are in Salsa but which aren't in Son. I gave you some examples, but instead of actually discussing them, you enter into some sort of nitpicking argument about semantics.

Let me go back to one concrete example I gave you - find me an example of a guitar being played through a wah-wah pedal in Cuban Son. This is something which is used in Salsa in the 70's from New York.

Because I actually have a life and other things to do, I'm also going to make a comment about your other messages (since I don't have the time that you seem to have to post loads of large messages).

First you mentioned Songo and Timba several times. They aren't relevant to the discussion here, since they are parallel to or later than the Salsa we're talking about here. Essentially, for a long time Son/Mambo/Cha Cha Cha was a single style of music, the same in Cuba and New York (because people could freely travel between the two places). Then, after the revolution, there was little musical interchange and the music evolved differently in Cuba and in the US. So while New York Salsa and Songo share the same root, they are different branches of the same tree.

Secondly, you mentioned what happened in Miami when Van Van visited. This is why I think you are arguing for the sake of it, rather than for true discussion. You keep presenting different views. On the one hand, you made a lot of the fact that the Miami Cubans have been very successful in the US. On the other hand, you are obviously critical of the behaviour of the Miami Cubans who were so aggressive and intimidating towards people who wanted to see Van Van in Miami.

dG