DOCSLIB.ORG

Latin Picks Latin Beat

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Latin Picks Latin Beat LATIN e, - LATIN BEAT Ralph Mercado and Ray Aviles will pre- the popular voice on Spanish radio in the TOP 20 LBUMS sent their third "Salsa" event at Radio City Pomona -Ontario areas. MIAMI POP MIAMI SALSA Music Hall in the heart of Rockefeller Cen- KWKW radio broadcasts 24 -hours a day ter, Feb. 10. Headed up "Salsa's Perfect to the Spanish language market of Los Combination Ill," there will be one concert Angeles and Orange Counties, numbering 1 JOSE LUIS 1 HOMENAJEA BENNY at 8:00 p.m. and one at midnight, under the over five million. KWKW is part of Lotus (Top Hits 2021) TITO PUENTE (Tico 1425) aegis of "A Rainbow Production." Communications Corporation, which owns his 11 KWKW, L.A.; KENO & K- 2 AMIGO 2 CHARANGA 76 EN EL 78 The evening will star Tito Puente and radio stations: ROBERTO CARLOS (Caytronics 1505) CHARANGA 76 (TR -139) Orchestra in a "Tribute to Beny More," and 92 -FM, Las Vegas; KONE & KOZZ-FM, it will mark the first time the man affec- Reno; KOXR, Oxnard; KFSD-FM, San 3 VUELVE 3 TREMENDA DIMENSION as King" will have Diego; KVAR-FM, San Antonio; KTKT, Tuc- LUISA MARIA GUELL (Alhambra 43) DIMENSION LATINA (Velvet 8012) tionately referred to "The appeared at Radio City. Tito and his son; and KRUX, Phoenix. 4 LOLITA DE LA COLINA 4 OSCAR DE LEON orchestra will literally be recreating his "Paco is my name and disco is my (Arcano 3416) (TH -2936( best-selling album, "Homenaje A Beny," on game." With these words each night opens the stage. Performing with the orchestra what is by several yardsticks the number 5 SOLA 5 ONLY THEY COULD HAVE will be a line-up of the best "Salsa" singers one DJ program in the number one market LISSETTE (Coco 148) MADE THIS ALBUM n IZ COLON (Vaya 66) in the business, all of whom are featured on in the country. 6 TE JURO QUE NUNCA the album. Starting with Cheo Feliciano, Paco, who reportedly scored a 15.8 VOLVERA 6 CONJUNTO UNIVERSAL the others include Santito Colon, Ismael share of audience overall in the Octo- LUPITA D'ALESSIO (Orf eon 021) (Jaguar 5036) Quintana, Adalberto Santiago, Hector ber/November Arbitron for his time period Casanova, Nestor Sanchez, Junior Gon- at station WKTU-FM, now has been 7 MIAMI SOUND MACHINE 7 CONJUNTO BORINCUBA (Audio Latino 5027) (Libra 2005) zalez and Lulgl Texidor. catapulted from ethnic radio to star status Topping off Tito's segment of the show in a short time. 8 MI CARTE 8 EN LAS VEGAS will be an appearance by special guest, the The Puerto Rican -born radio veteran (he LOLITA (Caytronics 1506) EL GRAN COMBO (GC 015) Queen of Salsa, Celia Cruz. began as a child actor on Puerto Rican 9 ENTRE AMIGOS 9 EDDIE PALMIERI Adding to the overall excitement of the soaps on a Rio Piederas, P.R. station 35 CAMILO SESTO (Pronto 1034) (Epic JE 35523) evening will be the appearance of two more years ago) broke out of Spanish -language of Salsa's favorite stars, Millie Colon and radio last summer when WKTU switched 10 AMIS 33 ANOS 10 SALSA MAYOR Ruben Blades. They will be from mellow to disco. JULIO IGLESIAS (Alhambra 38) (Velvet 8011) performing material from their award -winning best- Paco, who was then known as Paqulto 11 DEMASIADO AMOR 11 LA COMEDIA selling album, "Metiendo Mano," and from Navarro, was playing salsa on WKTU's AM BASILIO (Zafiro 513) HECTOR LAVOE (Fania 522) their latest release, "Siembra." sister station WJIT. "I noticed that the Adding to Willie's and Ruben's segment mellow sound wasn't going anywhere so I 12 VOZ Y CORAZON 12 NEW YORK CITY SALSA NELSON NED (West Side Latino 4117) ORQUESTA BROADWAY (Coco 141) of the show will be extra added attraction, went to WJIT general manager Len Hector Lavoe, who will join forces with the Mirelson and suggested that WKTU go 13 NUNCA SUPE LA VERDAD 13 FRIENDS Willie Colon Orchestra. disco. I them met with SJR Communica- DANNY DANIEL (Borinquen 1327) LOUIS RAMIREZ (Cotique 1096) Opening the show will be Ralph Lew and tions (the company that owns WKTU and his Salsa Disco Revue. WJIT) executive vice president Eddie 14 JUAN BAU #5 14 SALUD DINERO Y AMOR (Zafiro 512) ORQUESTA NOVEL (Fania 520) Emcees will be Paqulto (Paco) Navarro Cossman and suggested that WKTU switch and Polita Vega. to salsa disco. Salsa lasted two days," he 15 VOL #7 15 SPANISH FEVER Hernan Quezada Escandon appointed adds. ALVAREZ GUEDES (Gema 5058) FANIA ALL STARS (Columbia 35336) program director for KWKW radio, it was But the disco lasted and the rest is 16 SE TE VAS TE VAS 16 DOS announced by KWKW general manager, history. HUGO BLANCO (West Side Latino) CACHO (Salsoul 4115) John Paley. Paco stresses personality on WKTU. "I "For over 35 years KWKW has been the have an accent and that makes me unique," 17 UNLIMITED 17 SALSA ENCENDIDA station to which the Hispanic population in he reasons. "The ladies like my voice, they ALMA (Alhambra 152) TIPICA 73 (Inca 62) southern California has turned for the best call it sexy. I can't help that. That's just the 18 VOLCAN 18 INCONQUISTABLE in music, news and community and public way I talk." JOSE JOSE (Pronto 1035) DIMENSION LATINA (TH 2040) affairs programming," says Hernan Paco also reasons that his accent has Quezada Escandon. "We will continue to "added additional Latins to his audience. 19 NYDIA CARO 19 JOHNNY VENTURA (Alhambra 151) (Combo 2006) maintain that position of leadership." They have pride in my achievement." Escandon joined KWKW early in 1971, Just as disco has permitted Paco to 20 PERLA 20 TRIBUTE TO CHANO POZO and has become one of its most popular break out of ethnic radio, he notes, "Disco (Audio Latino 5040) JOSE MANQUAL (True Venture 1001) and well-known disc jockeys. As a result of has broken all barriers between whites, his many personal appearances as master - blacks, straights and gays. It has united of -ceremonies for the very popular people. Everybody likes it. It's great to see amateur hour held in various theatres mixed crowds at the discos." LATIN PICKS throughout the Los Angeles area, and his Paco sees some of those crowds not only personal appearances at the KWKW week- at personal appearances he makes at A TODOS MIS AMIGOS - Cella Cruz - Tico 1423 - end remoté broadcasts, he has become a various discos, but at his own disco, Les Producers; Puente, Cain, Santiago, Cristal star celebrity to the Spanish-speaking Nauges, on the upper East Side of Manhat- Here is another fine album by Celia Cruz, the Ella Fitzgerald public. For the past eight years, Escandon tan. of Latin music. She is the queen of salsa, and in this recording and Antonio Gonzalez, KWKW news direc- Paco sees big things yet to come for she excels cut after cut. The songs in this album are Celia's tor, have ,been the official spokesmen for disco. "I believe disco will branch out into greatest hits, with marvelous backing by the Tito Puente KWKW's New Year's day broadcast of the various forms like rock did," he says. He is Orchestra. Also, special credit to Memo Salamanca for his Rose Bowl Parade, bringing their exciting looking forward to disco songs which have ballad backing. Time after time Celia has come up with winners descriptions of this annual event. Escan- more meaningful lyrics. He points to Gloria in her recordings, but this is her greatest effort and a must in don's play-by-play accounts of the Aztec Gaynor's "I Will Survive" as an example. your collection of Celia hits. soccer games live from the Rose Bowl is "I like to sell the story of my records another of his great versatility. before I play I my c9Vlon Xivera just example them, talk about them to FOREVER - Mon RIvera - Vaya JMVS-75 - Producer: in GTronever Escandon was born Hermosillo, listeners. People like to have someone Johnny Pacheco >YA \,`ì Sonora, Mexico, in 1942. At 36, he is a warm to listen to. You have to be good com- Mon Rivera's music is immortal and will live in the pages of ?i 9, proud American citizen and lives with his pany," he says. ray terrace music history. Hit tunes may come and go, but Mon Rivera's wife, Elva, herself a prominent vocalist. music, like that of other pioneers, is timeless. With this album They live in Alhambra, Calif. Mon gave us his best, as always. It's a pity that such a super star He graduated from Pueblo High School is in GLrtiL-1 has left us, for this album excellent all respects. Beautiful in Tucson, Ariz. and went on to attend the 2A((J/r,Dr'5 A arrangements by Mon and others, outstanding horns, a superb University of Arizona at Tucson. Escandon rhythm section and fine vocals make this album a must for every obtained his radio engineer's license in collection. 1970. Actually his radio career began in 1963 in Tucson and he once headlined a FOR THE CONNOISSEUR popular bilingual show for armed forces SANTIAGO - Discos Pega 9005 - Producer: Santiago/Gar- DISTRIBUTOR INQUIRIES INVITED cia Jr. radio. Santiago is outstanding on this album of love songs and soft He comes from a family of two brothers rock. His voice is great and he is backed by excellent orchestra- and a sister, also famous radio and televi- VENTURES tions. Recording was done well in the States.
Load more

Recommended publications
  • View Centro's Film List
    About the Centro Film Collection The Centro Library and Archives houses one of the most extensive collections of films documenting the Puerto Rican experience. The collection includes documentaries, public service news programs; Hollywood produced feature films, as well as cinema films produced by the film industry in Puerto Rico. Presently we house over 500 titles, both in DVD and VHS format. Films from the collection may be borrowed, and are available for teaching, study, as well as for entertainment purposes with due consideration for copyright and intellectual property laws. Film Lending Policy Our policy requires that films be picked-up at our facility, we do not mail out. Films maybe borrowed by college professors, as well as public school teachers for classroom presentations during the school year. We also lend to student clubs and community-based organizations. For individuals conducting personal research, or for students who need to view films for class assignments, we ask that they call and make an appointment for viewing the film(s) at our facilities. Overview of collections: 366 documentary/special programs 67 feature films 11 Banco Popular programs on Puerto Rican Music 2 films (rough-cut copies) Roz Payne Archives 95 copies of WNBC Visiones programs 20 titles of WNET Realidades programs Total # of titles=559 (As of 9/2019) 1 Procedures for Borrowing Films 1. Reserve films one week in advance. 2. A maximum of 2 FILMS may be borrowed at a time. 3. Pick-up film(s) at the Centro Library and Archives with proper ID, and sign contract which specifies obligations and responsibilities while the film(s) is in your possession.
    [Show full text]
  • CONGRESSIONAL RECORD— Extensions of Remarks E684 HON
    E684 CONGRESSIONAL RECORD — Extensions of Remarks March 17, 2009 TRIBUTE TO KENT OLSON, EXECU- Not only will this initiative increase Internet Madam Speaker, I encourage my col- TIVE DIRECTOR OF THE PROFES- speed and accessibility for customers, but per- leagues to join me in wishing my brothers of SIONAL INSURANCE AGENTS OF haps more importantly it will create 3,000 new Omega Psi Phi Fraternity a successful political NORTH DAKOTA jobs. summit as these men continue to build a Over the next ten years, AT&T also plans to strong and effective force of men dedicated to HON. EARL POMEROY create or save an additional one thousand its Cardinal Principles of manhood, scholar- jobs through a plan to invest $565 million in OF NORTH DAKOTA ship, perseverance, and uplift. replacing its current fleet of vehicles with IN THE HOUSE OF REPRESENTATIVES f 15,000 domestically manufactured Com- Tuesday, March 17, 2009 pressed Natural Gas and alternative fuel vehi- REMEMBERING THE LIFE OF Mr. POMEROY. Madam Speaker, I rise to cles. MUSIC IMPRESARIO RALPH honor the distinguished career of Kent Olson. Research shows that this new fleet will save MERCADO I am pleased to have known Kent Olson for 49 million gallons of gasoline over the next ten the many years he served as the Executive years. It also will reduce carbon emissions by HON. CHARLES B. RANGEL Director of the Professional Insurance Agents 211,000 metric tons in this same time frame. OF NEW YORK of North Dakota working with him on important Madam Speaker, I applaud AT&T for its ini- IN THE HOUSE OF REPRESENTATIVES tiative in taking the lead in the movement to insurance issues for North Dakota farmers.
    [Show full text]
  • UNITED STATES DISTRICT COURT SOUTHERN DISTRICT of NEW YORK ------X RALPH MERCADO and : RMM RECORDS & VIDEO CORP., : Plaintiffs, : : Case No
    UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK --------------------------------------------------------x RALPH MERCADO and : RMM RECORDS & VIDEO CORP., : Plaintiffs, : : Case No. 02-CV-4974 (MGC) v. : : PETER THOMAS PATERNO, : MARC STOLLMAN, : KING, PURTICH, HOLMES, : PATERNO & BERLINER, LLP, and : STOLLMAN & STOLLMAN, : Defendants. : --------------------------------------------------------x UNITED STATES BANKRUPTCY COURT SOUTHERN DISTRICT OF NEW YORK --------------------------------------------------------x In re : : Case No. 00-15350 (AJG) RMM RECORDS & VIDEO CORP., : : Debtor. : : --------------------------------------------------------x RALPH MERCADO and : RMM RECORDS & VIDEO CORP., : Plaintiffs, : : Adversary Proceeding No. v. : 04-00004 (AJG) : PETER THOMAS PATERNO, : MARC STOLLMAN, : KING, PURTICH, HOLMES, : PATERNO & BERLINER, LLP, and : STOLLMAN & STOLLMAN, : Defendants. : --------------------------------------------------------x REPORT AND RECOMMENDATION: PROPOSED FINDINGS OF FACT AND CONCLUSIONS OF LAW ARTHUR J. GONZALEZ, United States Bankruptcy Judge: To the Honorable Miriam Goldman Cedarbaum, United States District Judge: On or about June 27, 2002, RMM Records & Video Corp. (“RMM”) and Ralph Mercado, RMM’s principal, filed a complaint alleging legal malpractice in United States District Court for the Southern District of New York against the defendants Peter Thomas Paterno, King, Purtich, Holmes, Paterno & Berliner, LLP, Marc Stollman, and Stollman & Stollman, their former attorneys. Before this Court is the defendants’ motion for judgment on the pleadings pursuant to Rule 12(c) of the Federal Rules of Civil Procedure, joined and supported by Universal Music & Video Corp. (“Universal”). Defendants and Universal base their motion for judgment on the pleadings on their contention that RMM does not have standing to prosecute this action. For the reasons set forth below, the defendants’ motion for judgment on the pleadings should be GRANTED, and the plaintiff’s complaint dismissed in its entirety.
    [Show full text]
  • Redalyc.Salsa Music As Expressive Liberation
    Centro Journal ISSN: 1538-6279 [email protected] The City University of New York Estados Unidos Berrios-Miranda, Marisol Salsa Music as Expressive Liberation Centro Journal, vol. XVI, núm. 2, fall, 2004, pp. 158-173 The City University of New York New York, Estados Unidos Available in: http://www.redalyc.org/articulo.oa?id=37716211 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Berrios(v7).qxd 3/1/05 7:33 AM Page 158 CENTRO Journal Volume7 xv1 Number 2 fall 2004 Salsa) Salsa Music as Expressive Liberation1 MARISOL BERRIOS-MIRANDA ABSTRACT In the span of a singe decade, the 1970s, young people in urban centers all over Latin America came to embrace salsa music as their preferred musical style and expression. Salsa’s unprecedented international popularity resulted from the confluence of several distinct social conditions and historical events: the Puerto Rican dilemma of colonial status, the civil rights and black pride movements in the U.S., the Cuban revolution’s promise of upliftment for the lower classes, urban migration, and the need for a Latino alter- native to the hegemony of Anglo rock. In this paper I will argue that salsa’s popularity needs to be understood in terms of a musical sound and a social style that responded effectively to these circumstances, captured beautifully in the film Our Latin Thing. I propose, furthermore, that the colonial dilemma of Puerto Ricans in the island and in New York motivated their creative contributions to salsa, which they experienced as a form expressive liberation and decolonization.
    [Show full text]
  • 9789004184473 08-Lapidus-2
    Mazal Tov, Amigos! Jews and Popular Music in the Americas Edited by Amalia Ran and Moshe Morad LEIDEN | BOSTON For use by the Author only | © 2016 Koninklijke Brill NV Contents Acknowledgements vii List of Figures viii List of Contributors ix Introduction 1 Amalia Ran and Moshe Morad 1 Is “White Christmas” a Piece of Jewish Music? 11 Ellen Koskofff 2 The Musical Worlds of Jewish Buenos Aires, 1910–1940 25 Pablo Palomino 3 Tristes Alegrías: The Jewish Presence in Argentina’s Popular Music Arena 44 Amalia Ran 4 Jacob do Bandolim: A Jewish(-)Brazilian Composer 60 Thomas George Caracas Garcia 5 Walls of Sound: Lieber and Stoller, Phil Spector, the Black-Jewish Alliance, and the “Enlarging” of America 78 Ari Katorza 6 Singing from Diffference: Jewish Singers-Songwriters in the 1960s and 1970s 96 Jon Stratton 7 ¡Toca maravilloso! Larry Harlow and the Jewish Connection to Latin Music 109 Benjamin Lapidus 8 Roberto Juan Rodriguez’ Timba Talmud: Diasporic Cuban-Jewish Musical Convergences in New York 122 Nili Belkind For use by the Author only | © 2016 Koninklijke Brill NV vi contents 9 Yiddish Song in Twenty-First Century America: Paths to Creativity 142 Abigail Wood 10 Fight for Your Right to Partycipate: Jewish American Rappers 153 Uri Dorchin 11 Gypsy, Cumbia, Cuarteto, Surf, Blah Blah Blah: Simja Dujov and Jewish Musical Eclecticism in Argentina 171 Lillian M. Wohl 12 Queer Jewish Divas: Jewishness and Queerness in the Life and Performance of Barbra Streisand, Bette Midler, and Olga Guillot 188 Moshe Morad 13 Third Diaspora Soundscapes: Music of the Jews of Islam in the Americas 208 Edwin Seroussi Closing Notes: The Soundstage of Jewish Life, North and South 237 Judah M.
    [Show full text]
  • Salsa Y Sociedad
    MÚSICA Y SOCIEDAD (INT – 151) Estudios Generales Letras Profesor: Jesús A. Cosamalón Aguilar Asistente: José Carlos Rojas Salsa! https://www.youtube.com/watch?v=NWejAsYs1NQ ENFOQUE TEMÁTICO “Mire señora agarre bien su cartera, no conoce este barrio aquí asaltan a cualquiera.” Es uno de los soneos más conocidos de Héctor Lavoe, parte de su interpretación de Calle Luna, Calle Sol. La canción es conocida en muchos países, incluyendo el Perú, a pesar de que la referencia urbana corresponde a la ciudad de San Juan (Puerto Rico). ¿Qué condiciones hacen posible que una producción musical elaborada para un lugar específico sea aceptada fuera de sus fronteras? ¿De qué manera la salsa expresa las características culturales de las poblaciones de América Latina? Estas son algunas de las preguntas que el curso pretende contestar. Para lograr ese objetivo abordaremos los estudios socioculturales que permiten relacionar la producción musical denominada salsa con la sociedad. Estos trabajos señalan la importancia de reconocer los códigos musicales, los intérpretes y el tipo de público que consumía este género musical. Luego pasaremos revista a la historia de la salsa, desde sus raíces en el Caribe hasta su difusión desde Nueva York y el resto de ciudades de América Latina. De este modo intentaremos comprender cómo la salsa expresa diversos contextos históricos comunes a varios países de América Latina: las tensiones de la modernización, las migraciones, la lucha contra la discriminación, la creciente pobreza, la marginalidad, entre otros aspectos. Por medio de esta perspectiva no solo se procura abrir un nuevo camino para entender a las sociedades de América Latina, también se pretende dar relevancia a productos culturales históricamente relegados de los estudios sociales, frecuentemente catalogados de manera inferior por su carácter popular o masivo.
    [Show full text]
  • Creating Salsa, Claiming Salsa: Identity, Location, and Authenticity in Global Popular Music
    University of Northern Iowa UNI ScholarWorks Dissertations and Theses @ UNI Student Work 2010 Creating salsa, claiming salsa: Identity, location, and authenticity in global popular music William Guthrie LeGrand University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©2010 William Guthrie LeGrand Follow this and additional works at: https://scholarworks.uni.edu/etd Part of the Ethnomusicology Commons Recommended Citation LeGrand, William Guthrie, "Creating salsa, claiming salsa: Identity, location, and authenticity in global popular music" (2010). Dissertations and Theses @ UNI. 553. https://scholarworks.uni.edu/etd/553 This Open Access Thesis is brought to you for free and open access by the Student Work at UNI ScholarWorks. It has been accepted for inclusion in Dissertations and Theses @ UNI by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. CREATING SALSA, CLAIMING SALSA: IDENTITY, LOCATION, AND AUTHENTICITY IN A GLOBAL POPULAR MUSIC An Abstract of a Thesis Submitted in Partial Fulfillment of the Requirements for the Degree Master of Music William Guthrie LeGrand University of Northern Iowa July, 2010 ABSTRACT Although Latin American ethnomusicological scholarship in the last twenty years has addressed much of the Caribbean, particularly Cuba, the popular genre salsa has often been treated as a side project of scholars with other specialties. Much of previous Latin American scholarship has favored nation-based, particularly folkloric, genres, while current trends have largely moved toward either re-engaging nation-based scholarship within postmodern critical contexts or addressing reggae ton as part of the scholarly fascination with global hip-hop culture. Salsa, which has always been created, contested, and claimed.
    [Show full text]
  • LBMO.Com - Latin Beat Magazine - Latin Music Magazine - Columns
    LBMO.com - Latin Beat Magazine - Latin Music Magazine - Columns http://www.latinbeatmagazine.com/columns.html Home |Features | Columns |Hit Parades | Rev iews | Calendar |News |LB Style |Contacts | Shopping | E-Back Issues JUNE/JULY 2012 ISSUE QUÉ PASA IN LA By Rudy Mangual Bloque 53 Cogelo Ahi Windows Media Quicktime Chico Álvarez El Indio Caonabo Windows Media Quicktime Bio Ritmo La Muralla 1 of 23 7/14/2005 9:03 PM LBMO.com - Latin Beat Magazine - Latin Music Magazine - Columns http://www.latinbeatmagazine.com/columns.html Streaming Music Louie Cruz Beltran The 34th Annual Playboy Jazz Festival will present a world-class lineup of jazz icons and rising Paint the Rhythm stars on Saturday, June 16th, and Sunday, June 17th, at the Hollywood Bowl. Headliners include Windows Media Ramsey Lewis, Robin Thicke, Ozomatli, Sheila E, Boney James, Chico Trujillo, and Christian Quicktime McBride (and just added, local favorite Louie Cruz Beltrán). For tickets and more information, visit www.playboyjazzfestival.com. Cintron Band Live "Grand Performances" —Los Angeles’ premiere free outdoor summer performing arts series Human Nature ―invites everyone to their 26th annual summer events. Grand Performances’ 10-week Windows Media season (Friday, June 22, to Saturday, August 25) features 33 events and more than 100 artists Quicktime and ensembles. All events are free of charge, providing everyone the opportunity to experience a handpicked selection of emerging and established world music, jazz, dance and theater acts. Most events begin at 8:00 p.m. and take place at California Plaza in Downtown Los Angeles. Vanelis Performances range from the “Intimate Puppetry of Mexico: Unexpected", (July 12 & 13), to the Como Lo Extraño extravagant Jazz Mafia (San Francisco’s 38-piece ensemble), and the 70-member orchestra and Windows Media 40-voice choir of Symphony of Hope (August 3).
    [Show full text]
  • THE 8TH ANNUAL PITTSBURGH INTERNATIONAL JAZZ FESTIVAL PRESENTED by CITIZENS BANK HAS a NEW HOME and MOST HIGHLY ANTICIPATED LINE up to DATE June 15-17, 2018
    FOR IMMEDIATE ATTENTION CONTACT: INDEA HERNDON, EXTERNAL AFFAIRS, [email protected] THE 8TH ANNUAL PITTSBURGH INTERNATIONAL JAZZ FESTIVAL PRESENTED BY CITIZENS BANK HAS A NEW HOME AND MOST HIGHLY ANTICIPATED LINE UP TO DATE June 15-17, 2018 (Pittsburgh, Pa)...The weekend of June 15-17, 2018, marks a pivotal milestone for the 8th annual Pittsburgh International Jazz Festival presented by Citizens Bank. As a signature program of the African American Cultural Center at the newly relaunched August Wilson Center, the Pittsburgh International Jazz Festival will continue to be helmed by Janis Burley Wilson, the new president & CEO of the AACC, who created and directed the jazz fest since its founding in 2011. With her new appointment, she plans to make changes to the footprint and to expand the festival format. Burley Wilson says, “The new name, new venue, and expanded program will please our devoted jazz fest attendees and attract even more jazz lovers from around the world. The team at the African American Cultural Center is committed to the continued growth and success of this dynamic festival that is a celebration of joy and unity through jazz. ” The festival moves to Liberty Avenue to take advantage of the wider street and closer proximity to the August Wilson Center. In addition, the festival will feature more educational opportunities that include master classes and artist talks throughout the weekend. On June 15th, the popular free JazzFest Crawl throughout downtown Pittsburgh features regional jazz artists performing from 5:30-9:00pm. An opening night ticketed concert with mega jazz star Marcus Miller kicks off the festival with a concert at the August Wilson Center at 7:00pm.
    [Show full text]
  • Redalyc.CENTRAL PARK RUMBA: NUYORICAN IDENTITY and THE
    Centro Journal ISSN: 1538-6279 [email protected] The City University of New York Estados Unidos Jottar, Berta CENTRAL PARK RUMBA: NUYORICAN IDENTITY AND THE RETURN TO AFRICAN ROOTS Centro Journal, vol. XXIII, núm. 1, 2011, pp. 5-29 The City University of New York New York, Estados Unidos Available in: http://www.redalyc.org/articulo.oa?id=37722223001 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative CENTRO Journal Volume7 xx111 Number 1 spring 2011 CENTRAL PARK RUMBA: NUYORICAN IDENTITY AND THE RETURN TO AFRICAN ROOTS Berta Jottar a b s t r a c t This essay focuses on the performance of Central Park rumba in the 1960s and 1970s, and its role in the formation of Nuyorican (Puerto Ricans from New York City) identity. Puerto Ricans and Nuyoricans learned and reinterpreted traditional Cuban rumba as their return and performance of African roots. Their search for “roots” resulted in the articulation of a Nuyorican identity reproducing their mediated memory, a rumba knowledge based on mechanical reproduction. What I designate as rumba à la boricua—the result of a mediated, hybrid subjectivity— generated a space of negotiation and contestation against the limitations of nationalism and neo- colonialism. [Keywords: Afro-Latin, Nuyorican, Puerto Rican, rumba, salsa, mediated memory, identity, hybridity, Central Park] Photograph of Pe Conga’s cajón drum—made by Apache—with a late 1970s pasted photograph of the Rumberos All Star: Eddy Mercado, Pedro “Pe Conga” López, Nestor “Budy” Bonilla, Miguel “Chino” Santiago, Cowboy, Anthony Negrón, José “Apache” Rivera, and David Lugo (photographer of the Rumberos All Star unknown).
    [Show full text]
  • Jerry Masucci
    Jerry Masucci Name: Jerry MasucciDate of birth: (October 7, 1934 – December 21, 1997) Affiliation: Co-founder of Fania Records. Masucci was born October 7, 1934 in Brooklyn, New York to Urbano and Elvira Masucci. His brother is Alex Masucci (born November 11, 1949). Masucci moved to a home on the Upper East Side of New York, eventually owning homes in Paris, Ibiza, Uruguay, Havana, and Miami. Masucci was a high school dropout who earned his high school diploma while serving in the United States Navy at Guantánamo Bay, Cuba, during the Korean War. He became a member of the New York City Police Department. After attending college at night, Masucci took a leave of absence and attended City College of New York, where he played halfback on the college football team, and earned a degree in Business Administration, majoring in foreign trade. He graduated first in his class with cum laude honors. He then returned to the Police Department as a plainclothes policeman and attended New York Law School during the day. Graduating in 1960 with a Doctor of Law Degree, he resigned from the Police Department and worked in Havana, Cuba as assistant to the Director of Public Relations in the Department of Tourism. Career Masucci became a partner in the law firm Pariser & Masucci. Masucci met Johnny Pacheco in 1962 when his firm handled Pacheco’s divorce. In 1964 Masucci and Pacheco established Fania Records. They started out selling records out of the trunk of cars on the streets of Spanish Harlem, signing up young artists, creating new sounds, and eventually having hit records.
    [Show full text]
  • Puerto Rican Music and Cultural Identity: Creative Appropriation of Cuban Sources from Danza to Salsa
    City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 1994 Puerto Rican Music and Cultural Identity: Creative Appropriation of Cuban Sources from Danza to Salsa Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/22 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Puerto Rican Music and Cultural Identity: Creative Appropriation of Cuban Sources from Danza to Salsa Author(s): Peter Manuel Source: Ethnomusicology, Vol. 38, No. 2, Music and Politics (Spring - Summer, 1994), pp. 249- 280 Published by: University of Illinois Press on behalf of Society for Ethnomusicology Stable URL: http://www.jstor.org/stable/851740 . Accessed: 14/12/2014 15:01 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of Illinois Press and Society for Ethnomusicology are collaborating with JSTOR to digitize, preserve and extend access to Ethnomusicology. http://www.jstor.org This content downloaded from 146.111.34.148 on Sun, 14 Dec 2014 15:01:55 PM All use subject to JSTOR Terms and Conditions VOL.38, NO.
    [Show full text]