The zampoña is one of the most representative instruments of Andean culture, and our friend Michael Guaján will share with us many fascinating facts about it.

In this video, Michael Guaján will teach us about the influence of modern rhythms like jazz, blues, and heavy metal on Andean music. Let's listen to some examples of such fusion played by Michael on his guitar!

This time, Michael introduces us to the traditional Japanese flute, making a musical and cultural comparison between this Asian instrument and its Andean counterpart.

This time, Michael Guaján teaches us the origins of the pan flute and shows us how it is played.

In this new video, our friend Michael Guaján from Otavalo, Ecuador, tells us about the origin of the "rondín," or harmonica, and the various effects that can be created with it.

Michael Guaján presents us with yet another interesting Andean instrument: the ocarina. Let's find out about the origin of its name, its various types, and how it is played.

This time, Michael Guaján explains to us the many different kinds of guitar picks and some of their nuances.

Her name is Milagros- her nickname, “Cholito”. She’s wild on the soccer field, and not much tamer off of it. An orphan, she was brought up in a convent. But now she’s almost 18, and she will have to make her own way in the world. The world might not be quite ready…

The stupendous Natalia Oreiro released the fiery single “Me Muero De Amor” even before it became the theme song for Muñeca Brava, in which she also stars. The show was a smash hit not only in Latin America but also in Europe and the Middle East, and as such buoyed worldwide sales of the record.

The house is called “La Soledad”, which might be fitting enough for some of the souls who dwell within it. Grandma hasn’t left her room in years, nor is she on the best of terms with her son, the patriarch of the house. He, in turn, is no longer exactly enamored with his wife, nor sympathetic to her weakness for the bottle. The fun is just beginning…

Victoria isn’t exactly what you’d call “deep”, but she’s no pushover. She knows what she likes, and what she doesn’t. She certainly doesn’t like to be called Vicki, nor does she enjoy the company of Bobby, her brother’s chatterbox friend. She strives for ever more glamour and refinement, even deciding to change the name of her driver from Rocky to the more patrician “Morgan”.

Mother Superior thinks she’s tucked them both safely in for the night, but Milagros and Gloria have other ideas, and they don’t involve preparing for mass the next morning at seven a.m. Can they possibly get away with it?

Federico’s secretary invites him over for dinner, but there will be no berries and cream if she can’t be the master chef. Meanwhile… our delinquent little minas have escaped the confines of the convent orphanage.

Tío, there is something creepy going on upstairs in that big house! Anyway, the real action is at the dance hall, and that’s where we find our truant heroine, Milagros, and her willing accomplice, Gloria.

In the previous segment we found Milagros and Gloria shaking it to un ritmo vallenato from Colombia’s Caribbean coast. Upon her return to the convent, Milagros is singing Ricky Maravilla’s "¿Que tendrá el petiso?" which probably got its inspiration from "Locas por el mambo", a huge 1950 Havana hit from the great Benny Moré.