form Primo Marianas and recorded Sounds of the Marianas Islands (1979). Sablan, as well as bands like Afetnas, Remetau, The Commonwealth, Cindy and Ray, Max and Alex and Kunados Tinian found in Guam a market for Chamorro music that did not exist in the lightly populated Northern Marianas and many made multiple trips to Guam to market their songs. Producers such as Calisto Cing from Rota, and Fred de la Cruz from Tinian surpassed the Charfauros Bros. in the production of Chamorro music and began recording Guam artists as well. One of the most interesting aspects of this peak era in Chamorro music, which lasted through the early 1990s, was that it does not seem likely that it could have happened without both the infusion of talent from the C.N.M.I. and the demand for Chamorro music from Guam Chamorros in Guam and throughout the diaspora in the United States. In this respect, it was truly a pan-Chamorro movement and it demonstrates the way a forging such connections creates the possibility for cultural movements that might not otherwise be possible. The proliferation of CNMI artists in Guam scene led to many close personal relationship as well as collaborations. Alexandro Sablan came to Guam in 1983 and worked with Guam radio personality Rick “Big Boz” Baza to promote his first solo recording, Aniyu-hu/Lang (1983) and worked briefly as a Guam radio personality himself. He also recruited popular Umatac singer Ruby Aquiningoc to record the album Mampos Umaguaiya as a duet. Guam artists also enjoyed playing in the C.N.M.I. and took many trips to the islands. J.D. Crutch enjoyed his trip to Rota for the 1977 Rota Fiesta so much that he ended up playing at the fiesta every year for the next seven years. The C.N.M.I. was a place where he both entertained people and picked up songs that he would record. Among songs from Saipan artists that he popularized were Alex Sablan’s “Kumpara i Pepble” (Compare the Poor [and the Rich]) and “Ti Lachi Hao” (You’re Not the One That Made a Mistake) and the Afetnas song “Tumekkon Hao.”(You Bent Down in Shame).” Perhaps one of the most significant relationships forged was that between Johnny Sablan and Candy Taman, who had pioneered the Chamorro music scenes on their respective islands. In interviews, both recalled conversations together in the early 1980s where they talked about the importance of keeping the culture alive through music. They both believed, and still believe today that if the islands remain politically divided, at least they can have a shared musical identity.19 Obviously, the music achieved that aim although most young people on Guam were not aware that much of the music they danced to at parties had come from the Northern Marianas.
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Johnny Sablan and Candy Taman interviews. Marianas History Conference 2012 ・ 9